Just how well do these renditions compare to the original?FB-7999 is a software instrument for Microsoft Windows (VST) and Apple macOS (VST/AU) simulating the KORG DW-6000 and DW-8000 synthesizers from the 1980s. Arcade VST comes with tons of great sounds and it’s a defo must-have for all music producers.In the second part of our coverage of Korg's new collection of software instruments, we turn our attention to the virtual MS20, and the MS20-shaped hardware controller. If you are thinking of getting Arcade VST do not even think about it just go and purchase the Arcade VST plugin, this is something you will never sit on. Arcade VST by Arcade Output is a great VST plugin for any music producers, a must-have VST plugin for all music producers.
![]() Ms 20 Vst Emulator Install The KorgThese are somewhat loosely named, though, because you can play in Edit View and edit in Play View, and both views display the parameter values when you hover over the knobs. In other words, the front-panel patch points are not real CV connections, and you should not attempt to input control voltages from other synths.The program offers two modes, 'Play View' and 'Edit View'. Windows XP users, on the other hand, will need to log on as administrators, and perform a 10-step procedure to install the Korg USB MIDI driver.Although somewhat smaller than a vintage MS20 (it's an 84-percent scale recreation, apparently), the MS20iC hardware controller is an exact recreation of the original synth, with one major exception: the sockets are merely physical representations of the software patching in Legacy MS20. If, like me, you're connecting it to a Mac, you need do no more the controller will be recognised by the OS X Audio MIDI Setup software. You can also use it within the Legacy Cell environment, which we will look at next month.The MS20iC controller connects to your computer (and draws its power) via a USB cable. Once you have done so, you can use Legacy MS20 as a stand-alone program, or as a VST or AU plug-in.![]() This treats the waveforms as '1's and '0's, and creates a new waveform that has some of the characteristics of a ring-modulated signal.The limitations of this approach are manifold: you can't use any other waveforms, you can't modulate external signals, and you can't use the modulator as a VCA. This accepts the pulse wave from VCO1 (no matter which waveform you select on the panel) and the square wave from VCO2, and passes them through a device called an XOR gate. It is, therefore, remarkable how similar the two synths sound, although Legacy MS20 's square wave is clearly the more 'hollow' of the two, and its pulse wave is somewhat louder at high pitches.Next, we come to the device that Korg called a ring modulator, but isn't. Likewise, the square waves and pulse waves exhibit significant differences between the emulation and the original. Mac quick keys for publisher symbolBut in the late 1980s, when the world rediscovered the squelchy sounds of the Roland TB303, a new dawn for the MS20 was not far behind.Legacy MS20's sawtooth wave.My measurements show that the lowest cutoff frequency for both of the MS20's filters is 26Hz. On the surface, there's nothing special about them they're simply a pair of resonant high-pass and low-pass 12dB-per-octave filters, which will oscillate if the Peak (resonance) exceeds a certain value. The FiltersConsidered thin, weedy and uninteresting in 1978, the MS20's filters have since become icons in analogue synthesis, spawning an industry of blatant copies and thinly disguised imitations. However, the sonic similarities are far greater than the differences, and it would be difficult to quantify them without making a direct A/B comparison. To sum up the oscillators, it's fair to say that there are significant variations in the The MS20's sawtooth wave.waveforms and spectrums generated by the emulated and the original MS20. What's more, the programming required to emulate a gate is straightforward, so it comes as no surprise to find that Legacy MS20 's 'ring modulator' is indistinguishable from the original's.The final controls in the oscillator section are simple ones: VCO1 and VCO2 Level controls, Portamento Time, and Master Tune. The result is a synth that can sound slightly richer and crisper, or less fizzy, depending upon your point of view.Ignoring the extended range, Legacy MS20 must still imitate the original's distinctive filter characteristics if it is to sound genuine. Similarly, a low-pass filter with an upper frequency of 21kHz is going to pass more of the high-frequency components, and will sound both crisper and brighter. Consequently, bass sounds are deeper on the software MS20 than they are on the original. These differences may not seem huge, but the low frequency extension is almost a full octave, which is very significant because the high-pass filter does not have a 'hard-knee' response, and so attenuates signals well above the notional cutoff frequency. This is not a bad range, but Legacy MS20 puts it to shame, with both filters ranging from 14Hz at the low end to 21kHz at the upper.
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