![]() ![]() ![]() It's an easy way to see in your mind a mixture of two properties, the X and Y of the position. However, I go further back than that, to a very powerful concept that we take for granted today but was revolutionary when it came out: the idea of vector control.Ī vector, of course, is a distance and direction on a plane. ![]() Most people look at wave sequencing as being at the core of the wavestate and its predecessors the Korg Wavestations. Let's get to know the Korg wavestate, shall we?įirst some background to explain where I'm coming from on this review, including some history. I'd like to thank you all for being so kind to me on my first foray into the GearLab now it's time to begin a discussion of another synth that has had me seriously intrigued for a long time. The four onboard arpeggiators can interact with Wave Sequences for even more possibilities.Hello everyone. The result is organic, ever-changing sounds that respond to your control. Finally, individual steps can be randomly skipped, with a modulatable probability from 0 to 100%. Lanes can also randomize the step order every time they play, with realtime control over the range of included steps. Each note in a chord can be playing something different! You can modulate each Lane’s start, end, and loop points separately for every note, using velocity, LFOs, envelopes, Mod Knobs, or other controllers. For instance, a sample may be matched with a different duration, pitch, shape, gate length, and step sequence value every time that it plays. Each of these is a “Lane,” and each Lane can have a different number of steps and its own start, end, and loop points.Įvery time the sequence moves forward, the individual Lanes are combined to create the output. Also added are new characteristics including shapes, gate times, and step sequencer values. Wave Sequencing 2.0 splits apart the timing, the sequence of samples, and the melody, so that each can be manipulated independently. ![]()
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