OASYS Open Architecture Synthesis Studio ----

Multiple forms of synthesis, with more to come!

It all begins with sound. OASYS delivers a level of realism, fidelity and sound quality that is a new milestone for a professional musical instrument. Currently, OASYS contains four advanced synthesis engine algorithms for your audio palette:

• HD-1 High Definition PCM synth

HD-1 Main Play Page

 

Plus the EXi Expansion Instruments,

• AL-1 Analog Modeling Synth

AL-1 Main Play Page

• CX-3 Modeled Tonewheel Organ

CX-3 Main Play Page

• STR-1 Plucked String Model

STR-1 Main Play Page

Each synthesis engine excels at its given method of making sound, and they can be freely blended in Combinations and used on each track of a Song for total sonic freedom. The open design of the OASYS allows for new EXi (expansion Instruments) to be added in the future, and with Korg's long history in analog synthesis, digital synthesis, and physical modeling you can be assured that the future will hold some exciting developments.

• New! LAC-1 Legacy Analog Collection

LAC-1 Main Play Page showing both
an MS-20EX and PolysixEX

The most recent example of this is the new LAC-1 Legacy Analog Collection, which adds the distinctive MS-20EX and the rich-sounding PolysixEX to your audio arsenal. Korg's Component Modeling Technology (CMT) rebuilds the entire original instrument in the digital domain, for a level of authenticity not possible in other systems.

Stellar synthesis

It all begins with sound. OASYS delivers a level of realism, fidelity and sound quality that is a new milestone for a professional musical instrument. With its initial release, OASYS contains three complete synthesis engine algorithms for your audio palette:

• HD-1 High Definition PCM synth plus two EXi Expansion Instruments,
• AL-1 Analog Modeling Synth and,
• CX-3 Modeled Tonewheel Organ.

OASYS is built around our new flagship PCM-based engine, which we call the call the HD-1 High Definition Synthesizer.

Driven by an exacting, robust and detail-rich voice architecture, the sound of the HD-1 possesses an amazing clarity and presence; a high end that is crystal clear, but never harsh;a detailed and accurate sound that is smooth and rich across the entire audio spectrum.

Fueling this engine is a staggering 628 MB of uncompressed wave ROM (including the preloaded EXs-1 expansion) that goes beyond CD audio quality. This abundant PCM library allows us to capture much more of the natural detail and ornamentation that distinguishes an acoustic instrument as “real” sounding. We've also included many stereo waveforms to preserve the natural imaging and spaciousness of acoustic sounds - especially ensemble sounds and drum kits. Other enhancements include many extended length samples that preserve an instrument's natural decay, and sample sets that allow instruments to speak their full voice, using up to 4-way velocity switching to recreate their complete dynamic range.

But that's just the beginning. Each OASYS comes with two additional EXs Expansion Sample Libraries ready for action.

The comprehensive EXs-1 Expansion ROM set is pre-loaded, providing spectacular stereo drums, and additional large acoustic and synthesizer multisamples capturing extra detail and character. The EXs-2 Concert Grand, on the other hand, serves up a singular, breathtaking piano experience. Based on individually sampled keys, true stereo imaging, four-way velocity switching and an additional damper layer, this piano evokes unparalleled realism.

The HD-1 is an all-new design that far surpasses Korg's previous PCM-based synth architectures. The new low-aliasing oscillators can playback stereo samples, and offer 4-way velocity switching with cross-fading available. A single oscillator can even layer two samples together so you can play up to four stereo samples at the same time from within a Program.

Each voice can use either one or two of Korg's incredibly versatile multimode (Low Pass, Band Pass, Band Reject [notch], and High Pass) resonant filters. For maximum flexibility, the filters can be connected in series or parallel, to generate 12 dB or 24 dB per octave slopes.

The five punchy Envelope Generators offer adjustable curvature per stage, as well as the ability to be re-triggered by any of the available modulation sources. The four per-voice LFOs and the new Common LFO all offer a generous 18 wave shapes, tempo-sync, super-fast rates and more. The Amp section sports a room-shaking Low Boost parameter as well as Drive, for adding aggressive character and side-band harmonics to your sounds. There's even a 3-band EQ built into the voice so you can sculpt your timbre without having to use an Insert effect.

Another new feature in the HD-1 is the dual AMS Mod Mixers. This powerful function lets you process or combine one or two modulation sources before using them to affect a parameter in the voice. You can combine two sources by simply summing them together, or by modulating one with the other. You can also smooth a source's response time, with separate attack and release settings (like the classic lag processing found on some of the most beloved analog synths), quantize a controller (great for simulating the frets on a guitar, for example), alter its curvature (to create new LFO shapes or alter controller response), and more. With two Mod Mixers available, this greatly expands and enhances the sound shaping potential of the HD-1 synthesizer.

A drumkit can have a different sound on every key, each comprised of up to four velocity-switched, cross-faded, or layered samples. For the first time in a Korg product the samples can be stereo, which adds a lot to the realistic imaging of the sounds. Drumkits are set up in Global Mode, and then in Program Mode can benefit from the rest of the features of the HD-1 voice and effects.

Each sample offers filter cutoff, resonance, drive and low-boost offsets, as well as individual 3-band EQ. With this type of per-sample control you can create incredibly expressive, perfectly-shaped drumkits. Essential features like exclusive note groups, where one key can cut off another (like a closed hi-hat shutting off the open one) are included, along with per key-assignment routing to the effects.

Unlocking the Combination

Korg’s famous Combination structure – introduced nearly 20 years ago in the M-1 – has been expanded, now allowing up to 16 Programs to be split and layered across the keyboard and across multiple MIDI channels.

In addition to providing more sound elements, this means that Combis can be set up and saved as complete 16-part MIDI sequencing templates for use with an external sequencer and computer DAWs - a much-requested feature from our users! You can freely combine Programs from the HD-1, AL-1 and CX-3 engines to create amazing new textures by zoning, layering and velocity-switching multiple sounds in a single keyboard set-up.

Sounds can be delayed either by time or by tempo, even when you release a key, allowing you to create sophisticated rhythmic soundscapes and performance effects. Monophonic sounds can be forced to be polyphonic, or vice-versa, and you can select only one of the oscillators if desired. For the more adventurous musician, each timbre can even use a different scale or tuning!

The enhanced OASYS Combi mode now offers a powerful Tone Adjust feature, providing real-time control over 33 parameters of each timbre, so you can edit each of the 16 sounds in context without affecting the original Programs.

And with up to 172 voices to work with, OASYS has more than enough horsepower to cover all the bases.

Blast from the past

Longtime Korg fans still fondly remember our revolutionary Vector Synthesis and Wave Sequencing technologies. Well, they’re back and better than ever. The Vector Joystick - along with a Vector Envelope and Vector Modulation - allows for smooth blending between the two oscillators in Program mode. But the Combination mode is where the Advanced Vector Synthesis features really come alive, as you freely blend between four different mixtures of sounds from the 16 timbres to create evocative, moving textures. Up to five Vector “positions” can be defined, with either rhythmic value (from an internal or external clock) or absolute time used to specify the timing between positions. This complex Vector Envelope can be continually looped for sounds that are constantly in motion. Vector control also offers cool, user-definable modulation of many of the HD-1’s parameters.

Wave Sequences play back a series of selected waveforms over time, creating either distinctive rhythmic timbres or smooth, complex and continually evolving sounds. You can even specify the playback pitch for each step. New additions to this classic technology include support for stereo and RAM samples, greatly enhanced tempo synchronization, adjustable fade-in and fade-out shapes per step, swing, trigger quantization and key sync, and real-time duration modulation. Additionally, dual integrated step-sequencer modulation outputs allow Wave Sequences to control virtually any Program parameter such as filter cutoff, pan, Drive, LFO speed and more. Conversely, the many OASYS Alternate Modulation Sources (AMS) can be used to provide an extra level of realtime or automated control over Wave Sequence parameters.

The Ultimate VA

The first OASYS EXi Expansion Instrument is a state-of-the-art virtual analog synth engine: the AL-1.

The first OASYS EXi Expansion Instrument is a state-of-the-art virtual analog synth engine: the AL-1. Not content with a mere handful of modeled voices, the AL-1 delivers an unparalleled 84 notes of polyphony, capable of sounding an incredible 504 oscillators (including dual sawtooths and noise generators).

This responsive synth features our distinctive ultra low-aliasing oscillators that recreate all the power and glory of true analog synthesis – without the artifacts that can often plague lesser modeled oscillators. The two main oscillators offer eight flexible waveforms each, for a wide palette of modulatable shapes. Other progressive features include wave-shape morphing, a floor-thumping sub-oscillator plus a variable-color noise generator capable of white, pink, red flavors - and beyond. An adjustable drive parameter provides a distinctive character to the vintage oscillator modeling; while sync, FM, low-boost and several varieties of ring modulation offer plenty of tone-mangling power. External live audio can even be accessed as an additional signal source.

Each voice can use either one or two of Korg’s incredibly versatile multimode (Low Pass, Band Pass, Band Reject [notch], and High Pass) resonant filters. For maximum flexibility, the filters can be connected in series or parallel, to generate 12 dB or 24 dB per octave slopes. The unique “Reso Bass” parameter lets you select between the distinctive resonance characteristics of two classic analog synths — now available within the AL-1’s much more versatile filter structure. The AL-1 also offers a unique, new MultiFilter, which lets you crossfade in real-time between any two of 21 different filter types – including your own custom mixes of LP, HP, BP and dry input.

Modulation is essential to any analog synth, and the AL-1 offers a wealth of riches. Five punchy and re-triggerable envelope generators can dish out ultra-fast attacks, and a different curvature can be set for each envelope stage. A generous 18 wave shapes are available to drive the four per-voice LFOs. In addition to their tempo-sync and high speed abilities, each LFO allows you to specify the phase, center value, and curve for complete control. And to keep all the voices moving together, there’s an additional per-timbre Common LFO.

Additional modulation capabilities are provided by 52 Alternate Modulation Sources (AMS); dual AMS Mod Mixers; dual key-tracking generators; and a per-voice 32-step Step Sequencer. The per-voice Step Sequencer can modulate virtually any Program parameter – including pitch. Each of the 32 steps has a separate note-length for creating complex rhythmic figures, and can generate either a fixed value or gate an AMS input source. A “smoothing” parameter allows fluid motion between sequencer steps. The standard EXi Program structure adds even more modulation power, including a Common Step Sequencer, two more key tracking generators, and the Vector Envelope.

Organ-ic audio

The CX-3 tonewheel organ, one of the most accurate models of that classic organ sound ever developed, provides the third OASYS sound engine. Based on the current Korg CX-3 hardware instrument, this EXi design features dual drawbars, control over every nuance of the sound including leakage, key click, adjustable percussion, chorus/vibrato and a complete rotary speaker simulation. Never content to rest on our laurels, we’ve continued to improve on the award-winning CX-3 design. For instance, we’ve added an enhanced version of Korg’s unique EX Mode, which adds additional harmonics and percussion tunings, opening up a new world of “organic” timbres. There’s also a custom-programmable chorus/vibrato mode, flexible percussion assignment, and other refinements.

The keyboard can be split to provide upper and lower manuals, each with their own drawbars. The CX-3 not only simulates the tonewheel organ itself, but the various speaker options associated with it. Our legendary amp modeling provides a variety of options. In recreating the sound space of the famous rotary organ speaker, the CX-3 provides individual control over numerous elements such as mic spread, rotor speed and transition time. The control surface of OASYS provides direct access to your nine drawbars via the sliders (with on-screen visual indication of their current values); switches to access the vibrato/chorus, percussion and all traditional tonewheel organ controls are laid out in a logical and familiar manner.

These three engines can be used together in a variety of ways. OASYS features dynamic allocation between synth voices (including different synth types), and flexible allocation of power between synths and effects. An EXi Program can actually host two synth engines, so you can use two AL-1's to create super-powerful synth sounds, or two CX-3's to create new hybrid organ timbres. For the adventurous sound designer you can blend a CX-3 and AL-1 to create new imaginative timbres. And, of course, there are more EXi synthesizers to come in the future!

 

The STR-1 Plucked String

The STR-1 Plucked String is a physical model which allows you to pluck, strike, scrape, or otherwise "excite" the string with 16 different "pluck" types, noise, or any of the onboard or RAM-based PCM waveforms.

The string itself uses a very advanced, highly controllable design, with modeling of both physical materials and playing style, including damping, decay, dispersion, nonlinearity, harmonics, and more. An audio input through the synth provides modeled feedback, for incredibly realistic interaction between the "instrument" and the "amplifier."

The string timbre can then be shaped further using dual multi-mode resonant filters (including Korg's Multi Filter, as first introduced in the AL-1), plus an additional multi-mode resonant filter dedicated to the string excitation. Four per-voice LFOs, five re-triggerable EGs, two key tracking generators, a string tracking generator, and four AMS mixers are available, along with the many AMS modulation sources and destinations common to all the OASYS synthesis engines. Finally, the 32-voice STR-1 has access to all the standard EXi Program features, including the Common Step Sequencer, EQ, Vector control, and effects–as well as layering with any other EXi (including using two STR-1s together!).

This comprehensive and sophisticated set of synthesis tools makes the STR-1 capable of creating both traditional sounds (acoustic and electric guitars and basses, clavinets and harpsichords, harps, bells, electric pianos, ethnic instruments, etc.) and unique, experimental timbres. Since it is based on physical modeling, all of these sounds can expressively change their tone in ways that are impossible for sample-based sound generators to imitate.

The 128 stunning Programs provided for the STR-1 were meticulously crafted by Korg's acclaimed International Voicing Team to take full advantage of all of the OASYS' many controllers and realtime expression, as well as the powerful Tone Adjust mode for quick tweaking of important parameters. The KARMA voicing was done by the developer himself, Stephen Kay, and provides a virtual "lesson" in the capabilities of this amazing technology.

This new EXi has a US retail value of $299, but Korg is offering it free of charge to all current and future OASYS owners as a sign of our ongoing commitment to the Open Architecture concept, and as a "thank you" for their support.

Cause and Effects

OASYS extends the quantity and quality of on-board effects to a new level, offering an astounding 12 Insert, 2 Master and 2 Total effects, delivering six times the processing power of the TRITON series workstations! You can even use OASYS as a 6 input/10 output real time effects processor for your other gear. With 185 algorithms, the possibilities are vast. We’ve included some in-demand gems including the ToneWorks (REMS) mic, amp and speaker models; the amazing O-Verb from the OASYS-PCI card; the Chorus/Vibrato circuit from the CX-3; the silky smooth Ensemble from the Polysix plus a wealth of new effects as well as more classic Korg favorites.

Insert, Master and Total effects offer stereo in/out configuration. You can view effects type by categories, and save your favorites effects settings for easy recall. Insert Effects offer the ability to chain the effects in many flexible configurations. When routing effects in various configurations you have the ability to view the effects that are being used for a specific track, and to insert new “modules”, delete them, and even clean up complex routing chains. Twelve Insert effects means that more of your sounds can retain their sonic character when being used in Sequencer Mode, which is the goal of all musicians who use workstations. But it’s even better than that. OASYS has 32 3-band EQs, each with sweepable midrange – one for each synthesizer timbre (in Program, Combi and Sequencer Modes), and one for each audio playback track. This allows you to create distinctive tonal changes and shadings without dipping into your effects resources.

As good as the synths are, it is Korg’s legendary voicing quality that’s sure to impress.

Our international OASYS sound design team has been working for years to create over a thousand stunning new Programs, from realistic acoustic instruments with captured performance noises, to the fat, imaginative synth sounds that Korg is known for, from signature organ sounds designed for the CX-3 by top players to cutting-edge synth sounds exploiting the incredible power of the AL-1.

OASYS comes loaded with 1,152 Programs, and room for a total of 1,664 user sounds (13 Banks plus GM). All sound locations are fully editable (except GM banks), so you are always free to tweak a sound if needed. There are 40 drumkits provided, and room for a total of 152. As for the 16-part Combinations, 384 come preloaded, with room for a total of 1,792 (14 Banks).

All sounds (Programs and Combinations) are organized by Categories for easy searching and selection. With both overall categories and sub-categories it’s easy to organize your sounds – you can even mark sounds as Favorites for quick access during performance.

Specifications subject to change without notice