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Synth Patches Video Demo Lessons Forum Community - SynthCloud
Friday, 23 January 2015 22:08



The classic MS-20 analog synthesizer that appeared in 1978 has been reborn as a perfect reproduction of the original circuit, first in 2013 as the mini-sized MS-20 mini, and now in 2014 as the MS-20 Kit that you can assemble yourself. The MS-20 Mini and the Kit were designed by the engineers who developed the original MS-20. At its introduction, the designers of the MS-20 wanted to create an interesting product quickly; the result was an enormous hit, but the designers felt there were actually a few things left undone. Now, after 37 years, the user-assembled MS-20M Kit has been completed. The MS-20M Kit is based on the MS-20 with additional improvements; it's an analog synthesizer module where you can choose your preferences and assemble yourself. In addition to greatly enhanced synthesis possibilities provided by oscillator sync, FM, two filters (pre and post), and PWM, there are jacks such as a CV IN that supports both Hz/V and V/Oct, making it play nicely with other equipment. You'll be able to immerse yourself in synthesis, and with the inclusion of the SQ-1 step sequencer you can also create and play sequences.

Published in News
Friday, 23 January 2015 21:48


Integration with Ableton Live allows intuitive music production.
A palm-sized synthesizer.
The palm-sized synthesizer, kaossilator 2, has now been intensified. Announcing the newly evolved kaossilator 2S ("S" stands for Sound on Sound), a great tool for serious music production.

Use the touchpad to perform intuitively, the loop recorder to keep overdubbing, then export your recorded phrases to Ableton Live and polish them into a song! With undo/redo functions and support for exporting as multi-track data or in Ableton Live format, the kaossilator 2S means that serendipitous phrases and sudden ideas can be seamlessly used in song production.

Published in News

Sometimes the improper use of something may bring to something interesting...

This issue is for those who use an unique Korg Workstation during live concerts, and those who rack their brains to organize their patches in the best possible way.

I know so many keyboard players that leap manually from a mode to the other (namely, PROGRAM, COMBI, SEQUENCER) and without any sense. In my opinion, this is inconvenient and makes the live performance difficult to manage.

A concrete and quick method, but at the same time constraining, is the activation of the "10's hold" button, in the numerical keypad. The above mentioned tool works as a rapid-call instrument for 10 patch of the same modality. For instance, by setting our COMBI from A000 position to A009 and activating the button, our keyboard works as if we have a secondary bank A00- and numbers from 0 to 9 recall by just one click our COMBI. It is a good solution only for certain situations, but it cannot be considered an ideal setting.

The method I am going to show you is slightly more complicated but really effective and quick to be programmed. This method works on Triton Extreme, M3 and M50, while it is only a theory (but I am pretty sure it could work) for Triton classic, studio, LE, Karma and TR. The most important features are the SEQUENCER and CUE LIST in the relevant submenu, so for instance this method is not applicable on X50, and Triton rack.

It's been ten years since I've started using the Triton series in every possible way, and since I've known the Jordan Rudess' settings, that is, to organize patches in sequence, even if they repeat themselves, and make them going on, I always use COMBIs as the sole tool to organize the whole, also for just a single patch. I have always deleted the preset banks to develop my own personal COMBIs and I have replaced the categories names with the band names or the cover band names I have and I had, too. Moreover, every COMBI had its own song name and position number according to the song itself.

For instance:

B043 – Hereafter

B044 – Hereafter 2

B045 – Hereafter 3

B046 – Hereafter 4


This has always led to some problems:

  1. Every single time I had to program a sound set for a new song, even if my sounds were already stored, I always had to copy them COMBI by COMBI, renaming everything
  2. The day I decided to change my Hammond (it could have been any other patch, anyway), I modified a lot of COMBI to catch every Hammond program stored within them
  3. Year by year, I have fully used all the banks of my Extreme, and everyone of you should know that I'm talking about one thousand slots, isn't it?
  4. The day I decided to modify a sequence of sounds by inserting a COMBI in more than a song, God only knows how many manual edits I had to apply to make all the sounds shift one location forward
  5. It always takes time to level the patches volumes... So much time!
  6. It's never been easy to distinguish which was the sound I was using from the COMBI name, because it did not identify the PROGRAMS of which the COMBI was made up of.

Time ago I had a brilliant idea about how to solve these problems, and you must believe me, the solution I found is the ultimate solution! I started to use the SEQUENCER improperly: I started thinking about the SONGS as they were simply COMBIs. Thus, I created my sounds just once, copying them from those COMBIs already programmed time after time by the function "copy from combi".

hen I created the sound sequences by the CUE LIST, that is, the SONG dynamic lists. And... What about the outcome?Here you are:

  1. Every time I have to program a sound set for a new song, I just have to recall them in a sequence in a new CUE LIST. To the utmost, I have to create some new COMBI in the SONGS, which is really quicker than in the past.
  2. As I want to modify one of my sounds, I do it just once, and it is recallable by all the lists.
  3. I do not change the COMBI locations anymore, so, if someone wants to keep the factory presets in place, he may do so.
  4. If I want to modify a sound sequence in order to add or delete something, it is possible to do it in a couple of seconds.
  5. It only takes a minute to level the patch volumes.
  6. Every sound has its own specific name which describes what I actually hear when I play the keyboard (strings, EmA lead, choirs, piano+pad, Strings/Saw lead etc.)

Obviously, there are some drawbacks, but nothing insurmountable. The numbers here below refer to Triton Extreme:

  1. The sequencer memory is temporary, as you shut down and restart, it will lose all data. You should save everything on a USB device, turn the keyboard on, upload contents, it only takes one minute!
  2. The storable COMBI /SONG are just 128. Look at me: JUST 128???
  3. The maximum number of the storable CUE LISTs is 20: just 20 songs indeed, but this does not constitute a problem; during the concert, as needed, it is possible to upload the second CUE LIST part, just a moment and everything will be done!
  4. The keyboard pedal is often used to advance between the stored sounds: according to the test I carried out, only M3 could work this way, by setting the switch in GLOBAL mode, not as "program up" but as "Data Inc". All the other keyboards must go manually!

Hoping to have been helpful, I am at your complete disposal for any further clarifications you may need! I will be happy to defeat your stress!

Emanuele Casali http://www.myspace.com/emanuelecasali

Published in Tutorials

Quando si utilizzano delle cose in maniera impropria a volte escono fuori delle cose interessanti…

Questo articolo è rivolto a tutti gli utilizzatori in sede live di un’unica workstation Korg che si sono sempre arrovellati il cervello per organizzare i propri suoni al meglio.

Conosco molti tastieristi che saltano da una modalità all’altra (PROGRAM, COMBI, SEQUENCER) manualmente e senza troppo criterio e personalmente ritengo questo metodo scomodo e alle volte inefficiente ai fini della perfetta riuscita di un concerto.

Un metodo rapido ed efficace ma a volte restrittivo è quello dell’attivazione del pulsante chiamato “10’s hold” che si trova nel tastierino numerico. In tal modo suddetto tastierino funziona come richiamata rapida di 10 patch nella stessa modalità. Ad esempio, posizioniamo le nostre COMBI dalla locazione A000 alla A009 e attiviamo il pulsante: ora la nostra tastiera si comporta come se avesse creato un sotto banco A00- e i numeri da 0 a 9 richiamano con un solo clic le nostre COMBI. E’ utile per alcune situazioni ma non per tutte.

Il metodo che vi vado ad illustrare è invece relativamente più complesso ma efficacissimo e rapidissimo da programmare. Tale metodo è testato su Triton Extreme, M3 ed M50, mentre è solo teorico (ma sono sicuro che funzioni) per Triton classic, studio, LE, Karma e TR. L’importante è la presenza del SEQUENCER e delle CUE LIST nel relativo sottomenu, quindi ad esempio su X50 o sul Triton rack non è attuabile.

Sono più di 10 anni che uso le serie Triton in praticamente tutte le salse e da quando conosco il metodo che usa Jordan Rudess, ossia mettere in sequenza i suoni anche se ripetuti e scorrerli in avanti, ho usato sempre e solo le COMBI per organizzare il tutto, anche quando si trattava di un singolo suono. Ho sempre svuotato tutti i banchi per fare le mie COMBI personali e ho cambiato i nomi alle categorie sostituendoli con i nomi delle band o delle cover band che ho e che ho avuto. Inoltre ogni COMBI si chiamava con il nome della canzone e il numero di posizione del suono in base alla canzone stessa. Tanto per fare un esempio:

B043 – Hereafter

B044 – Hereafter 2

B045 – Hereafter 3

B046 – Hereafter 4


Tutto questo ha sempre comportato alcuni problemi:

  1. Ogni volta che dovevo programmare un set di suoni per una nuova canzone, anche se avevo i miei suoni già settati dovevo andare a copiarmeli COMBI per COMBI e rinominare sempre tutto
  2. Il giorno che ho deciso di cambiare tipo di Hammond (ma poteva essere qualsiasi suono) ho dovuto modificare non so quante COMBI per beccare tutti gli Hammond sparsi nei miei suoni
  3. Con gli anni ho occupato praticamente tutti i banchi della mia Extreme, e per chi la conosce sa bene che si parla di più di mille locazioni, fate voi…
  4. Il giorno che ho voluto modificare una sequenza di suoni inserendo una COMBI in più in una canzone, Dio solo sa quanti spostamenti manuali ho dovuto fare per far slittare di una locazione tutti i suoni
  5. C’è voluto del tempo per livellare i volumi delle patch… tanto tempo
  6. Non è mai stato facile individuare il tipo di suono che stavo usando dal nome della COMBI perché non era identificativo dei PROGRAM che componevano la COMBI stessa

Qualche tempo fa ho avuto una folgorazione per risolvere questi problemi e credetemi, li ho risolti in maniera definitiva! Ho cominciato ad usare il modo SEQUENCER impropriamente, ossia pensando alle SONG come fossero delle semplici COMBI da suonare. Così ho creato i miei suoni una ed una sola volta copiandoli dalle COMBI che avevo già programmato nel tempo tramite la funzione “copy from combi”.

Dopodiché ho creato le sequenze di suoni tramite le CUE LIST, le quali non sono altro che liste dinamiche di SONG. Risultato? Eccolo qua:

  1. Ogni volta che devo programmare un set di suoni per una nuova canzone, non devo far altro che richiamarli in sequenza in una nuova CUE LIST. Al massimo devo creare qualche COMBI nuova nelle SONG ma è un lavoro velocissimo rispetto a prima
  2. Il giorno che voglio modificare uno dei miei suoni, lo faccio una volta sola e viene richiamata in tutte le liste
  3. Le locazioni delle COMBI non le tocco più, per cui anche chi volesse mantenere in memoria i preset di fabbrica lo può fare tranquillamente
  4. Il giorno che voglio modificare una sequenza di suoni perché voglio inserire o tagliare qualcosa lo faccio in 2 secondi netti
  5. Ci vuole poco tempo per livellare i volumi delle patch… molto poco tempo
  6. Ogni suono ora ha il suo nome esplicativo di cosa effettivamente sento quando suono (strings, EmA lead, choirs, piano+pad, Strings/Saw lead ecc…)

Ovviamente ci sono delle fregature di base ma sono facilmente aggirabili. I numeri qui sotto si basano su Triton Extreme:

  1. La memoria del SEQUENCER è volatile per cui spegnendo e riaccendendo si perde tutto: salvate su pendrive e all’accensione caricate tutto, ci si mette il tempo di bere mezzo bicchiere d’acqua
  2. Le COMBI /SONG memorizzabili sono solo 128: guardiamoci bene in faccia… SOLO???
  3. Le CUE LIST sono solo 20: vorrebbe dire solo 20 canzoni ma è un falso problema, in mezzo al concerto si carica la seconda ondata di CUE LIST nel tempo del rimanente mezzo bicchiere d’acqua
  4. C’è chi usa il pedale per andare avanti nei suoni: per i test che ho fatto solo M3 può farlo in questa modalità settando nel GLOBAL lo switch non come “program up” ma come “Data Inc”, il resto delle tastiere a mano!

Spero di essere stato chiaro ed esauriente, in ogni caso per delucidazioni tecniche più nello specifico non esistate a contattarmi, sarò ben felice di farvi passare lo stress.

Emanuele Casali http://www.myspace.com/emanuelecasali

Published in Didattica
Sunday, 11 January 2015 09:48

Fort Boyard theme (Tribute) on Korg Kronos

Hey there, happy to be back! :)

First of all I would like to wish you very succesful year people! As you might noticed I'm quite out of time for recording new videos... Most of my time I took by a small life change but alright, everything's still fine. I was a quite busy with my bands as well (at the end of 2014 my band WARHAWK finally released new album - some of you might noticed that) and at the moment, SEBASTIEN will release a new album this year - thanks GOD! :D Generally, this upcoming year means for me lots of work to do (I already have some planned projects) and I hope it will be great experience!

Ok people, back to this video...

Today I took one tune from the 90's TV shows, Fort Boyard.

Yeah, I was 1 year old when the French TV launched this competition but when I saw this for the first time, it was amazing for me (something like Knight Rider and MacGyver as well.. :D)

So during holidays I was catched by this soundtrack again and finally took some time to record it. And this is the result ..

I also tried to use the giant potentional of my Kronos to do some orchestral piece.. And I think I did it, almost in 40 layers!

So people, thank you for your support and keep your fort well! ;)

Also my special thanks is coming to my friends from BALLROOM HAMBURG for a cool T-shirt!

See you soon people,






Check out our friends from Hamburg!


Published in Performer
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