Take those waves and arrange them in a wave sequence. The WaveStation is like a Prophet VS that doesn’t break down if you try use it. Many of these are labelled VS something or other, because they’re additive waves from the Prophet VS, which Yamaha owned at the same time it owned Korg. The most basic part of the WaveStation is a single wave. The other tip is to use KORG’s software version, as you can see what the hell you’re doing. The trick is to start at the bottom and work upwards, only that way can you reach the surface alive. I mean it makes the SY77 look user friendly for fuck’s sake. You wade into the depths of this ocean and start drowning.
Let’s face it, this is the tipping point where a device becomes unusable. That jingle went on to make me a considerable sum of money. The rest of us wade through the patches aimlessly, trying to navigate this moaning and tinkling cathedral on wheels.įun fact: I once made a TV jingle by holding down one key on a WaveStation. Its members posses an arcane skill – they can program a WaveStation. The four onboard arpeggiators can interact with Wave Sequences for even more possibilities.Rumour has it that there is an underground cult based near Tokyo led by a cherubic man with a goatee. The result is organic, ever-changing sounds that respond to your control. Finally, individual steps can be randomly skipped, with a modulatable probability from 0 to 100%.
Lanes can also randomize the step order every time they play, with realtime control over the range of included steps. Each note in a chord can be playing something different! You can modulate each Lane’s start, end, and loop points separately for every note, using velocity, LFOs, envelopes, Mod Knobs, or other controllers.
For instance, a sample may be matched with a different duration, pitch, shape, gate length, and step sequence value every time that it plays. Each of these is a “Lane,” and each Lane can have a different number of steps and its own start, end, and loop points.Įvery time the sequence moves forward, the individual Lanes are combined to create the output. Also added are new characteristics including shapes, gate times, and step sequencer values. Wave Sequencing 2.0 splits apart the timing, the sequence of samples, and the melody, so that each can be manipulated independently.
What if they could evolve in organic, unexpected ways, instead of just repeating? This created ear-catching patterns–but the patterns repeated the same way, over and over. With the Wavestation, each step of a Wave Sequence had a duration, a sample, and a pitch.
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