Messing Around on the Korg MS2000 *No Talking*

Just exploring some sounds on the mysterious Korg MS2000B
No external effects or compression (other than that warm YouTube sound).
It's a crazy awesome synthesizer and its so so underrated.



Features:
2 Oscillators + noise
OSC1 (Oscillator 1) allows one to select from eight different oscillator algorithms, including basic analog synthesizer waveforms such as SAW and PWM, Cross Modulation, a Noise Generator, and Korg's proprietary DWGS (Digital Waveform Generator System) originally developed for the Korg DW-8000 synthesizer. The DWGS waveforms allow the creation of bell and electric piano-like sounds. The Noise Generator produces white noise which can be used for sound effects and introducing harmonic distortions to waveforms. An external signal such as a mic, instrument or line input from the AUDIO IN 1/2 jacks can also be processed.

OSC2 (Oscillator 2) allows one to select from three types: SAW, SQU, and TRI. It can also be used as an oscillator for Ring Modulation or Sync, which are available as modulation destinations to generate sweep and vintage lead sounds.

The Mixer is used for adjusting the levels of OSC1, OSC2 and NOISE. The combined signal is then sent to the FILTER.

The FILTER cuts or emphasizes frequency components of the signal from the oscillator, affecting tone and brightness. Three primary types of filtering are available: –12 or –24 dB/oct LPF (Low Pass Filter), –12 dB/oct BPF (Band Pass Filter), or –12 dB/oct HPF (High Pass Filter). Using EG1 to create time-variant changes in cutoff frequency adds a fourth type of filtering.

The AMP stage consists of AMP (Amplifier), DIST (Distortion), and PAN (Panpot). AMP sets the volume, and PAN sets the sound's location in the stereo field. Using EG2 can create time-variant changes in volume. Quite harsh tones can be created by turning DIST on, and adjusting the filter cutoff and resonance, higher-pitched rings and tonalities are created with various harmonics layered on.

The Envelope Generator applies a time-variant change to each timbre parameter. On the MS2000/MS2000R, there are two standard ADSR EG’s for each timbre. EG1 is assigned as the envelope source that produces time variant changes in the FILTER cutoff frequency, while EG2 is assigned as the envelope source that produces time variant changes in the AMP volume. The MS2000's VIRTUAL PATCH module can be used to assign EG1 and EG2 to other parameters.

The LFO (Low Frequency Oscillator) applies cyclic change to sound parameters. The MS2000/MS2000R provides two LFO’s for each timbre, each with four waveforms. LFO1 is assigned as the modulation source for OSC1. LFO2 is assigned as the modulation source for the pitch modulation controlled by the modulation wheel. As with the EG's, VIRTUAL PATCH can be used to assign LFO1 and LFO2 to other parameters.


I think one of the coolest parts is the VIRTUAL PATCH system that allows the use of not only EG or LFO, but even keyboard velocity (keyboard playing dynamics) or keyboard tracking (the area of the keyboard that is played) as modulation sources which can be assigned to sound parameters for greater freedom in timbre editing and sound creating. Four routings (combinations) can be specified for each timbre.

Also, the MOD SEQUENCE is a step sequencer that lets you apply time-variant change to various sound parameters in a way similar to analog synthesizers of the past. The sixteen knobs on the main panel can be used to set the value of each step and then the sequence is played back. The sound can be further modulated by the arpeggiator and by VIRTUAL PATCH. The knobs can also be operated in realtime, and their movements (parameter values) recorded in each step (Motion Rec function). Since each timbre can have up to three sequences, very complex tonal changes can be obtained.

Each program can have a modulation effect, chorus, stereo delay, and equalization. For a modulation-type effect, select from chorus or stereo delay.

The onboard arpeggiator has six types of arpeggio. For a program whose voice mode is Dual/Split, arpeggios can be played on one or both timbres. Since arpeggiator settings can be made for each program, arpeggio types that are suitable for the sound of a particular timbre can be saved and played.