Korg K-series

Posted by Julis D under ,
Now Bundled With 5 Cutting Edge Software Products!
Starting May 1, 2007, until further notice, Korg USA will be providing the Creative Kontrol Pack Vol.2 free of charge with the K61 and K61P! This dance music production software bundle consists of five of the most in-demand music software titles, configured for use with many of Korg’s innovative products..
"Live Lite 6 Korg Edition"
"SampleTank 2 Korg Edition"
"UVI Korg Edition"
"Reason Adapted 3.0 for Korg"
"MDE-X"

For complete details about each of these software titles, click here.

For units purchased after May 1, 2007, that did not come with the software, click here to download the redemption form.

Keys to any musical door
While the words portable and affordable describe the
K-Series USB-MIDI Studio Controllers, they by no means define them. Each model features solid, full-size keys, and a selection of four velocity curves (including a fixed level – great for mimicking organs and early mono synths) that tailor the keyboard response to match any performer.

Available in 25, 49 and two different 61 key versions, their octave shift keys provide access to the full range of notes, and the key transpose function lets you reach them comfortably – or instantly match the range of another performer.

Announcing the new K61P
The new K61P shares the same great features of the K61 controller, and also adds 24 essential keyboard sounds, as well as reverb and chorus. USB or AC powered, it offers full controller functions but also doubles as a sound source, which can be used away from the computer as well. Stereo outputs and a headphone jack make the K61P suitable for any application.

Check out the Sounds of the K61P
Electric Piano 1 (mp3, 578 kb)
Electric Piano 2 (mp3, 624 kb)
Harpsichord (mp3, 472 kb)
Organ 1 (mp3, 553 kb)
Organ 2 (mp3, 667 kb)
Piano 1 (mp3, 722 kb)
Piano 2 (mp3, 557 kb)
Strings (mp3, 562 kb)

Control Freak
The K-Series are graced with a variety of sophisticated controllers unusual for an instrument in this class. Performers will be happy to see a set of Pitch Bend and Modulation wheels, just like in our RADIAS, MS2000B and microKORG synthesizers.

Is a joystick more your style? We’ve got you covered. Our innovative ClickPoint™ performs double duty, as either as an X/Y joystick or as a USB mouse to navigate through your softsynths or DAW software. This dynamic controller is a 3-axis, spring-loaded, fingertip joystick-trackball that is difficult to describe, but easy to use.

Two assignable switches can be set to either momentary or toggle operation, and both On and Off values can be set, opening up extended performance possibilities. These switches can even be set as Program Change up and down buttons. A pair of knobs can be assigned independently to any controller, and both transmit the full range of values.

Next to the keyboard you’ll also find an assignable slider. And if you run out of hands operating all these controllers, the K-Series also includes an assignable foot switch input on the back panel. Even with all these individual controllers, the stylized K-Series retain a simple, intuitive and uncluttered presentation.

Onscreen Assignments
Using the free editor software that comes with the K-Series, you can create and save custom controller assignments – or scenes – in an easy, visual manner.



This editor software allows you to load the scene that matches your application into the any of the K-Series controllers, so that you don’t have to reassign the same controllers manually – a real time saver! In addition, a number of pre-programmed template scenes are included, so you can instantly be up and running with many popular software synthesizers and music production programs.

The best-selling synth is now free!
Quite a claim, to be sure. But it’s true. The new K-Series controllers come with a free M1 Le software synthesizer.



The M1 was introduced back in 1988 and went on to become the best selling synthesizer of all time – and defined the workstation category in the process. This software version perfectly reproduces the original M1 while taking advantage of the power and benefits of your computer interface.

The M1 Le contains all of the preset sounds and all of the PCM waveforms of the original, and a new browser/search function makes it easy to find that “perfect sound.” In addition to stand-alone versions for both Mac and Windows, the M1 Le can be used as an RTAS, VST or AudioUnits plug-in instrument.

Want more? A special upgrade offer allows M1 Le owners to purchase the entire Korg Legacy Collection – DIGITAL EDITION at a very special price. Even more? We’ve included powerful demo versions* of software from Applied Acoustic Systems (Lounge Lizard EP-3, Ultra Analog VA-1, and String Studio VS-1), Ableton Live5, Korg Legacy Collection and Propellerhead Reason 3.0 to give you even more to enjoy right out of the box!

On the go. Or not.
Portability isn’t just about size and weight. The K-Series can be powered directly from the same USB connection that allows it to communicate with your computer, so you can grab your K-Series controller and a laptop and make music anywhere. For more permanent applications, an optional AC adapter is available. In addition to the power plug and USB port, the rear panel also features a MIDI out port for controlling synthesizer hardware modules and other
MIDI devices.


*The software companies and Korg don’t offer support service for these software products.
*For version-up information and purchase of full-version, please refer to each manufacturers’ website.
Specifications subject to change without notice.
During the development of the BX3, Korg's design team worked hard to enhance the sound engine and functionality of the product, striving to get even closer to the sound of the true tonewhell system and improving the functions based on user feedback. Now these additions can be added to the CX3 with an operating system upgrade to Version 2.0. What will you get?

First of all, we've re-balanced the drawbars with a new setting that better emulates their performance across the full key range. The original setting is also available for those that like the extra "scream" in the upper octaves. We've added a Noise parameter to recreate the standing-state noise of an old, beat-up organ when desired. The Chorus/Vibrato emulation has been improved, along with the Rotary Speaker algorithm. You're also able to bypass the Speaker Simulator in the Preamp, opening up a world of new tonalities. We've added a fourth reverb algorithm (Dark), as well as a three-drawbar sound source for the lower manual in EX mode allowing for split-keyboard settings. All pedal assignments can now be set to be momentary or alternating, and we've even sped up the Wheel Brake "return" to better emulate that classic effect. Finally, we now offer selectable key triggering (Shallow and Deep) to allow the user to tailor the response of the keyboard to their playing style.

This upgrade should be performed by a skilled computer specialist/technician, and can be done at select Korg Authorized Repair Centers or by knowledgeable end-users. Select Downloads at the right to get 2.0 now!


Hear CX-3 Demos using an MP3 player:
Cool Blues (mp3, 1.53MB)
Gospel (mp3, 1.24MB)
Groovin (mp3, 1.23MB)
Prelude (mp3, 1.41MB)
Hymn (mp3, 1.17MB)
Katana (mp3, 1.76MB)

Everything you hear was done exclusively on a Korg CX-3. Due to the content of each demo, a large file is required and a high-speed Internet connection is recommended.

Hear the "Vital Organs" Sessions
using an MP3 player!
• Bill Champlin
Gospel (mp3, 2.2MB)
Rock Solo (mp3, 2.1MB)
• Tom Coster
Cat on Mojo (mp3, 444KB)
SoulfulSP (mp3, 4.13MB)
• Greg Phillinganes
Classic Soul (mp3, 1MB)
• Dr. Lonnie Smith
Blues (mp3, 3.93MB)
WhenWeSay (mp3, 6.04MB)


This is it - the real sound
A sound that hasn't been matched...until now.

The classic sound of a tone wheel organ, long considered unattainable even with modern technology, has been recreated to absolute perfection. Introducing the CX-3, the result of KORG's meticulous re-thinking of combo organ sound, keyboard touch, and classic appearance.


The KORG CX-3 first went on sale in 1979. Breaking through the monopoly of the legendary tone wheel sound, the CX-3 went on to become a favorite in its own right, and is still widely used by musicians in studios and on stages around the world. And now in the year 2000, the CX-3 has been reborn, making full use of KORG's acclaimed DSP technology, and reflecting painstaking attention to musically sensitive keyboard touch and exterior detail. The new CX-3 combo organ is the real thing.


Perfect DSP simulation of the system of a tone wheel organ.

Using its newly developed Tone Wheel Organ Modeling generator, KORG's advanced DSP technology precisely recreates the unique sound that, until now, could only be produced by a tone wheel organ. Two different tone wheel sounds are provided ("VINTAGE" and "CLEAN"), and the CX3's amazing realism extends to such details as allowing you to add the mechanical noise generated by the tone wheels (Leakage) and the ability to adjust the overtone levels of the tone wheels. Plus, you can connect an expression pedal and control volume and sound characteristics with your foot.


128 possible programs for immediate use.

With 128 programs including over 30 preset programs, the CX-3 is ready to cover a wide range of styles including pop, hard rock, jazz, gospel, and rhythm and blues. Detailed drawbar and parameter settings are displayed in an intuitively understandable way, and can be easily edited to create your own personalized sounds. Thanks to the contribution of leading organ players such as Brian Auger, Bill Champlin, Tom Coster, Al Kooper, Greg Phillanganes, Derek Sherinian and Dr. Lonnie Smith, the CX-3 also provides a number of these artists' "signature" sounds plus new voicings that take full advantage of this perfectly crafted organ.


Ultra-fast response maximizes your organ playing technique.

Careful attention has been paid to the long-neglected aspect of keyboard response speed. Conventional MIDI keyboards begin producing sound after the second key contact is reached, resulting in an unavoidable time lag between the moment the key is pressed and the beginning of the sound. The key scanning method used on the CX-3 starts the sound at the first key contact, ensuring a much faster response to your fingering. Notes speak more crisply, allowing glissandi and trills to be played with total authenticity.


Drawbars - the backbone of the organ sound.

The CX-3 provides two sets of nine drawbars just like the real instrument. By sliding drawbars in or out to mix various pitches relative to the fundamental, you can create the richly distinctive sounds of an electric organ. Careful attention has been paid to sonically emulate this system, including the proper foldback settings, and individual harmonic distortion for the truest tonewheel sound ever providing by a digital emulation. In addition, the CX-3 provides an EX mode in which the 18 drawbars can be fully utilized for new sound-creating potential. You can add new harmonics and control additional percussion harmonics to create new organ sounds that have never been heard before.


Percussion and key-click effects add character to your organ sounds.

The CX-3 also produces the unique percussive effects that add an authentic "clunk" to the notes. The volume, decay rate, and pitch (2nd, 3rd) of the percussion sound can also be adjusted and the percussion has the proper "multi-triggered-yet-monophonic" characteristic for authentic organ performance. And you can make settings for the key-click sound that is heard when you press or release a key, giving you the distinctive sense of attack that characterizes the classic electric organs.


Realistic rotary and spatial effects.

KORG's proprietary "REMS" modeling technology is applied to create effects that add further authenticity to the organ sound. The rotary effect that is so important for organs is recreated with total realism. You can even adjust the time required for rotation to stop after the rotor or horn switch speeds or stop the rotating altogether. This lets you enjoy real organ playing without needing a bulky and expensive rotary speaker system - simply connect to any playback system. Three types of amp simulator are provided to accurately reproduce the real rotary speaker sound, a classic tube amp sound, or a pre-amp only signal for running into a real rotary speaker cabinet. The simulation is perfect, ranging from mild and fat sounds to natural overdrive as you increase the volume. In addition, the classic vibrato and chorus settings of a true tonewheel organ are provided, along with three types of reverb, with adjustable tone and depth.


Split function lets you use two sounds simultaneously.

You can specify a split point and use different sounds in the left and right sides of the keyboard. This lets you use the single keyboard as if it were two, an UPPER and LOWER keyboard, so that you can move smoothly between playing different sounds on the same keyboard without pausing to press buttons. You can also plug in a second MIDI keyboard and use it to drive the lower manual sound for even more freedom in playing. The CX3 can also function as a MIDI controller, allowing you to layer other external sound sources on top of the organ sounds, and decide whether they play with or without velocity response for the ultimate in expressive capabilities.


Timeless aura and inimitable presence.

The sturdy wood chassis and natural wood side boards project an inimitable presence. Visible bolts and the cream-colored keyboard are just some of the details by which the CX-3 maintains a timeless aura that tells the musician they are playing a classic instrument. Drawbars, vibrato/chorus, and percussion switches are placed in the very same location as on the classic tone wheel organs, demonstrating a total commitment to the traditional playability of the organ.

Main Features

• A Tone Wheel Organ Modeling system that perfectly reproduces a tone wheel organ's sound-producing mechanism.

• 128 programs for immediate use in a wide range of styles.

• Keyboard with newly-developed key scan method captures every nuance of your touch.

• Two sets of nine drawbars for sound-creating freedom.

• EX mode allows both sets of drawbars to be linked for expanded harmonic and percussion settings for new sound possibilities.

• Percussion and key-click effects for distinctive organ sounds.

• Rotary and reverb effects created by "REMS" modeling technology.

• Totally polyphonic - all keys sound even during a glissando.

• Split keyboard mode with easy sound assignment for UPPER and LOWER keyboard areas.

• Natural wood case for a timeless appearance.


Specifications subject to change without notice
On stage or on the run, producing or performing, wherever your music takes you, the K61P controller/synth can go there with you.


The K61P USB MIDI Controller
On stage or on the run, wherever your music takes you, the K61P USB MIDI controller can keep up with you. With responsive full-size keys, a wide variety of controls and a solid set of on-board sounds, K61P provides the versatility, power and creativity that helps you to play with confidence.

“Sound Control”
The K61P takes full-featured USB control one step beyond by providing 24 pro-quality sounds on-board. Natural sounding acoustic and electric pianos, organs, strings and more are right there for you whether you’re connected to a computer or simply to a keyboard amplifier.

Check out the Sounds of the K61P
Electric Piano 1 (mp3, 578 kb)
Electric Piano 2 (mp3, 624 kb)
Harpsichord (mp3, 472 kb)
Organ 1 (mp3, 553 kb)
Organ 2 (mp3, 667 kb)
Piano 1 (mp3, 722 kb)
Piano 2 (mp3, 557 kb)
Strings (mp3, 562 kb)

Assignable Control
The K61P offers two switches, two knobs, a slider, mod wheel and footswitch input – all MIDI assignable. Switches can be set to toggle or momentary operation, with separate on and off values.

Double-Duty “ClickPoint”™
The innovative ClickPoint controller can be set to act as a USB mouse + left click, to navigate through your soft synths or DAW software. In addition, this versatile interface can be switched to send two MIDI controllers; one via the X axis, one on the Y axis.

Now Bundled With 7 Cutting Edge Software Products!
Effective January 1, 2008 through June 1, 2008 Korg USA will be providing the Creative Kontrol Pack Vol.3 free of charge with the K61P! This dance music production software bundle consists of seven of the most in-demand music software titles, configured for use with many of Korg’s innovative products..
"M1 Le"
"Live Lite 6 Korg Edition"
"UVI Korg Edition 2"
"Reason Adapted 3.0 for Korg"
"Lounge Lizard Session"
"Ultra Analog Session"
"Pianoteq lite Korg Edition"

For complete details about each of these software titles, click here.

For units purchased after January 1, 2008, that did not come with the software, click here to download the redemption form.


Onscreen Assignments
Using the free editor software that comes with the K-Series, you can create and save custom controller assignments – or scenes – in an easy, visual manner.



This editor software allows you to load the scene that matches your application into the any of the K-Series controllers, so that you don’t have to reassign the same controllers manually – a real time saver! In addition, a number of pre-programmed template scenes are included, so you can instantly be up and running with many popular software synthesizers and music production programs.

*The software companies and Korg don’t offer support service for these software products.
*For version-up information and purchase of full-version, please refer to each manufacturers’ website.


Specifications subject to change without notice
The Real Thing
For years, if you wanted the sound of a real tone-wheel organ, there was only one instrument that could deliver – until the CX-3 was introduced in 2000. The CX-3 single manual, Combo Organ so accurately and faithfully re-created the classic sound, demand for a dual-manual grew. Now, two years later, Korg introduces the BX-3 dual manual, Combo Organ.

The original Korg CX-3 first went on sale in 1979 followed by its dual-manual sibling, the BX-3. Both went on to become favorites in their own right, and are still widely used. Now, using advanced DSP technology and painstaking attention to sound, touch and style, they have been reborn and vastly improved upon.

Meticulous re-creation of the tone-wheel system
Korg’s state-of-the-art DSP technology has made it possible to precisely re-create the unique sound that, until now, could only be produced by the real thing. Two different tone-wheel sounds are provided: “VINTAGE” and “CLEAN.” The CX-3 and BX-3’s amazing realism even extends to such details as allowing you to add the “leakage” noise generated by the tone-wheels, and the ability to adjust their overtone levels.

Drawbars – the backbone of the organ sound
Both the CX-3 and BX-3 feature two sets of nine drawbars that duplicate the sonic characteristics of the originals – including the proper foldback settings and harmonic distortion. And you can easily select between the presets and these two sets of “live” drawbars while performing for that real organ-playing experience. The CX-3 and BX-3 also provide an EX mode in which all 18 drawbars can be utilized as one extended palette. The resulting new harmonics and percussion timbres can be used to create organ sounds never before heard.

Percussion / key-click effects add character
One of the unique characteristics of a genuine tone-wheel organ is the percussive effect that adds a readily identifiable sound to a note’s attack. The CX-3 and BX-3 re-creates that beautifully. The volume, decay rate and harmonic pitch (2nd, 3rd) of the percussion can be adjusted – and the percussion has the proper “multi-triggered-yet-monophonic” characteristic for authentic organ performance. You can even control the amount of key-click heard when you press or release a key, simulating the dirty contacts often found on older instruments.

Classic sounds and more
With 128 programs, the CX-3 and BX-3 are ready to cover a wide range of musical styles including pop, hard rock, jazz, gospel, and rhythm and blues. Detailed drawbar and parameter settings are displayed, and can be easily edited and stored. Thanks to the involvement of leading organ players such as Brian Auger, Bill Champlin, Tom Coster, Al Kooper, Greg Phillinganes, Dr. Lonnie Smith and Derek Sherinian, the CX-3 and BX-3 provide a number of these artists’ “signature” sounds plus new voicings that take full advantage of this finely crafted organ.


Realistic rotary speaker and spatial effects
Korg’s proprietary “REMS” modeling technology is applied to create effects that add further authenticity to the organ sound. The rotary speaker effect, so important to the organ experience, is recreated here with total realism. You can even adjust the time required for the rotor and horn to speed up or slow down when switching speeds, or stop the rotation altogether. Three types of amp simulation are provided: a traditional rotary speaker sound, a blend of rotary and tube amp sounds, or a preamp-only signal. The amp simulations are dynamic, so your sound naturally evolves from a warm and fat sound to a natural overdrive as your volume increases. In addition, the classic vibrato and chorus settings are provided along with three types of reverb, featuring adjustable time and depth.

Ultra-fast response
Careful attention has been paid to the long-neglected aspect of keyboard response speed. The key scanning method used on the CX-3 and BX-3 starts the sound at the first key contact, ensuring a much faster response to your playing. Notes speak more crisply, allowing glissandi, trills and “smears” to be played with total authenticity.

Extensive MIDI features
Not limited to a vintage recreation, the CX-3 and BX-3 is equipped with many advanced MIDI features. Every drawbar, switch and control can be transmitted as MIDI data so your complete performance can be perfectly captured by a sequencer. The CX-3 and BX-3 keyboard can be set to transmit key dynamics via MIDI to an external device that can even be layered with the onboard organ sound.

BX-3 adds more
The new limited edition BX-3 provides all these features in a dual manual model. Pitch Bend and Modulation Wheels for improved MIDI control, additional voice parameters for even more authentic sound reproduction, and a newly-designed “waterfall” keybed for absolutely authentic look and feel have all been added.

Different sets of drawbars, and Chorus/Vibrato On/Off can be assigned independently to the BX-3’s UPPER and LOWER manuals, just like using a real tone-wheel organ. The single manual CX-3 gives you this functionality via a Split Mode, enabling you to play the single keyboard in two sections. Or you can plug in a second MIDI keyboard to recreate the dual manual playing experience.


Timeless aura and inimitable presence
Drawbars, vibrato/chorus, and percussion switches are placed in the same location as on the classic tone-wheel organs, demonstrating a total commitment to tradition and playability. The sturdy wood cabinet gives the instruments the proper vintage look, and the BX-3’s wooden stand pays homage to the original.

Specifications subject to change without notice

Korg Radias

Posted by Julis D under ,
Past, present, and future come together in one thrilling instrument that is every synthesist’s dream.

With a bold new approach that is at once both daring and familiar, RADIAS exceeds common analog expectations and rapidly takes off for uncharted territories.

Based on Korg’s cutting-edge MMT engine, this 24-voice synthesizer offers a variety of synthesis algorithms together with multiple effects, new comb filter and wave shaping features, modulation sequencing, as well as new formant-motion vocoding.

RADIAS offers an innovative design that can be custom configured to suit your set-up. The control module can be used independently or teamed with the unique dedicated keyboard, creating a seamlessly integrated instrument that delivers the sounds of the future – today.

Operating System 2.0 Is Now Available!
A new operating system for the RADIAS has been unleashed! This major system update introduces many new features including: additional Virtual Patch destinations, support for the Korg Komponent System connection with M3 Music Workstation/Sampler, and RADIAS Sound Editor compatibility with Windows Vista and Intel Macs. Be sure to also download the new bank of sounds created by some of Europe’s hottest electronica artists using the new features of Version 2.0!

Streaming Video Demo
RADIAS was introduced at the NAMM Show in January, 2006. Click here to see video highlights of the event.

Check out these MP3 Demos

RADIAS 2.0 Demo (mp3, 5.4MB)
© 2007 KORG Inc. All rights reserved.

Inner_Cascade (mp3, 2.47MB)
© 2006 KORG Inc. All rights reserved.

Stratosphere (mp3, 2.43MB)
© 2006 Phill Macdonald

Nu_Sources (mp3, 3.22MB)
© 2006 KORG Inc. All rights reserved.

Electrified (mp3, 2.87MB)
© 2006 Oliver Munyak

Innovative synthesis teamed with remarkable fidelity
The heart of RADIAS beats with Korg’s cutting-edge MMT (Multi Modeling Technology) synth engine, and borrows much of its modeling techniques from Korg’s flagship OASYS – eliminating aliasing noise in even the highest frequencies and delivering clean, pure waveforms.

RADIAS provides two oscillators for each timbre. Between them, they deliver not only modeled analog waveforms, but also formant waveforms, noise, ring modulation, sync, plus both classic and up-to-date PCM waveforms. When using the analog modeled waveforms, a variety of oscillator modulation algorithms – including pulse-width modulation, a massive Unison mode, Korg’s proprietary VPM (Variable Phase Modulation) or cross modulation – can be used to create complex sounds, even from a single oscillator.

RADIAS provides a dual-filter structure, allowing the two filters to be used individually, side by side, or in series for maximum versatility. Filter 1 is highlighted by a continuously variable multi-mode filter, embracing Low Pass, High Pass and Band Pass modes – and new treatments in between. This dual filter arrangement provides a vast range of sounds that would be unimaginable from just a single filter, and opens up new sonic possibilities including some fantastic comb filtering.

Three Envelope Generators (EG) are used to apply time-varying changes to the pitch, filter cutoff, and amp level, as well as many other parameters. The classic and intuitive four-stage ADSR design has been enhanced with five different attack and release curves, allowing the EG contours to be crafted with new levels of precision and articulation.

Two LFOs are available to apply cyclic changes to a host of synth parameters. Six LFO waveforms are provided, including the popular “Sample & Hold” stepped wave. Each waveform can be extensively modified via the Shape control, greatly expanding the versatility of the LFO section for creating highly complex types of modulation.

Adding Drive can produce the distinctive warmth of a true analog synthesizer and can also distort the sound intensely to generate new overtones. The amount of Drive is dependent on the level of each voice as it enters the mixer, so you can create nuances that cannot be achieved by an external effect unit.

RADIAS offers eleven innovative types of Wave shaping – even recreating the tonal character of an electromagnetic pickup. The Drive/Waveshaping circuit can be placed in different locations in the signal chain, affecting the sound in very meaningful ways. An additional Punch Level setting emphasizes the attack portion of the sound, letting you create sounds with even more impact. Clearly, this is a radical new instrument that is not bound by conventions of the past!

Dynamic modulation station
Three Modulation Sequencers can change a parameter’s value in discreet steps over time, similar to using sequencing control voltages (CV) on analog synthesizers of the past. The value of each step can be edited in real time using the front panel knobs. Each Mod Sequence can be up to sixteen steps long, and each can play forwards, backwards, loop, etc., allowing you to create very detailed filter and panning changes or complex and evolving timbres that build over time.

The six virtual patches are modern versions of the patch cords found on Korg’s classic PS and MS series of synthesizers, among other legends of the past. Going beyond the hardwired limits of a normal voice structure, a virtual patch provides a method for freely connecting any of fifteen modulation sources to any of fifteen destinations, accommodating even the most advanced modulation routings.

Two audio input jacks and an internal envelope follower allow external audio sources to be processed, to be used as a modulation source, and even trigger the RADIAS. A powerful internal bus structure allows Timbres to be routed to trigger effects, the built-in vocoder, or as modulation sources for the step-sequencers.

Formant motion vocoding keeps things moving
Thanks to the included headset microphone, you can enjoy vocoding – using your voice to modulate another sound – the instant the idea strikes you, with the push of a single button. RADIAS provides a sixteen-band vocoder that allows the level and pan of each band to be individually adjusted to obtain a wide range of sounds, above and beyond the distinctive talking music and “robot voice” effects.

Our new Formant Motion function can record up to 7.5 seconds of incoming formant information (spoken words, scat singing, etc.) so that you can re-create vocoder effects even without a microphone present. Sixteen sets of recorded formant data can be stored in the internal memory.

Powerful program parameters
RADIAS’ effect section provides a two-band EQ and two insert effects for each timbre, plus a master effect for the complete program, delivering a total of nine possible simultaneous effects. Thirty effect algorithms are provided, ranging from delay, chorus, and reverb to compressor and talking modulator. You can assign any effect parameter to the front panel knobs for instant control, providing even more versatility in sound design.

Arpeggiator settings can be made for each program individually, and the arpeggiator can be applied to any or all of the timbres in a program. Six types of arpeggiator patterns are provided. Patterns can be up to 32 steps long; the gate time, velocity, and on/off status can be set for each step individually to create the exact groove you want. Swing amount and octave range are also assignable for even more detailed control.

Two step sequencers can record and play back performance data, each with up to 32 steps. By applying a step sequencer to a drum kit, you can use RADIAS as a programmable drum machine. Each step supports up to eight notes of polyphony, allowing the creation of dense sequenced passages and patterns that can be played back with just one finger. With sequence editing, you can adjust settings such as swing and gate time. The two step sequencers can be set to transpose live from the keyboard, and can also be linked to create a single step sequencer of up to 64 steps.

The best sounds around
RADIAS comes loaded with 256 programs, 32 drum kits, and 16 formant motion sets, all created by an international team of synth experts. A program can consist of up to four complete timbres, and each timbre can be assigned its own note range, output, MIDI channel and control parameters, allowing your RADIAS to perform as a multitimbral module – or one monster performance synth.

Each drum kit consists of sixteen different drum or percussion instruments assigned to separate keys. In addition to calling up an individual PCM drum waveform, each drum instrument uses all of the parameters in the synth section, such as filter, EG, LFO and virtual patches to create incredibly detailed sounds.

To speed up the sound creation process, RADIAS includes templates that can be used as “starting points;” and you can begin your own customization from there. RADIAS provides template data for 128 synth timbres, 128 insert effects, and 128 master effects so you can create new sounds faster than you ever thought possible.

And as easy as RADIAS is to use, you’ll also appreciate the free RADIAS Sound Editor/Librarian software for editing, managing and archiving your RADIAS settings on your computer (Mac or PC). A single USB connection makes transferring data quick and easy.

New shape, new possibilities
You can choose the RADIAS model that’s right for you; RADIAS consists of a sound module section plus a dedicated 49-note, velocity-sensing keyboard with traditional Pitch and Mod wheels. The panel layout features a lavish complement of knobs and buttons, letting you enjoy the same intuitive feel of creating sounds as on an analog synthesizer. The unique design allows the knob-laden control module to pivot up or down, and even move to the side to accommodate a laptop computer, ElecTribe, KAOSS Pad or other audio unit. RADIAS•R is the sound module by itself, which can be used both as a rackmount or tabletop synthesizer.


Specifications subject to change without notice
Michael Jackson turns 50 years old today. Jackson has spent most of those years under heavy scrutiny in one of the more intense public spotlights in music history. Click below for an in-depth gallery of Jackson images, including little or never seen early shots of Michael and his siblings care of the Getty-owned Michael Ochs archive. Plus check out classic Rolling Stone

features on the King of Pop.

Michael Jackson at 50: A Look Back at the King of Pop’s Three Decade Career

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The Olympics came to a close this past week, capped off by an energetic performance of

Led Zeppelin’s “Whole Lotta Love” care of
Jimmy Page and
Leona Lewis. The duo’s song was part of the ceremony that passed the Olympic torch to London, who will host the summer games in 2012. The end of the Olympics allowed for another circus to kick off — the Democratic National Convention, which featured appearances from Stevie Wonder and Fergie, among others. Click below for these images, as well as the rest of the week’s news in full color photo form.

Random Notes: Leona Lewis, Jimmy Page, Michael Jackson and the Week in Rock

Last night, on the 45th anniversary of Martin Luther King Jr.’s “I Have a Dream” speech, Barack Obama closed the Democratic National Convention with a stirring speech that laid out his plan for the rest of the campaign. Click below for Tim Dickinson’s live blog of last night’s closing ceremony in Denver, as well as the rest of the coverage from the convention including

Death Cab for Cutie’s Chris Walla’s blog and coverage of the surrounding concerts and parties.

RollingStone.com’s National Affairs Blog: The Barack Obama Speech, The Convention and Beyond

Death Cab at the DNC

Kanye West, Rage Against the Machine Energize Denver Crowds

Tom Morello, Crosby & Nash Steal “E-Town” Show in Denver

John Legend Debuts New Song at Dem Convention

Otep Win MySpace Voter Registration Contest

Sheryl Crow, New Orleans Bluesmen Kick Off Dem Convention

When a recording of

Bruce Springsteen’s “Born In the U.S.A.” blared through the speakers at Invesco Field at Mile High after Sen. Barack Obama’s acceptance speech Thursday night, it was official. Springsteen, rumored all week to close the final night, would not show. Thus did ex-
Doobie Brother Michael McDonald have the last musical word a few hours earlier. Actually, the pre-Obama music was kind of a letdown:
John Legend and
Will.i.am brought YouTube to life with “Yes We Can,” complete with a huge live choir and Obama speaking on a video screen overhead. But all that activity on stage as delegates and spectators were filing in was confusing and the performance fell flat.
Sheryl Crow did three songs with her band, opening with (altered for the occasion) “A Change Will Do Us Good.”
Stevie Wonder did two, beginning with an unreleased obscurity, the hymnlike “Fear Can’t Put Dreams to Sleep,” then emphasizing “good-BYE” in his Motown chestnut “Signed, Sealed, and Delivered,” which might have been dedicated to John McCain and the Republicans. On the floor, near CNN’s podium, the Rev. Al Sharpton told Rolling Stone he first met Wonder at a concert by his friend, James Brown, in the early ’80s. Then he lamented the lack of cutting-edge hip-hop surrounding this Democratic campaign. “I know there was a lot more hip-hop presence in ‘04,” he said. The rev, by the way, has gospel, JB,
Jay-Z and
Mary J. Blige on his iPod.

Related Stories:

Death Cab at the DNC

Kanye West, Rage Against the Machine Energize Denver Crowds

Tom Morello, Crosby & Nash Steal “E-Town” Show in Denver

In the past decade,

Randy Newman has become known less for his excellently cantankerous work from the Seventies and more for his scores for Pixar movies. But with his new album Harps and Angels, the old Newman is back, led by last year’s biting single “A Few Words in Defense of Our Country.” Click below for more on Newman, including the essential album guide, from his self-titled debut to his film scores and his version of Faust.

Bad Moon Rising: Randy Newman Battles Republicans, Death and a Goddamn Alligator

Related Stories:

Randy Newman Premieres New Songs For VIP Crowd in Los Angeles

Fricke’s Picks: Everyone Sings Newman

Smoking Section: Randy Newman

As you already know, Michael Jackson turns 50 years old today. To celebrate Jacko hitting the half-century mark, this week’s Rock List is dedicated to the King of Pop’s music. Whether it’s a cut from the Jackson Five years, something off Thriller or a tune from the days when MJ was hanging out with Michael Jordan and Macaulay Culkin, tell us your favorite Michael Jackson song and on Tuesday, we’ll reveal the winners for Rock List: The King of Pop. Before you pop in your worn VHS copy of Moonwalker, check our picks:

“Wanna Be Startin’ Something”
“I’ll Be There”
“Don’t Stop ‘Til You Get Enough”
“Smooth Criminal”
“In the Closet”

If it felt familiar when

Brooks & Dunn’s “Only In America” played after Barack Obama’s acceptance speech last night, there was good reason: President George W. Bush used the same song four years ago when he was rallying against Democratic candidate John Kerry. Brooks & Dunn were big supporters of Bush, even playing W’s inauguration party back in 2001. So how does Kix Brooks feel about Obama’s use of the track? He wasn’t angry at Obama for using the song, a la Jackson Browne with John McCain. Instead Brooks said, “Seems ironic that the same song Bush used at the Republican Convention last election would be used by Obama and the Democrats now. Very flattering to know our song crossed parties and potentially inspires all Americans.”

Related Stories:

Jackson Browne Sues John McCain Over Campaign Commercial

Stevie Wonder, Will.i.am, Sheryl Crow Close Out DNC Festivities

The Democratic Convention: Total Coverage of Kanye, Death Cab, Rage and Obama

Next Thursday,

Dave Grohl and
Taylor Hawkins will host a radio program marking the world premiere of another band’s album, as the Foo duo will help
Metallica debut Death Magnetic on radio stations across the country. According to a post on the Metallica’s website, “On Thursday, September 4, we’re going to hang out, play tracks from Death Magnetic and chat with Dave and Taylor.” The hour-long program will be broadcast live from Metallica’s HQ to radio stations across the country, as well as stream on both the Metallica and Mission: Metallica websites. Details about which stations will carry the program should be announced soon. For fans, the prospect of hearing some Death Magnetic on the radio a week before its release definitely beats murky song streams and 10 second snippets.

Related Stories:

Metallica’s New Single “The Day That Never Comes”: First Review

Metallica To Play Pair of Cheap Death Magnetic Shows in Europe

Metallica Announce U.S. Tour Dates, Completion of Death Magnetic

More Metallica at Rock Daily

  • Bob Dylan is endorsing his first-ever line of harmonicas. Hohner USA will release the Bob Dylan Signature Series, each branded by a Dylan-designed logo.
  • Rush Hour auteur Brett Ratner has hopes of making a film based on video game Guitar Hero. “I love Guitar Hero and I think it’s a part of pop culture,” Ratner said.
  • Hootie has left the Blowfish, as Darius Rucker has left the band so he can concentrate on his country music career. Rucker, whose “Don’t Think I Don’t Think About You” is #5 on country radio charts, played his last Hootie gig Tuesday night.
  • As if being dropped from his label wasn’t bad enough, former American Idol winner
    Ruben Studdard is now in trouble with the IRS after failing to pay nearly $200,000 in taxes.
Pagelaran musik dua grup band papan atas, Gigi dan Ungu Rabu (27/8) malam benar-benar menakjubkan.

Dengan menghadirkan lagu-lagu religi dari kedua grup band itu, konser yang bertajuk "Pintu Surgamu" tersebut terbilang sangat dahsyat.

Gigi tampil ciamik dengan lagu-lagunya, memasuki lagu keempat mereka membawakan lagu milik Ungu berjudul "Andai kutahu". Saat dibawakan Gigi, lagu tersebut terlihat lebih ngerock.

Seusai konser, pentolan Gigi Armand Maulana mengatakan, kalau dirinya sempat salah saat membawakan lagu itu. "Iya, saya lupa sedikit lirik tadi diatas panggung. Gigi juga minta maaf, karena lagu Ungu dirusak, "ucapnya seusai manggung,di lapangan D Senayan, Jakarta.

Lebih lanjut suami dari Dewi Gita itu mengatakan, kalau dirinya dan Gigi merasa puas dengan konser itu."Sebuah kolaborasi dan konser yang mantap, padahal latihannya nggak lama. Insyaallah akan ada konser serupa lagi,"tambah Armand.

Senada dengan Armand, vokalis Ungu Pasha juga menyatakan hal tersebut. "Konser Pintu Surga Mu sangat dahsyat, mudah-mudahan bisa duet bareng lagi,"kata Pasha.

Konser tersebut diadakan untuk merayakan ulang tahun pertama radio GenFM. Selain Ungu dan Gigi, konser tersebut juga didukung penampilan Tohpati dan paduan suara dari sekolah musik Purwacaraka.

Hingga saat ini, grup band yang akhir Februari 2007 silam pernah menggelar konser di Jakarta ini telah menyelesaikan beberapa lagu. Demi bagusnya album tersebut, grup band yang beranggotakan Matthew Bellamy, Chris dan Dominic rela berlibur untuk menulis lirik lagu.

"Sudah ada beberapa materi lagu baru, dan kita akan jeda beberapa minggu. Kemudian, 2 minggu berikutnya kami kembali ke Italia untuk menulis lagi," tutur sang drummer, Dominic Howard.

Dominic menambahkan, kalau Muse akan selalu menghadirkan warna musik yang selalu berubah.

"Kami sudah memilih beberapa track, terdengar berbeda dan akan hebat. jadi kami akan terus bekerja demi masa depan," tambah Dominic.

Fenomena album religi di bulan puasa, bagi band-band Indonesia sangatlah lekat. Seperti 2 band besar, GIGI dan Ungu, tidak pernah absen dalam pembuatan album religi. Berbada dengan The Titans yang merasa masih belum siap dalam membuat album religi.

Menurut Indra, sang bassis, membuat album religi adalah sebuah pekerjaan yang tak mudah. Karena dalam membuat album religi diperlukan kesiapan hati dan mental, supaya bisa menciptakan sebuah karya apik yang menceritakan tantang hubungan manusia dan Tuhan. The Titans memang ingin menciptakan sebuah album religi. Namun mereka masih harus melakukan banyak persiapan, agar karya mereka tampak beda dari album-album religi dari band-band yang lain.

The Titans juga menyatakan, bahwa beberapa waktu lalu mereka berencana me-release single religi untuk bulan puasa tahun ini. Namun karena terlalu padatnya jadwal tur, single yang rencana diberi judul sisi gelap ini ditunda. Mereka berharap di bulan Ramadhan tahun 2009, The Titans akan siap dengan album religinya.

"Sebenarnya kemarin sudah bikin single religi, judulnya sisi gelap. Cuma karena jadwal manggung kita padet banget, dan rekamannya baru drum dan bas aja, ya sudah, kita tunda sampai tahun depan saja. Sekalian bikin album religi," pungkas bassis The Titans, di hotel Kartika Graha, Malang, Jumat (29/08/08).
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