Korg

increased number of algorithms, 40
compared to the DX7’s 32, plus an
interesting user algorithm mode
where users can assign their own
operator routing and modulation
depth within the synth itself. This can
be fi ddly, but it’s a cool feature to
have onboard and works great with
the randomiser tool (see below).
Plus, where classic DX7-style FM
uses simple sine waves for each
operator, opsix offers 21 shapes
including classic virtual analogue
waves with 12-bit, 8-bit and HD
variations, several additive waves and
two noise sources. While opsix is
hardly the fi rst synth to do this –
plugins like Ableton Operator go
further with additive wave editors – it
still expands sonic scope a lot.
The highlight here though is
opsix’s range of operator modes that
alter the relationship between carrier
and modulator, and go well beyond
the standard pitch modulation of
straightforward FM synths. There are
fi ve varieties here: standard FM, Ring
Mod, Filter, Filter FM and Wavefolder.
As with classic FM synths, in
standard FM mode the modulators
are used to vary the pitch of the
Gain and Bias controls.
What makes the opsix a real
winner is that these modes can be
mixed and matched in a single patch.
So you can, say, use two oscs as a
virtual analogue sub underpinning a
four-operator FM setup, or blend FM,
Ring Mod and Wavefolding to create
dense ambient patches with a lot of
complex harmonics.
Operators aside, opsix features
global fi lter and effect sections and a
modulation matrix. As with the
Wavestate, opsix offers a range of
resonant fi lter models including
emulations of both the MS-20 and
Polysix. It creates a nice range of
tonal variety, and the same selection
is available to the Filter/Filter FM
modes at the operator stage.
Each effect slot can be fi lled with
one of 30 processors, from EQs and
enhancers through compressors,
limiters, multiple delay and reverb
types, distortion and an amp sim.
Global modulation, meanwhile, is
provided by three ADSR envelopes
and three LFOs, each assignable to a
broad range of destinations via the
12-slot patchbay. Destinations
include modulation of individual
carrier operators. Ring Mod, on the
other hand, works by multiplying the
carrier and modulator signals to
produce a new frequency, creating
results that are often weirder and
more metallic than FM.
Filter and Filter FM modes both
work by feeding the carrier signal into
its own resonant multimode fi lter
before hitting the output stage. In
standard Filter mode both the carrier
and modulators are fed into the fi lter
together, allowing users to create
sounds more akin to a straightforward
virtual analogue synth. In Filter FM
mode, any modulators are used to
rapidly modulate the cutoff frequency,
which can result in fantastically gritty,
distortion-like tones and even
formant-style effects depending on
the ratio of the modulator.
Finally, the Wavefolder works by
folding the osc wave back in on itself
after it reaches a certain threshold
(anyone who’s tried the Metalizer on
Arturia synths will know the effect).
Here modulator and carrier signals
are mixed. The effect is in a similar
ballpark to that of Ring Modulation,
albeit often harsher and grittier. These
latter qualities can be adjusted using
KORG CLASSIX
opsix inherits several winning features from existing Korg synths. Most notable are the arp
and sequencer, which are reminiscent of that found on the Minilogue XD, the latter
element including four of Korg’s standard Motion Sequencing (aka automation) lanes.
The opsix also features the same endlessly-fun randomisation tool as its sibling
Wavestate. This allows users to fully or partially randomise both the sound engine and
sequencer in order to
inspire new patches or
patterns. Given the
complexity and range of
the synth engine, more
often than not full
randomisation results in
sounds that are weird and
atonal rather than
musically usable. There is,
however, a lot of fun and
inspiration to be found
when limiting the scope of
the randomisation, or
randomising just selected
parameters, such as the
algorithm or the effects.
THE ALTERNATIVES
Elektron Digitone
£629
Multitimbral but
more sequencer
based (see over the
page), Digitone offers
a different but
equally impressive
modern take on FM
elektron.se
Korg Wa ves tate
£699
The opsix’s sister
instrument also
updates a classic
digital synth format,
here using sample-
based wave
sequences and
joystick-controlled
vector synthesis
korg.com
Yamaha Reface
DX £269
Yamaha’s compact,
modern take on the
DX line lacks some
of the programming
depth of opsix,
but sounds
great nonetheless
yamaha.com
Reviews | Korg opsix
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