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Tag: Korg

  • The Volca Modular Highlights Our Virtual Look at NAMM 2019

    The Volca Modular Highlights Our Virtual Look at NAMM 2019

    Without a travel budget, a trip to the NAMM show is more of a dream than a reality here at TabMuse. Nonetheless, every year we wait with baited breath to see what fresh music technology announcements inspire us. These inspirations naturally occur within the synth realm, and unfortunately many synthesizer makers chose to not attend NAMM 2019.

    korg-volca-modular
    Korg’s new Volca Modular synth. Image copyright Korg.

    Still, a few products tickled our fancy, so let’s have a look. If you are interested in our coverage of previous NAMM events, simply click on the following links: 2018, 2017, 2016, and 2015.

    The Volca Modular Offers a Taste of Don Buchla’s West Coast

    Korg brought a host of interesting new synths to NAMM 2019; the Minilogue XD definitely intrigues. But it was the new Volca Modular that ranked at the top of our wish list. It offers a simplified take on the classic Buchla Music Easel, color scheme included.

    Of course, the “Vuchla” is battery powered, like the rest of the Volca family, with a similar footprint that fits perfectly on our studio’s Berlin School playground. Unfortunately, the patch points use a jumper wire format instead of the Eurorack standard, with the exception of a few CV and Korg sync ports. Hopefully, some enterprising person makes a patch bay for the unit.

    The Volca Modular doesn’t have a MIDI input, which isn’t a huge problem considering the CV ports. The synth architecture is classic West Coast, following more of an additive model compared to the subtractive East Coast style, yo. A sequencer, microtuning, and effects are all in there. Its sound and possibilities for sonic mayhem definitely intrigue, and the $199 list price fits squarely within our budgetary wheelhouse.

    We expect the Vuchla to play well with our Make Noise 0-Coast as well as the Volca Keys and Bass. The older Volcas primarily get used these days as a poor man’s analog poly synth, but their sequences dominated Church of Hed’s Brandenburg Heights album. Adding some West Coast synthesis to the equation is our hope.

    Expect full coverage if and when we purchase one. There’s a three-tiered synth stand I’m also eyeing. I know… boring.

    The Behringer Crave is a Great Entry Point to Analog Synthesis

    Behringer’s product pipeline is filled with a host of soon-come synth clones: the ARP Odyssey, Roland TR-808, SH-101, and so much more. But it was the Crave, announced at the end of NAMM which garnered the most buzz. An analog monosynth, it features a host of patch points and a built-in sequencer at an impressive price point of $199.

    The Crave’s oscillator clones the one from the Prophet 5 and its filter is based on the legendary Moog Ladder, so a robust sound is assured. The large patch bay integrates nicely with existing Eurorack gear. This synth isn’t yet available, but you can expect it to be popular upon release.

    Teenage Engineering’s Foray into Modular Synthesis

    Teenage Engineering introduced a line of proprietary modular synth kits at NAMM 2019; seeming like something out of IKEA. You get the opportunity to build before you play. We love the sound of our PO-12 drum machine, so these modular units are definitely worthy of a closer look.

    There are two smaller models; the 16 features only a sequencer and controller, while the 170 provides the modules to build a basic analog monosynth. They are priced at $149 and $349 respectively.

    The 400 is the flagship of this line. For $499, you get to build a three-oscillator monosynth with a host of modules and a sequencer. The 170 and 400 both include patch cables, and are Eurorack compatible. It’s a worthy option for those looking to dip their toes into Eurorack, but on a tight budget.

    So there you have it. This collection of new synthesizers from NAMM 2019 is definitely budget friendly, apparently without skimping on sound and functionality.


  • Virtual Dispatches from NAMM 2017

    Virtual Dispatches from NAMM 2017

    The fact that I didn’t attend this year’s NAMM conference doesn’t stop me from writing about a few of the interesting announced products in the synth realm. This same rule applied in both 2015 and 2016. Like many of you, I watch from afar, typically overcome with an acute case of gear lust. Maybe some year I’ll make it?

    toraiz as-1
    The Pioneer DJ/DSI Toraiz AS-1 analog monosynth. Photo copyright Pioneer DJ.

    Unfortunately, NAMM 2017 didn’t feature the same level of innovation as the past few years, but a few synths still managed to pique my interest. Let’s check them out!

    Korg’s ARP Odyssey Re-creation goes Full Size

    When Korg reintroduced the ARP Odyssey a few years back, many synth-heads praised the sound but complained about the mini-keys. Now those naysayers get a chance to put their money where it counts, as Korg announced full-size versions of all three Odyssey models.

    The street price for this analog duophonic synth – known as the ARP Odyssey FS – is $1,599, and all editions grace the market in February. So check with your favorite music retailer if those dreaded mini-keys were keeping you from purchasing Korg’s original ARP remake/remodel.

    The Pioneer DJ/Dave Smith Instruments Toraiz AS-1 Intrigues

    This mashup between a DJ equipment company (Pioneer DJ) and one of the most respected synth designers in the business (Dave Smith) looks like a Korg Monotron on steroids. An analog monosynth, the Toraiz AS-1 features a synth engine that’s essentially a one-voice version of the DSI Prophet 6. The touchpad keyboard triggers the comparison with the Monotron.

    A 64-step sequencer and a host of filters and effects from the Prophet 6 help round out the Toraiz feature set. The synth also integrates with the Toraiz SP-16 sampler/sequencer. The small LED display helps DJs control the device when inside a club.

    At a street price of $499, this is a product that intrigues me and my limited budget, but my eyes are still trained on the Make Noise 0-Coast – I’d already own one if not for the Arturia DrumBrute. Expect the synth in March.

    The Electro-Harmonix Blurst Modulated Filter Pedal

    As a drummer and synth player, I only recently discovered the sonic joy of pairing guitar effects pedals with synthesizers – late to the party as usual. I love my EH Deluxe Memory Boy delay pedal, and Electro-Harmonix’s new Blurst filter pedal looks like something to fill a current need in the studio. It’s an analog low-pass filter featuring LFO modulation with tap timing – perfect for any modern keyboardist wanting an edgier sound.

    ElectroHarmonix_Blurst
    EH’s Blurst analog filter effect pedal. Photo copyright Electro Harmonix.

    The availability of the Blurst is still TBA, but at a unique street price of $137, expect many to grab one when it arrives on the marketplace.

    The Eurorack community probably had most of the innovative synth products at this year’s NAMM – new modules abound. Since I am still successfully avoiding that bottomless pool – the 0-Coast lust being an exception – these two synths and effect pedal appear to be most alluring synth-related products for my tastes in a down year for NAMM.


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  • Review: The Korg SQ-1 is a Perfect MIDI Sync Traffic Cop

    Review: The Korg SQ-1 is a Perfect MIDI Sync Traffic Cop

    Korg released its SQ-1 sequencer originally as a pair with the re-imagined MS-20 synthesizer. Faced with two Volcas, a Monotribe, a Moog Sub 37, and a Teenage Electronics PO-12, I wondered if the device could essentially serve as a sync traffic cop; keeping all five instruments in rhythmic “harmony” suitable for some long-form Berlin School action. Read further to check out the results of my experimentation.

    A Closer Look at the Korg SQ-1

    At its core, the SQ-1 is a bare-bones 2 x 8 analog sequencer perfect for any synth with a CV input. The unit doesn’t even provide memory for storing sequences; lending itself more to improvisation and experimentation instead of composition. This isn’t a drawback at all.

    Korg SQ-1
    The Korg SQ-1 Analog Sequencer. Photo Copyright Korg.

    The SQ-1 features two CV channels (A and B) for sending voltage control and gate signals to connected synths. A separate output is compatible with the littleBits Synth Kit (I haven’t had the time or space to experiment with this yet). Sync I/O, a MIDI out (the 5-pin adapter cable is included), and a USB jack round out the SQ-1’s ports.

    The panel of the SQ-1 is dominated by two sets of 8 step knobs and buttons. Simple button presses turn a step on and off, while the associated knob controls the voltage output for that step. Like the Volca series synths, each button also serves another role when holding down the Function button; these are used for controlling the CV range (for compatibility with older synths) and the associated scale.

    Speed and Duty knobs and a Start/Stop button handle sequence playback. A Sequencer Mode selector switches between different playback modes, which let you do a variety of things from the simple — like choosing either 8 or 16 step sequences — to the more esoteric, like using Channel B’s knobs to vary the Duty or Slide for each step. This ease of control lends itself well to real-time experimentation with sequences.

    The Korg SQ-1 controlling your MIDI Sync

    When I bought the SQ-1, I figured it would be nice to have an easy to use analog sequencer always at the ready, but my most important short-term need involved keeping my two Volcas, Monotribe, and PO-12 in sync with the Moog Sub 37 or any other MIDI synth with an arpeggiator. The basic question came down to whether the SQ-1 would send a Sync Clock signal over MIDI when the sequencer wasn’t on. This allows the Moog’s arpeggiator to stay in sync without any SQ-1 sequencer data overriding the arpeggiator.

    Needless to say, this worked perfectly. The SQ-1 outputs MIDI clock sync when the sequencer is turned off. Additionally, the Speed knob functions as expected.

    I was able to build Berlin School sequences of doom using all five devices. Sync cables were used for the Volcas, Monotribe, and PO-12, while the SQ-1’s MIDI out was connected to the Moog. The next Church of Hed album, Brandenburg Heights, uses this setup extensively.

    One issue worth noting involved keeping the Sub 37’s Pitch CV input disconnected when also using the MIDI signal from the SQ-1. With everything connected, it’s difficult getting the Moog to play in key or at the right octave. As an aside, you need to use an expression pedal for the Filter CV!

    I’ve had a blast playing around with the SQ-1 sequencer with the Moog, nonetheless. I can’t wait to get some Eurorack gear or the Make Noise 0-Coast in the house to really put the SQ-1 through its paces. The Sub 37’s powerful sequencer and arpeggiator lessens the need for an external sequencer for me. Serving as a sync traffic cop is a perfect role for the SQ-1 for now.

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  • Korg Gadget, Stroke Machine, and Thor all get Important iOS Updates

    Korg Gadget, Stroke Machine, and Thor all get Important iOS Updates

    In the past two weeks, three of the leading iOS music apps received vital updates that significantly enhance their functionality. If you want to learn more about Korg Gadget, Stroke Machine, and Thor, check out our previous articles here at TabMuse. Read on further to get the latest news about these updates.

    Korg Gadget adds Landscape Mode, Ableton Live Support, Two New Gadgets

    Two new gadgets highlight the recent update to Korg’s Gadget beatmaker app. Unfortunately, Abu Dhabi and Bilbao are only available through in-app purchase, and are priced a bit too high at $9.99 each. For an app — already including 15 gadgets — that normally costs $40, $4.99 makes much more sense as a price point for an individual gadget.

    Korg Gadget in Landscape Mode
    Korg Gadget is a natural in landscape mode, one of the nice changes in its latest update. Screenshot by Author.

    The new gadgets are suitable for anyone using samples in their music. Abu Dhabi is a cool looking beat slicer, and Bilbao is sample player that follows the same mapping as Gadget’s London drum machine, making it easy to swap out one for the other in a project. Surprisingly, Bilbao has no capabilities to use a mic to record samples on the fly — an oversight by Korg. Both gadgets allow the importing of your own samples.

    Support for landscape mode is a great addition. Considering my affinity for Korg’s iPolysix and iMS-20 apps, the original portrait-only orientation of Gadget never felt quite right. It’s easy to switch between the two using the accelerometer.

    Other enhancements in this Gadget update include upgraded support for external MIDI controllers — something I can’t wait to check out once I get a new iPad. (The 30-pin connector in my iPad 2 only works for charging these days.) Korg also added integration with Ableton Live, making it easy to port projects from Gadget to Live. Native 64-bit audio support rounds out the new features.

    Stroke Machine wears the iOS Drum Machine Mantle

    Wolfram Franke has been burning the midnight oil and the result is version 2.0 of his incredibly deep iOS drum machine app, Stroke Machine. The ability to compose beats in any time signature known to beast is the big selling point of this update to me — not that I use them all. A pad screen allows you to play beats with a noticeable lack of latency sure to make Android owners extremely jealous.

    Stroke Machine’s stability is also greatly improved; I regularly write beats with nary a glitch or crash. Still, this is a professional-level music app that gets the most out of the resource-constrained environment of the iPad, so iPad Air owners can expect to enjoy the best performance.

    Audiobus 2.1 support allows the saving of kits and patterns within an AB patch. Fresh support for MIDI CC learn enhances the app’s use with external MIDI controllers. Additionally, each sound/voice can now use its own MIDI channel. Boom!

    Thor also adds Audiobus 2.1 Support

    The excellent iOS version of Thor, Propellerheads’ synth originally introduced as part of Reason, also received a fresh update recently. The most notable changes involve support for Inter App Audio and Audiobus 2.1. Now, like with Stroke Machine, Thor’s patch details can be stored as part of an Audiobus project. Other bug fixes and performance improvements come along for the ride.

    So there you have it, three important updates sure to make music creation on an iPad more fun and rewarding. After watching a video of someone using Gadget’s Abu Dhabi beat slicer, I am inspired to check it out. When I do, expect a more detailed review here at TabMuse.

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  • Composing a Space Rock Album on the iPad 2: the Story of Kev Ellis — Space Cadet

    Composing a Space Rock Album on the iPad 2: the Story of Kev Ellis — Space Cadet

    (Editor’s note: Kev Ellis cohabitates the same worldwide Space Rock scene as myself. He’s played with Bubbledubble, Kev and Trev, and Spirits Burning among others. In fact, I think we are on the same Spirits Burning track from their Alien Injection album. SB being an Internet-based music outfit, we’ve never met in person. I knew he was using an iPad for recording, so I asked him to pen an article for us. He also has some app reviews coming down the pike here at TabMuse.)

    Kev-Cat-Equipment
    Kev Ellis’s cat serves as his studio manager. Photo by Kev Ellis.

    Space Cadet is my first solo CD release after over 20 years of playing in space rock and blues rock bands. In March 2013, I received an iPad 2 for my birthday, and set about writing — without a band — the space rock album I heard in my head.

    Equipment Used During the Recording of Space Cadet

    • iPad 2
    • Mackie 1202 VLZ 12-Channel Mixer
    • Pair of JBL Eon Powered 10″ PA speakers
    • Shure SM58 Microphone
    • Fender Music Master Bass Guitar
    • Chantry Acoustic Guitar with Electric Pick-up
    • Korg Kaossilator
    • Korg Kaoss Pad 2
    • iPad Camera Connection Kit
    • Griffin iMic Connector

    Apps Used During the Recording of Space Cadet

    External devices were recorded on the iPad by connecting the mini jack, via the line out on the Mackie desk, to the Griffin iMic, which was connected to the USB port of the CCK, which was in turn connected to the iPad port. Apps were recorded via Audiobus, or externally from the iPhone, if no Audiobus support.

    Kev-connectors
    Kev’s intrepid connectors for his iPad-powered recording studio. Photo by Kev Ellis.

    A Track by Track Rundown of Recording Space Cadet

    1. Guiding Light

    I spent an enjoyable afternoon recording wave sounds at Langstone Harbour edge. This track features great guitar from Grunty McNaughton, His guitar sound comes from a clean stack on GarageBand combined with distortion and a Boss Space Echo pedal.

    2. Celebrate The Day

    The drones and bubbles come from Alchemy and Monotone. I recorded acoustic guitar clean as a line-in vocal track, then pasted it onto a distorted GarageBand guitar amp preset, which seems to eliminate a lot of gain noise.

    3. Resting Heart

    The dawn chorus was recorded on the iPad from my back door — blackbirds sing in C#! Crowd noises recorded on iPad at Gatwick Airport departure lounge.

    4. Super Cosmic Space Age Baby

    This was recorded in two segments, with section 2 a semitone up; then edited together. Harps in two keys and live handclaps in the second section — One Two Three Four!

    5. Emerald Eye

    I’m really pleased with the harp sound on this. It was recorded clean, through the Mackie, line in to iPad GarageBand, as a vocal track, and then pasted onto an effected guitar preset.

    6. Sunrise Pagan Bop

    This was an attempt to write a tune like one of those great seventies spacey singles. It has a nice chunky rhythm guitar sound — on an acoustic that cost less than twenty UK pounds — recorded clean then pasted onto a GarageBand guitar amp preset.

    7. Time Reflection

    This one has layers of iKaossilator. It’s a nice app, but just a damn shame it hasn’t got the sounds of the original Kaossilator box.

    8. Ancient Flight

    I bring an eighties Hawkwind feel on this one. I used the Dub Siren app for the audio generator noises and added some nice iKaossilator action along with harp solos.

    9. Morning Raga

    This track drifts off to the end of the trip. There are lots of layered Kaossilator along with some nice tabla and gong samples.

    Space Cadet was originally sold as 100 off numbered run of CDs and a free download. The CDs just about gone, bar a few I held back for the summer festivals. (ed- Kev regularly plays Glastonbury as well as other space rock festivals in England) The last few copies are on sale from Amazon UK.

    Kev Ellis - Space Cadet
    The cover of Kev Ellis’s recent album — Space Cadet.

    All in all, recording Space Cadet was a totally engrossing fun process and an album of which I am proud.

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  • Korg Volca Keys — the Analog Synth Reviewed

    Korg Volca Keys — the Analog Synth Reviewed

    While Korg’s Volca series of portable analog synth boxes intrigued me, I wasn’t really in the market for one. But with a Moog Sub 37 on seemingly perpetual pre-order (its ship date recently moved from mid-May to late-Summer) and two albums from Church of Hed and Quarkspace needing overdubs I began to reconsider. I hoped to use the new Moog extensively for these synth overdubs, and I couldn’t wait until the end of August or even later.

    Enter the Korg Volca Keys. I figured I could MIDI it to my Korg Prophecy, creating a hybrid analog/VA synth to serve as the emergency understudy and get these albums finished.

    Korg Volca Keys Features

    • Classic Subtractive Synth Architecture in a Small Package
    • 3 VCOs, 1 VCA, 1 VCF, 1 LFO, 1 EG
    • Ring Modulator, Delay
    • Syncs to Other Volcas and the Monotribe
    • Loop Sequencer with 8 Memory Locations
    • A Street Price of around $149

    Needless to say, the Volca Keys fits perfectly in my live setup paired with its older uncle Prophecy. Its true analog sound cuts through a dense mix; letting me finish these tracks, while I wait for the Sub 37. The included loop sequencer is more feature-laden than the Korg Monotribe’s version, making me contemplate using the two synched together.

    A Polyphonic Analog Synth in a Box for $150?

    The bottom line is that a polyphonic analog synth in a small box for around $150 is a stunning achievement from Korg. The Volca Keys sounds great, and tweaking the filter’s cutoff and peak add some piercing bite to the proceedings. Three notes of polyphony are possible; the voice knob lets you switch between poly and unison settings, with octaves and fifths also possible.

    Korg Volca Keys
    The Korg Volca Keys in my live rig on the Z1 plateau above the Roland TD-8. Photo by Author.

    A ring modulator is “hard-wired” to the voice knob as well. It adds a metallic sound to the poly and unison settings, using a square wave. Generally, the Volca Keys uses a hardwired sawtooth wave, with the ring mod being the exception.

    A LFO and a simple envelope generator allow a measure of sound shaping and tweaking. A delay rounds out the Keys’ sonic architecture with time and feedback as the only controls. It sounds nice, but I would have preferred a level control to boost the delay’s output.

    A Simple Loop Sequencer as well

    The Volca Keys loop sequencer works in a similar manner as the version from the Monotribe, with the notable improvement of eight memory slots to save patterns. The Active Step feature supports odd time signatures, and Flux mode allows for loops free from quantization. The Motion Sequence capability provides for the automation of the Keys’ synth parameters within a loop.

    A Real Korg "Trinity"
    A real Korg “Trinity” — the Z1, Prophecy, and Volca Keys hold court behind the Yamaha MM8 and Kawai K5000. Photo by Author.

    I only spent a little time syncing the Volca Keys with the Monotribe, but intend on exploring that feature more closely in the future. If I discover any interesting insights, you’ll read about them here.

    The Volca Keys is another “little synth box” winner from Korg. Sometimes I wonder if I should have gotten the Volca Bass which provides step note entry and three independent simultaneous patterns when using its sequencer. (Not to mention a big cutoff frequency knob on the VCF.) Still, it is a worthy purchase and serves well as a perfect introductory analog synthesizer for those curious about this alluring sector of music. Recommended.



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  • Korg Gadget — Reviewing the Synths, Part 2

    Korg Gadget — Reviewing the Synths, Part 2

    So we’ve reviewed Korg’s powerful Gadget iOS beatmaking app; we covered its drum modules, and the first half of its synth collection. Naturally, what follows is a look at the other six synth modules of Gadget. Expect these Gadgets to be useful for creating a wide range of electronic and esoteric music.

    Wolfsburg offers a Distant Mirror to 80s Polyphony

    Wolfsburg is essentially a mini Rompler filled with sampled waveforms from a variety of classic analog synths. The sounds seem more 80s oriented than related to the 70s, with classic Oberheim and one can assume the Korg Polysix and Poly 61 well represented. Its main difference with Phoenix is being sample-based versus the latter’s virtual analog emulation.

    Korg Gadget Wolfsburg Screenshot
    Wolfsburg provides Gadget classic analog samples from the 80s. Screenshot by Author.

    Two oscillators operate in either monophonic or polyphonic modes. Noise can also be mixed into the equation. A standard array of subtractive synthesis controls (including a filter), a useful modulation matrix, and two separate effects round out Wolfsburg.

    Brussels spouting Today’s Monophonic Anthems

    A unique monophonic Gadget with a host of modern musical applications, Brussels serves well as either a lead or bass instrument. The “Anthem” moniker definitely applies. Brussels sports a modern, sleek interface with a collection of interesting synth controls organized within three sections: Generator, Performer, and Output.

    Korg Gadget Brussels Screenshot
    Brussels is a Gadget suitable for state of the art bass and lead sounds. Screenshot by Author.

    The Performer section’s pump and repeat controls appear to influence a patch’s delay and envelope settings — more or less. The interface lends itself to experimentation, especially the Generator section which offers unique tweaking of the filter, glide, and low-end controls. The Output section includes a reverb as Brussels’ only true effect.

    Kiev resides in Outer Space

    When a track needs a bit of ambience to finish it off, or if you are creating a music piece squarely in the realm of outer space — Kiev is the Gadget of choice. An “Advanced Spatial Digital Synthesizer,” Kiev is slightly reminiscent of Animoog. It uses four waveform oscillators, leveraging an x-y pad to mix the four in real time.

    Korg Gadget Kiev Screenshot
    Korg Gadget’s Kiev is squarely in outer space. Screenshot by Author.

    A second screen provides access to a filter, envelopes for the amp and filter, and a singular multi-effect. This is a fun, spacey Gadget suitable for real-time tweaking. Hopefully some additional waveforms get added in a future update (or the ability to load your own), but there are currently enough to satisfy most musical scenarios.

    Chiang Mai for Take Out

    Chiang Mai is a Gadget sporting a variable phase modulation architecture. This makes it suitable for bells, organs, or even a decent lead. Some of the factory presets cover basses and even sound effects pads — it’s a pretty versatile gadget with a DX-like sound.

    The first screen offers access to the oscillators and filter; be sure to tweak the harmonics control on both oscillators to get a feel for the sonic possibilities. The two envelopes as well as chorus and delay effects reside on the second screen. If you want to channel those crystal clear sounds of Yamaha in the 80s — Chiang Mai is your Gadget.

    Taking our Talents to Miami

    Looking for a modern sounding low-end? Check out Miami. This unique monophonic gadget offers an interesting architecture not unlike Brussels with the Wobble knob — a form of BPM synced LFO — taking center stage. Miami is also suitable for some badass lead sounds as well.

    Miami’s filter has a resonance control called “Crush” suitable for an extra edge compared to other filters. The carrier and “X-Mod” dual oscillator setup is capable of some complex waveforms. I’d like a delay (wouldn’t we all) but the Wobble function almost serves that role.

    Helsinki brings Scandinavian Ambience to Gadget

    Another Gadget suitable for ambience, Helsinki rounds out Korg’s collection of virtual sound modules. The interface even hints at an icy Scandinavian winter and the sounds come pretty close as well. Many useful drones or mellow leads lurk within.

    The Helsinki architecture utilizes a generator that combines an oscillator with an EQ; noise can also be mixed in. The LoFi frequency control is great for real-time tweaking. A filter, envelope, and a reverb finish off Helsinki.

    There you have it — twelve great Gadgets and an environment for electronic music creation provided by Korg all within one app. Gadget is simply a must download for iPad musicians. Hopefully future updates with add to the mayhem — especially a new drum module or three!

  • Korg Gadget — Reviewing the Drum Modules

    Korg Gadget — Reviewing the Drum Modules

    Korg’s “studio-in-a-tablet” app, Gadget, continues to amaze with its intuitive interface and versatile collection of sound-producing “gadgets.” We previously gave Gadget a positive review, and also took a closer look at one half of its synth collection followed by the other half.

    What follows in this article is a more detailed analysis of Gadget’s three drum modules. Well, it’s really more like two-and-a-half, as Amsterdam provides a full range of sound effects, pads, and hits in addition to some drum sounds — ultimately, it fits better in this article. Hopefully, more drum modules get added in a future Gadget update.

    London calling out PCM Drum Beats

    London is Gadget’s main drum module. It offers a host of PCM sounds — over 400 — geared towards the dance beat creation scene. The gadget includes three main screens used for editing, fine tuning of effects, and mixing.

    Korg Gadget London
    London is Gadget’s go to drum module featuring PCM sounds. Screenshot by author.

    You can edit each of the eight voices’ pitch as well as switch between a gate and a one-shot envelope using a knob to control the release time. There’s one master effect for each drum patch, with each individual voice also providing punch and low boost controls. The mixer offers the standard pan and level functionality by voice.

    London is a solid PCM drum module and the lack of many other alternatives means it needs to be used on most non-ambient tracks created in Gadget.

    Tokyo goes Virtual Analog Percussion

    Tokyo offers great-sounding virtual modeled analog drum sounds and an effective modular-like interface. Frankly, I wish it provided more than four voices — maybe a six or eight voice version would be included in a future Gadget update? It especially works well when enhancing the PCM sounds coming out of London.

    Korg Gadget Tokyo
    Tokyo brings virtual analog drum sounds to the Gadget equation. Screenshot by author.

    The four modules within Tokyo are geared towards creating kick, snare, tom, and percussion sounds respectively, but strategic knob-twiddling makes it possible to conjure up some interesting effects. Each module sports similar controls, like Tune and Decay; the differences between the four warrant additional experimentation. A master effect at the patch level rounds out Tokyo’s sonic design.

    A Boombox in Amsterdam

    Korg calls Amsterdam a PCM SFX Boombox, and its funky interface definitely looks the part. A wide array of sounds, effects, and musical pads lurk within. There are four different voices, making it possible to program simple chord progressions or a collage of sound effects.

    Korg Gadget Amsterdam
    Amsterdam is a versatile module, giving Gadget a wide range of drum sounds, effects, and even musical pads. Screenshot by author.

    Amsterdam’s one screen includes a mixer, tuning and envelope control for each sound, and controls for the master effects. The ability to load one’s own samples would be a really great addition to Amsterdam in a future update. Still, the included sound set offers a good measure of sonic versatility.

    Well that’s it. Considering the robust collection of synth modules, the inclusion of so few on the drumming side of the shop is arguably Gadget’s biggest weakness. All three modules have their unique strengths and will serve you well in your own beatmaking exercises.

    My biggest hope is that future updates mean more percussion sound options — in addition to more voices for Tokyo. That latter point is made as an iPad 2 owner who can only run a limited number of gadgets at one time!

  • Korg Gadget: Reviewing the Synths — Part 1

    Korg Gadget: Reviewing the Synths — Part 1

    Korg’s recent release of Gadget gives iPad musicians something similar to Propellerhead Reason on a tablet computer. Last week’s Gadget update added support for Audiobus. With 15 different gadgets — each essentially the equivalent of a separate iPad synth app — the amount of sonic possibilities can get overwhelming.

    Korg Gadget Screenshot 2
    Korg Gadget sports an easy-to-use vertical interface suitable for bringing the freek. Screenshot by Author.

    With that in mind, let’s take a closer look at six of the synths included in Korg Gadget. Future articles will cover the other six synths and Gadget’s three drum machines. Note that all the gadgets are named after cities.

    The PCM Synthesis of Marseille

    A PCM playback synth, Marseille arguably offers the most robust collection of sounds within Gadget. Its organization of patches is pretty similar to the General MIDI standard. The virtual keyboard allows for one-touch chord play which serves well for real-time loop sequencing when paired with one of the many pad patches.

    Two effects — each with knob-twiddled control of two parameters — and an ADSR envelope round out Marseille. Expect this synth module to provide a measure of sonic versatility to many Gadget creations.

    Chicago brings that TB-303 Flavor

    If you are looking for that classic acid bass sound for your project, Chicago makes a great choice. Even its shiny metallic interface is reminiscent of the Roland TB-303. A host of automatable controls — including the all important filter cutoff and peak — add to the utility of this gadget.

    A basic arpeggiator makes creating quick bass lines a bit more convenient. One effect includes everything from reverbs and delays to a ring modulator and decimator. A virtual tube amp controlled by either a gate or an ADSR envelope finishes off the sonic stew.

    The Virtual Patch Cords of Dublin

    Another gadget offering quality bass sounds among other classic virtual analog tones is Dublin. Its wood-grained interface even adds a patch bay, putting pseudo-modular sonic exploration within touch. The control layout feels Moog-like, with the VCO, VCF, VCA, and Mixer sections located where they should be; a button press switches between the synth and patch bay sections.

    Drive and Tone controls are Dublin’s only effects, but the added functionality of the patch bay makes up for the absence of multi-effects. Dublin should please aficionados of classic electronic music, but probably not Irish music fans.

    Phoenix provides Polyphonic Analog Sounds

    Folks who love those classic polyphonic analog sounds of the 80s need to explore Phoenix. This gadget seems to fit somewhere between the Oberheim line and Korg’s own Polysix. The easy-to-follow interface has separate panels for the synth and modulation controls.

    While a delay is the only effect type for this gadget, it is useful in giving some of the patches life.  My only complaint is wishing Phoenix provided the one touch chord play feature as with Marseille.

    Gadget goes to Berlin School

    While you can go “Berlin School” by using Dublin, Berlin is another worthy source of bass or lead synth mayhem. Its interface reminds one of the early 70s ARP synths but more closely the Electro-Harmonix Mini Synthesizer (which I sadly lost many years ago). Berlin’s monophonic, sync-modulated sound bites through a dense mix, making it especially useful as a lead synth.

    The EH-inspired controls are split into two panels covering the VCO/modulation and the VCF/VCA. A delay is the only effect, but a vibrato adds to Berlin’s sonic footprint. The nasally low pass filter is pretty cool as well.

    Kingston: Home for the 8-Bit Chip Tune?

    Who knew Kingston, Jamaica was the home for 8-bit chip tune music? Well not really, but Kingston is a gadget offering those classic blips and beeps of the NES music scene. Its interface even looks more like an arcade game than an old-school analog synth.

    I don’t imagine using Kingston too much in my projects, but it makes a great gadget for anyone interested in getting their 8-bit mojo on. Well, maybe some of those low-fi outer space sounds would work in a Spacerock tune!

    Keep a lookout for the other TabMuse articles covering the rest of Korg Gadget’s robust supply of synth and drum machine modules.

  • The littleBits Synth Kit is Perfect for Teaching Analog Synthesis

    The littleBits Synth Kit is Perfect for Teaching Analog Synthesis

    littleBits, a company formed by 21st Century Renaissance woman Ayah Bdeir, has garnered a reputation in the maker community for its unique modular electronic circuits that snap together using magnets. Recently, littleBits teamed up with Korg to release the Synth Kit, a collection of “bits” used to construct a miniature modular analog synthesizer.

    I picked one up over the holiday season, and the Synth Kit is a blast. It sounds great, and features the same Korg filter from their MS-20, Monotribe, and Monotron synths. Let’s take a closer look at the littleBits Synth Kit.

    Analog Synths in Grade Schools Everywhere!

    When first opening the Synth Kit, one is greeted by its excellent manual. It serves as a proper introduction to analog synthesis along while explaining how the included modules work together. A host of project ideas are also diagrammed, with some including some of the other available littleBits modules and hardware.

    littleBit Synth Kit
    The littleBits Synth Kit is a perfect intro to modular analog synthesis. Photo Copyright littleBits.

    The included Bits are color-coded by function. The kit comes with two oscillators, a filter, a noise/random voltage generator, a mixer, a simple envelope generator, and a delay. Micro keyboard and 4-step sequencer Bits allow for performances. Utility Bits round out the collection — splitters, power, a battery, and a small speaker with a headphone jack.

    It only takes a few minutes to whip together a variety of synth layouts. The noise generator puts out an excellent sounding wind, especially when connected to the filter. The two oscillators output either a sawtooth or square wave.

    The 4-step sequencer allows for simple pattern creation. It also includes a speed control. The one octave keyboard spans up to 4 octaves when using its control knob, but the action was too tough for truly dexterous playing.

    Apparently, a MIDI to Voltage Bit is in the works. Its release will truly make the littleBits Synth Kit a regular part of my workflow — the sound quality is that good. Some of the other Bits are expected to be released individually, which will be great for creating larger synth layouts.

    Other littleBits Modules add to the Fun

    Some of the other available littleBits products are useful for expanding the Synth Kit. Mounting boards are a must for using the Kit in performance mode. Other modules, including the microphone as well as light and pressure sensors, intrigue with their potential musical applications.

    There is no doubt the littleBits Synth Kit serves as a great introduction to analog synthesis. Musicians with a bit of a maker gene probably can come up with some other innovative applications for this unique entry in the world of analog. Maybe as part of the recent trend for STEM education initiatives, we can get Synth Kits in schools everywhere?

    Note that the following littleBits kits aren’t the Synth Kit, but the modules within will extend the Synth Kit’s capabilities in unique ways, indeed.