Korg Oasys 88
Large images ..Available from 11/30/1999 until 11/30/1999
It all begins with sound. OASYS delivers a level of realism, fidelity and sound quality that is a new milestone for a professional musical instrument. OASYS contains three complete synthesis engine algorithms for your audio palette: the HD-1 High Definition PCM synth plus two EXi Expansion Instruments - the AL-1 Analog Modeling Synth and the CX-3 Modeled Tonewheel Organ.
OASYS is built around our new flagship PCM-based engine, which we call the HD-1 High Definition Synthesizer. Driven by an exacting, robust and detail-rich voice architecture, the sound of the HD-1 possesses an amazing clarity and presence; a high end that is crystal clear, but never harsh; a detailed and accurate sound that is smooth and rich across the entire audio spectrum. Fueling this engine is a staggering 616 MB of uncompressed wave ROM that exceeds CD audio quality. This abundant PCM library allows us to capture much more of the natural detail and ornamentation that distinguishes an acoustic instrument as “real” sounding. We’ve also included many stereo waveforms to preserve the natural imaging and spaciousness of acoustic sounds - especially ensemble sounds and drum kits. Other enhancements include many extended length samples that preserve an instrument’s natural decay, and sample sets that allow instruments to speak their full voice, using up to 4-way velocity switching to recreate their complete dynamic range.
But that’s just the beginning. Each OASYS comes with two additional EXs Expansion Sample Libraries ready for action. The comprehensive EXs-1 Expansion ROM set is pre-loaded, providing spectacular stereo drums, and additional large acoustic and synthesizer multisamples capturing extra detail and character. The EXs-2 Concert Grand, on the other hand, serves up a singular, breathtaking piano experience. Based on individually sampled keys, true stereo imaging, four-way velocity switching and an additional damper layer, this piano evokes unparalleled realism.
Advances in the HD-1’s voice architecture allow a single oscillator to play back stereo waveforms and support 4-way layering, switching and crossfading. Each oscillator can employ up to two multi-mode filters, two Low Frequency Oscillators (LFOs), two Envelope Generators (EGs) and dual amp stages simultaneously. An additional “voice common” LFO and EG provides another layer of timbre control. The super-fast LFOs feature 18 waveforms, and can modulate into the audio range. The equally agile EGs feature 11 selectable curves for each stage, resulting in dramatically detailed timbre and amplitude changes. A new drive parameter adds mild to wild harmonic overdrive. korg’s AMS (Alternate Modulation Source) furnishes OASYS with 52 additional modulation sources. Newly added AMS Mixers allow mixing and manipulating any of these modulation sources for even more flexible control!
Unlocking the Combination
korg’s famous Combination structure – introduced nearly 20 years ago in the M-1 – has been expanded, now allowing up to 16 Programs to be split and layered across the keyboard. In addition to providing more sound elements, this means that Combis can be set up and saved as complete 16-part MIDI sequencing templates for use with an external sequencer and computer DAWs - a much-requested feature from our users! You can freely combine Programs from the HD-1, AL-1 and CX-3 engines to create amazing new textures, or to zone, layer and velocity-switch multiple sound in a single keyboard set-up. The enhanced OASYS Combi mode now offers a powerful Tone Adjust feature, providing real-time control over 33 parameters of each timbre, so you can edit each of the 16 sounds in context without affecting the original Programs. And with up to 172 voices to work with, OASYS has more than enough horsepower to cover all the bases.
Blast from the past
Longtime korg fans still fondly remember our revolutionary Vector Synthesis and Wave Sequencing technologies. Well, they’re back and better than ever. The Vector Joystick - along with a Vector Envelope and Vector Modulation - allows for smooth blending between the two oscillators in Program mode. But the Combination mode is where the Vector Synthesis features really come alive, as you freely blend between four different mixtures of sounds to create evocative, moving timbres. Up to five Vector “positions” can be defined, and either rhythmic value (from an internal or external clock) or absolute time can be used to specify the timing between positions. This complex Vector Envelope can also be continually looped for sounds that are constantly in motion. Vector control also offers cool, user-definable modulation of many of the HD-1’s parameters.
Wave Sequences play back a series of selected waveforms over time, creating either distinctive rhythmic timbres or smooth, complex and continually evolving sounds. You can even specify the playback pitch for each step. New additions to this classic technology include greatly enhanced tempo synchronization, swing and real-time duration modulation. Additionally, dual integrated step-sequencer modulation outputs allow Wave Sequences to control virtually any Program parameter such as filter cutoff, pan, Drive, LFO speed and more. Conversely, the many OASYS Alternate Modulation Sources (AMS) can be used to manipulate Wave Sequence parameters.
The Ultimate VA
The first OASYS EXi Expansion Instrument is a state-of-the-art virtual analog synth engine: the AL-1. Not content with a mere handful of modeled voices, the AL-1 delivers an unparalleled 84 notes of polyphony, capable of sounding an incredible 504 oscillators (including dual sawtooths and noise generators).
This responsive synth features our distinctive ultra-low aliasing oscillators that recreate all the power and glory of true analog synthesis – without the artifacts that can often plague lesser modeled oscillators. But that’s just the beginning. The AL-1 will satisfy all your vintage yearnings - and your future ones as well. The two main oscillators offer eight flexible waveforms each, for a wide palette of modulatable shapes. Other progressive features include wave-shape morphing, a floor-thumping sub-oscillator plus a variable-color noise generator capable of white, pink, red flavors - and beyond. An adjustable drive parameter provides a distinctive character to the vintage oscillator modeling; while sync, FM, low-boost and several varieties of ring modulation offer plenty of tone-mangling power. External live audio can even be accessed as an additional signal source.
Each voice can use either one or two of korg’s incredibly versatile multimode (Low Pass, Band Pass, Band Reject [notch], and High Pass) resonant filters. For maximum flexibility, the filters can be connected in series or parallel, to generate 12 dB or 24 dB per octave slopes. korg’s new MultiFilter lets you crossfade in real-time between any two of 21 different filter types – including your own custom mixes of LP, HP, BP, BR and dry input.
Modulation is essential to any analog synth, and the AL-1 offers a wealth of riches.
Five punchy and re-triggerable envelope generators can dish out ultra-fast attacks, and a different timing curve can be set for each envelope stage. A generous 18 wave shapes are available to drive the four per-voice LFOs. In addition to their tempo-sync and high speed abilities, each LFO allows you to specify the phase, center value, and curve for complete control. And to keep all the voices moving together, there’s an additional per-timbre Common LFO. Additional modulation capabilities are provided by 52 Alternate Modulation Sources (AMS); dual AMS Mod Mixers; dual key-tracking generators; and a per-voice 32-step Step Sequencer. The per-voice Step Sequencer can modulate virtually any Program parameter – including pitch. Each of the 32 steps has a separate note-length for creating complex rhythmic figures, and can generate either a fixed value or gate an AMS input source. A “smoothing” parameter allows fluid motion between sequencer steps. The standard EXi Program structure adds even more modulation power, including a timbre Common Step Sequencer, two more key tracking generators, and the Vector Envelope.
The CX-3 tonewheel organ, one of the most accurate models of that classic organ sound ever developed, provides the third OASYS sound engine. Based on the current korg CX-3 hardware instrument, this EXi design features dual drawbars, control over every nuance of the sound including leakage, key click, adjustable percussion, chorus/vibrato and a complete rotary speaker simulation. It also features an enhanced version of korg’s unique EX Mode which adds additional harmonics and percussion tunings, opening up a new world of “organic” timbres. The keyboard can be split to provide upper and lower manuals, each with their own drawbars. The CX-3 not only simulates the tonewheel organ itself, but the various speaker options associated with it. Our legendary amp modeling provides a variety of options. In recreating the sound space of the famous rotary organ speaker, the CX-3 provides individual control over numerous elements such as mic spread, rotor speed and transition time. The control surface of OASYS provides direct access to your nine drawbars via the sliders (with on-screen visual indication of their current values); switches to access the vibrato/chorus, percussion and all traditional tonewheel organ controls are laid out in a logical and familiar manner.
These three engines can be used together in a variety of ways. OASYS features dynamic allocation between synth voices (including different synth types), and flexible allocation of power between synths and effects. An EXi Program can actually host two synth engines, so you can use two AL-1s to create super-powerful synth sounds, or two CX-3s to create new hybrid organ timbres. For the adventurous sound designer you can blend a CX-3 and AL-1 to create new imaginative timbres – the choice is yours!
Cause and Effects
OASYS extends the quantity and quality of on-board effects to a new level, offering an astounding 12 Insert, 2 Master and 2 Total effects, delivering six times the processing power of the TRITON series workstations! We’ve included some in-demand gems including the ToneWorks (REMS) mic, amp and speaker models; the amazing O-Verb from the OASYS-PCI card; the Chorus/Vibrato circuit from the CX-3; the silky smooth Ensemble from the Polysix plus a wealth of new effects as well as more classic korg favorites. With 185 algorithms, the possibilities are vast. And you can even use OASYS as a 6 input/10 output real time effects processor for your other gear! But it’s even better than that. In OASYS, 32 3-band EQs – each with sweepable midrange – are provided – one for each synthesizer timbre, and one for each audio playback track. This allows you to create distinctive tonal changes and shadings, without dipping into your effects resources.
But in the end, it is korg’s legendary voicing quality that is sure to impress. Our international OASYS sound design team has been working for years to create hundreds and hundreds of stunning new Programs, from realistic acoustic instruments with captured performance noises, to the fat, imaginative synth sounds that korg is known for, from signature organ sounds designed for the CX-3 by top players to cutting-edge synth sounds to exploit the incredible power of the AL-1. OASYS comes loaded with 1,152 Programs, and room for a total of 1,664 user sounds (13 Banks). All sound locations are fully editable, so you are always free to tweak a sound if needed. There are 40 drumkits provided, and room for a total of 152. These drumkits support stereo samples, 4-way velocity-switching and a 3-band EQ per drum index. As for the 16-part Combinations, 384 come preloaded, with room for a total of 1,792 (14 Banks).
KARMA to the max
KARMA is our revolutionary algorithmic performance technology that generates amazing phrases, grooves, and other musical effects that can be altered and randomized in real time. KARMA continues to set the standard by which all other arpeggiators, phrase players, and musical effect generators are judged.
KARMA gives you the power to play impossible interweaving cascades of notes, techno arpeggios and effects, dense rhythmic and melodic textures, natural-sounding glissandos, intricate finger-picking and guitar-strumming, swooping portamento and pitch bend moves, to name but a few. But what KARMA really offers is inspiration. Playing with it allows OASYS to improvise with you, stretching and expanding your own creative ideas.
Many new features keep this second generation of KARMA technology on the extreme cutting edge. KARMA-based Wave Sequencing manipulates the playback of the actual samples that create each sound, allowing each note to access a different waveform as it is generated. Having Wave Sequencing available at the KARMA level means that you can add this great effect to a timbre quickly and easily, without having to edit any Programs! Note Remapping provides a powerful way to transform drum grooves into different variations, by instantly substituting one of the thousands of available drum sounds for any other one. It can also be used to melodically transform KARMA generated notes, such as changing all major sixths to major ninths.
In Program Mode you can assign one KARMA Generated Effect (GE) to the sound; Combi and Sequencer Modes offer up to four GEs at a time. In these modes, each of the four KARMA Modules now has its own “Module Layer,” where the eight sliders, eight switches, and eight scene buttons provide dedicated control over a single GE, such as a drum groove, comping gated part, etc. Press the Module Control button, and you select a different layer, thereby controlling a different KARMA Module with all of the sliders and switches.
In addition to the four Module Layers, there is a Master Layer that can be mapped to parameters from any of the modules, even grouping them together – so one slider can control the swing feel of all four modules at the same time, or the rhythmic activity of two or three modules at once, to name a few. Each Module Layer has 8 Scenes that store the settings of the 16 sliders and switches in 8 different snapshots, instantly recalling completely different settings for that layer. The Master Layer’s 8 Scenes, in addition to storing the settings of the 16 sliders and switches for its parameters, also control which scene is selected for each module. With 8 Scenes in each Module, and 8 Master Scenes storing which of those scenes are selected at which time, the possibilities are endless.
Best of all, by incorporating feedback from users, we’ve made KARMA significantly easier to use – while making it even more flexible! All of the onboard 2000+ KARMA Generated Effects (GEs) have been standardized to one of 13 different “Real-Time Control Models” (RTC Models). An RTC Model specifies which parameters of a KARMA GE are available for real time control, and how the Control Surface is assigned to them. With multiple GEs sharing the same exact setup, what you learn while controlling one GE is consistent and applicable to other GEs as well.
korg’s acclaimed 16-track MIDI sequencer records up to 200 Songs (400,000 MIDI notes), and all the features that have made our sequencer the easiest to use are all here. One-touch setup takes you from playing a Program or Combination to “ready-to-record” status in one easy step, automatically arming tracks and routing voices behind the scenes. The sequencer also allows KARMA generated grooves and phrases to be recorded as MIDI data or as a finished audio track. Song Templates contain pre-assigned effect routings and program assignments, providing one more shortcut to help you capture your creative outbursts. OASYS comes with 16 of these Song Templates, plus another 16 you can custom-tailor to your own needs. Each Template Song also provides a number of rhythm patterns – including intro, fills and endings – that you can use to instantly create a rhythm track.
Real Time Pattern Play and Record (RPPR) can be used to assign sequenced Patterns to individual keys on the keyboard for an interactive performance, or to quickly build up tracks. Individual track looping lets you create smaller looped parts (such as drum grooves) within a Song. In-Track sampling allows you to add sampled audio directly into a MIDI track; resampling allows you to create new loops/grooves from your tracks.
In a bold first for any keyboard-based product, OASYS also offers an unprecedented 16 track audio recording studio, perfectly integrated with the sequencer’s MIDI tracks. Up to four tracks of 16-bit, 48 kHz pristine and uncompressed audio can be recorded simultaneously to the 40GB internal hard drive. You can record from your choice of balanced mic/line inputs (with individual phantom power), unbalanced +4dBu line inputs, or S/PDIF digital inputs. All of the on-board effects are available in the recorder, allowing you to call up any of our studio quality mic and amp models, dynamic treatments or spatial effects – a virtual cavalcade of audio gear - when recording from an outside source! individual phantom power, The Audio Recorder sports a full mixing control surface with channel strip, automation along with track and song editing capabilities. Once again, the huge color TouchView display provides a distinct advantage for editing and mixing your tracks quickly and intuitively. The 16-track digital recorder can import and export tracks in industry-standard WAV files for maximum compatibility and portability. From simple songwriting to full-fledged productions, OASYS provides the tools you need for any audio situation.
OASYS features the same powerful Open Sampling System as first introduced on the TRITON Studio. You can sample and resample in any mode of operation, resample KARMA enhanced performances, sample through effects, and much more. Cutting-edge editing tools include Time Slice, Time Stretch, Crossfade Looping, Rate Change and Normalize. An easy Auto-Setup function makes all the right sampling settings for you with the press of a finger. Stock sampling memory is over 200 MB, and can be increased to 512 MB without requiring any additional RAM (by choosing to not load the EXs-1 Expansion ROM data). Samples in korg native format, AIFF, WAV and AKAI (S-1000/3000 with advanced Program parameter conversion) formats can be used, and internal samples can be exported as WAV or AIFF if needed.
Once again, korg has produced an interface that is musically intuitive, elegant, and totally comprehensive. A ground-breaking 10.4” color TouchView display gives OASYS our most impressive interface ever. This adjustable-angle display is graphically rich and provides an intuitive way of working with all the possibilities OASYS offers. A wealth of real-time controllers is available to support your expression and music-making. The traditional korg joystick, dual switch and ribbon controllers are joined by an assignable Vector Joystick, eight real-time knobs, 16 switches, 9 sliders, plus three pedal inputs. The eight knobs and nine sliders are augmented by LED status indicators showing their current values. The nine sliders enjoy double-duty as real-time drawbars. OASYS also features eight great feeling, soft-touch and velocity-sensitive drum pads which can be used to trigger notes, controllers, or chord voicings to use with KARMA or your own performance needs.
The control surface of OASYS has multiple modes of operation – it can be a mixer for the 16 MIDI tracks, as well as a mixing surface for the 16 audio tracks. In these modes you have control over level, panning, track select, solo, channel EQ, FX sends and more. It is also a complete real-time controller interface for sounds and KARMA parameters - and via Tone Adjust, it provides a physical interface to control internal Program parameters. In Combination and Sequence modes, Tone Adjust lets you control up to 33 different parameters for each timbre or track, for quick in-context tweaking without affecting the original Program.
Finally, in External Mode the control surface can be mapped to various MIDI Controller messages to control external gear such as soft synths, computer DAWs and other MIDI hardware. The controllers offer a choice of “jump” or “catch” behavior to match your personal preference.
The right connections
The OASYS Open Architecture Synthesis Studio offers plenty of connectivity to your professional studio, be it digital or analog. In addition to the stereo Main outputs, OASYS offers eight individual outputs which can be used to isolate timbres or tracks for individual recording or processing. All analog outputs feature 24-bit digital-to-analog conversion, and sounds can be processed through the Insert effects before being routed to these outputs. Four inputs (two combination XLR/quarter-inch jacks with switchable phantom power, plus two 1/4 jacks) are provided for use when sampling or audio recording, along with 24-bit optical S/P DIF connections supporting 48 and 96 kHz operation. You can also add the EXB-DI option for eight channels of 24-bit ADAT-compatible I/O for your multi-channel digital needs. Four high-speed USB 2.0 ports support external hard drives, flash memory, and other USB Mass Storage devices. The internal CD-R/RW drive lets you burn audio CDs; back up sound, sequence, and HDR data; and griph samples directly from audio CDs. Three pedal inputs are provided, including damper jack support for half-damper sensing. The footswitch and footpedal jacks can be assigned to wide choice of functions including modulation, sostenuto, Program advance, punch-in recording and much more.
The future now
OASYS promises an open-ended future, and that future has already begun! We’ve included the first two EXs releases for free with your OASYS; the EXs-1 is a comprehensive ROM Expansion set, and the EXs-2 is a 511 MB Concert Grand piano featuring accurately mapped and 4-way velocity switched stereo samples, plus a natural damper sustain layer, all combining to offer unparalleled realism. More options will be released in the near future.
Two models to choose from
OASYS comes in two configurations, a 76-note synth action keyboard and an 88-note weighted action keyboard which features our best graded action (RH2) so the low notes are heavier than the upper, just like a real piano. Of course both actions support after-touch sensitivity.
OA (Open Architecture) Synthesis System
OASYS 88: 88-key Real Weighted Hammer Action (RH2)
Method of Synthesis
Internal: PCM (HD-1 High Definition Synthesizer)
EXi (Expansion Instruments)
Analog Modeling (AL-1 Analog Synthesizer)
Tonewheel organ modeling (CX-3 Tonewheel Organ)
HD-1: 172 voices (172 oscillators)
AL-1: 84 voices
CX-3: 172 voices
*1 Maximum polyphony depends on the kinds of synthesis engines and the number of effects being used.
*2 OASYS dynamically allocates voices to multiple synthesis engines when they are used simultaneously.
Number of Programs/Combinations/Drumkits
1,664 user memory programs (896 (640 PCM+256EXi) come preloaded)
1,792 user memory combinations (384 come preloaded)
152 user memory drumkit (40 come preloaded)
256 GM Level2 preset programs+ 9 GM Level2 drum preset programs
306MB (1,503 multisamples, 1,388 drum samples)
Expansion PCM Libraries
310MB (EXs 1 ROM Expansion: 228 multisamples, 1,483 drum samples),
511MB (EXs 2 Concert Grand Piano: 5 stereo multisamples)
Capacity of PCM RAM
*3 The memory available for RAM samples will change based on the use of Expansion PCM libraries; the total RAM memory capacity will be increased in the near future with a system software upgrade.
374 user memory, 150 preload
Advanced Vector Synthesis
Control oscillator volumes, synth parameters, effect parameters via the Vector joystick and the tempo-synced Vector Envelope
Single: only OSC1, Double: OSC1 and OSC2.
Double mode lets you layer two completely separate synth voices, each with their own velocity-switched oscillator, dual filters, EGs, LFOs, etc.
4 velocity zones per oscillator, with switching, crossfades and layering. Each zone can play mono or stereo Multisamples or Wave Sequences.
Two multi-mode filters per voice; (low-pass, high-pass, band-pass and band-reject) four-mode filter routings (single, serial, parallel and 24dB mode)
Per voice non-linear driver and low boost circuit
Three bands, with sweepable mid
Three envelope generators, two LFOs per voice, common LFO, four key tracking generators, AMS (Alternate Modulation Source); modulate a large number of synthesis parameters via LFOs, Envelopes, and real-time controllers. Two AMS Mixers - combine and process AMS sources. Add, multiply, smooth, quantize, and more.
Supports both stereo/ and mono drum samples, four-stage velocity switch/crossfade
Advanced Vector Synthesis
Control oscillator volumes and synthesis & effects parameters via the Vector Joystick and the tempo-synchronized Vector Envelope.
Common Step Sequencer: 32-step sequencer with smoothing, adjustable step duration, and tempo synchronization. AMS (Alternate Modulation Source); modulate a large number of synthesis parameters via LFOs, Envelopes, and real-time controllers, Common LFO, 2 Key Tracking Generators.
Three bands, (with sweepable mid)
New design ultra-low-aliasing oscillators OSC1, OSC2, Sub-oscillator and noise generator; ring modulation, FM, and Sync
Run real-time audio through the synthesis engine, including ring mod, filters, drive circuit, amp, and EQ
Two multi-mode filter (low-pass, high-pass, band-pass and band-reject) with four types of filter routings (single, serial, parallel and 24dB mode), MultiFilter mode (only Filter-A; modulateable mix of Low Pass, High Pass, Band Pass, and dry input, for creating a wide variety of unique filter types and effects)
Per-voice non-linear driver and low boost circuit
Five Envelope generators, four per-voice LFOs, two Key Tracking generators, and two AMS Mixers.
Per-voice Step Sequencer: 32-step sequencer with smoothing, adjustable step duration, and tempo synchronization.
Tonewheel Organ Modeling
A further evolution of korg's acclaimed CX-3. Phase-synchronous tonewheels (clean and vintage modes), percussion, key click, wheel brake.
Four additional, user-specified drawbars, and expanded percussion.
Rotary speaker, vibrato/chorus, amp modeling with overdrive, 3-band EQ
Controlled via nine front-panel sliders (via Tone Adjust).
Upper, Lower (even in EX mode)
Two AMS mixers
Number of Timbres
Master Keyboard Functionality
Keyboard and velocity splits, layers, and crossfades of up to 16 Programs and/or external MIDI devices
Advanced Vector Synthesis
Control oscillator volumes and synthesis & effects parameters via the Vector Joystick and the tempo-synchronized Vector Envelope.
Open Sampling System (resampling, In-Track sampling) 16bit/48kHz stereo/mono samping, maximum 512MB memory, 4,000 samples/1,000 multisamples (128 indexes per multisample), direct sampling (ripping) from audio CD (CD-DA), able to load korg format, AKAI S1000/S3000 data (with advanced Program parameter conversion), AIFF, and WAVE formats.Time Stretch, Time Slice, Crossfade Loop, and other standard editing features.
12 Insert Effects; in-line processing, stereo in / stereo out.
Two Master Effects; two effects sends, stereo in / stereo out.
Two Total Effects; for overall processing on the main outputs, such as compression, limiting, and EQ; stereo in / stereo out.
High, low, and sweepable mid band. Per Program in Program Mode, per Timbre in Combi mode (16 total), and per Track in Sequence mode (32 total).
185 types (Every type can be used as an insert, master or total effect).
Real-time control of effects parameters.
Synchronized LFO modulation of multiple effects.
Effects Control Busses
Two stereo side chains (for compressors, gates, vocoders, etc.).
Two stereo busses (for sampling and recording).
One module in Program mode (one control layer);
four modules in Combination and Sequencer modes (five control layers) independent, programmable real-time control settings for each Module.
Generated Effects (GE)
2,048 presets. 32 real-time parameters per GE.
13 RTC (Real Time Controller) Models provide more consistent control of KARMA parameters
ON/OFF, LATCH, CHORD, ASSIGN, MODULE, CONTROL, KARMA REALTIME CONTROL SLIDERS  – , KARMA SCENE  – , KARMA SWITCHES  – , (all other physical controllers can be used as KARMA control sources ); KARMA Waveform Control (change Multisamples via the KARMA engine), GE Sub-Categories, Free Randomize function, Time Signature Control, Tempo synchronization, Auto RTC (Real Time Control) setup.
16-track MIDI sequencer + 16-track hard disk recorder + master track.
Number of Songs
1/192 ppq (parts per quarter note)
40.00 – 240.00 (1/100 BPM resolution)
400,000 MIDI events or 300,000 audio events
16 tracks plus the master track
150 preset/100 user patterns (per song)
16 preset/16 user template songs,
Format: korg (OASYS) format, SMF formats 0 and 1.
16-track playback, 4-track simultaneous recording; WAV file format.
Maximum single-file recording time (mono): 80 minutes;
Automation: Volume, Pan, EQ, and Send1/2. 5,000 regions (max.), Event Anchors, BPM Adjust.
RPPR (Realtime Pattern Play and Record)
1 Pattern set per song.
Vector joystick, joystick, ribbon controller, switches 1 & 2.
Velocity-sensitive drum pads and chord triggers.
CONTROL ASSIGN Switches
Assigns the Control Surface to TIMBRE/TRACK, AUDIO, EXTERNAL, R.TIME KNOBS/KARMA, or TONE ADJUST.
MIXER KNOBS Switch
Assigns the Mixer Knobs to either CHANNEL STRIP or INDIVIDUAL PAN.
Knobs 1-8 (with LED value indicators) Channel Strip, Individual Pan, External MIDI, Realtime modulation, Tone Adjust.
Switches 1-8 (Upper Row) Play/Mute, External MIDI, KARMA Scenes, Tone Adjust.
Switches 1-8 (Lower Row) Select/Solo, External MIDI, KARMA Switches, Tone Adjust.
Sliders 1-8 (with LED value indicators)Volume, External MIDI, KARMA Control, Tone Adjust.
Master Slider (with LED value indicator) Volume, External MIDI, Tone Adjust.
KARMA Controller Section:
Switches = ON/OFF, LATCH, CHORD ASSIGN, MODULE CONTROL.
Load, save, utility, audio CD burning, audio CD playback, data filer function (save/load MIDI System Exclusive data),CDs (UDF format read/write), ISO9660 Level 1.
TouchView graphical user interface, 10.4 inch TFT, 640x480 dots, adjustable angle.
All inputs and outputs are 24-bit.
Main Outputs (L/MONO, R): 1/4” Unbalanced; 1.1k Ohm Stereo; 550 Ohm Mono (L/MONO Only)
Max. output level: less than +18.5dBu (when load impedance is 100k Ohm)
Headphones: 1/4” stereo phone jack, output impedance: 33 Ohm max. level: 72mW (when load impedance is 33 Ohm),
S/P DIF: Optical, 24-bit, IEC60958, EIAJCP-1201, 48kHz or 96kHz
EXB-DI (optional ADAT Output):
ADAT format Output: 24-bit, 48kHz, 8-Channel; BNC Word Clock In
Audio Inputs 1 and 2: XLR-1/4” phone combi jacks (balanced), MIC/LINE switches, level control knobs, phantom power switches,
input impedance: 10kOhm,
source impedance: 600Ù
Nominal levels: +4dBu to – 36.5dBu (LINE, level control knob=min. to max.),
-19.5dBu to – 62dBu (MIC, level control knob=min. to max.),
Maximum levels: +16dBu to – 24.5dBu (LINE, level control knob=min. to max.), -7.5dBu to – 50dBu (MIC, level control knob=min. to max.),
Audio Inputs 3 and 4: 1/4” phone jacks (unbalanced), input impedance: 10kOhm;
max. level: +16dBu,
source impedance: 600 ohm
S/P DIF: Optical, 24-bit, IEC60958, EIAJCP-1201, 48kHz or 96kHz
Damper pedal (half damper supported), assignable switch, assignable pedal
In, Out, Thru
Four high-speed USB 2.0 A connectors (for external USB devices)
40GB HDD (2.5”), CD-R/RW
(88-key): 57.40” (W)x 19.06” (D) x 5.31” (H)
1,458 (W) x 484 (D) x 135 (H) mm
(88-key): 70.99 lbs / 32.2 kg.
AC cord, CD-ROM for data restoration
EXB-DI Digital Interface Board
XVP-10 Expression/Volume Pedal
EXP-2 Foot Controller
DS-1H Damper Pedal
PS-1 Pedal Switch
EXs Expansion Samples: Expansion PCM Libraries
EXi Expansion Instruments: Expansion Instrument Libraries
EXf Expansion Effects: Expansion Effect Libraries