KORG Opsix Native
Use the Operator Mixer to Illuminate Your World
Opsix’s Operator Mixer, a straightforward array of six faders and knobs that encourages experimentation, lies at the core of each sound. Each component has a red or blue light that denotes a sound or a modulator. By moving these controllers, you can create new sound-shaping possibilities and give your musical ideas new life. Along with the sounds it provides, this simple, hands-on methodology is a big part of what makes opsix special.
Direct Control via Hands -KORG Opsix Native
The six data entry knobs on the right allow you easy access to the settings you need and flawlessly sync with the huge OLED display, giving you a clear, focused direction to your workflow whether you’re adjusting a preset or creating a patch from scratch. With the mixer, it is incredibly simple and, most importantly, enjoyable, to create new sounds.
A wide variety of analog-style filters are available, from the avant-garde Korg MS-20 low-pass/high-pass filter to the potent yet refined Korg PolySix low-pass filter that lends your sound a retro vibe. Resonant low-pass, high-pass, band-pass, and band-reject filters are also available with two or four poles. -KORG Opsix Native
Even better, the oscilloscope and spectrum analyzer that are already there show you visual feedback on the music you’re creating on the screen.
Feature updates in this version
There is no information regarding modifications in this version on the official website. -KORG Opsix Native
We examined Korg’s opsix native FM synth plugin in our previous issue. Here, we’ll examine wavestate native, a different recently launched synth plugin. Just a little background on the synthesizer that was essentially a forerunner (of sorts) to Korg’s wavestate native is all I’d like to do before I get started. In 1990, the Korg Wavestation was made available. It had a system for vector synthesis and could switch between several waveforms. Its joystick let you to switch between its four oscillators. Each of those oscillators might use a variety of waveforms from its internal sound library. It could also create a wave sequence by placing waveforms in a specific order to produce a variety of patterns. Performance Mode allowed for the usage of up to eight patches, each of which may make use of up to four oscs. -KORG Opsix Native
The software equivalent of the hardware wavestate synthesizer is called wavestate native by Korg. It has 64 stereo voices, four Layers with vector control, a lot of modulation, modeled filters, a lot of samples, and 14 effects. It employs a Performance made up of up to four Layers in wavestate as opposed to Wavestation. Each Layer has the option of using a multisample or a wave sequence. Timing, pitch, volume shape, and gate parameters can also be set up easily in distinct lanes in wavestate. Each time a sample performs the sequence, it can utilize a different duration, pitch, shape, and gate length. Wave Sequencing 2.0 is what Korg refers to as. -KORG Opsix Native
The system specifications are as follows:
Installation of the Korg Software Pass is required first.
Using a product code or serial number, copy protection is implemented.
All current popular DAWs are compatible with wavestate native’s offered file formats.
There is also a solo version available.
8 GB RAM (16 GB or more recommended)
Free disk space of 8 GB (SSD recommended)
There must be an internet connection.
Windows 10 (or higher) and an Intel Core i5 processor are required for the PC (Core i7 or better recommended). You will require macOS 10.13 High Sierra (or later), an Apple M1 or higher, or an Intel Core i5 or higher for the Mac (Core i7 or better is recommended). Each 20-minute session of the demo version will be available. -KORG Opsix Native
I was greeted with the initial display, which has a somewhat crowded looking display, after it had been installed on my PC and loaded in my DAW. I wanted to offer a quick overview of the Performances that are accessible and how to explore through them before I got into all that. You would typically load a preset or patch in a plugin. In wavestate, a Performance may layer up to four Programs, each of which may have its own arpeggiator and effects. There is no set maximum for the number of overall modulation routings, and a Performance can have up to 4,000 modulation targets. Actually, Wavestate includes presets that you may load into many of the other components. In wavestate, programs are essentially just the options for each Layer that may be applied to a Performance. But I’ll talk more about that later because there are some Layer-level parameters that are only applied during a Performance. -KORG Opsix Native
The browser will open if you click the Performance’s name at the top of the user interface. If you have any further collections of Performances, you can choose one in the lower-left. On the left side, you can search by name and filter by categories. With its columns of metadata, the long list of Performances is in the center, and the Inspector is on the right side. By the way, by clicking on the header at the top of each column, you may modify the size and sort order of those data columns. The columns themselves can also be moved horizontally into the desired order. -KORG Opsix Native
You can view the Performance name, Author, Collection it belongs to, Categories (it can be in two of them if you’d like), and Notes about the Performance in the Inspector area on the right side. You can click on the Librarian in the upper right to view almost everything other than the Performances. Additional type-specific filters, including Performances, Programs, Wav Sequences, Effects, and more, are located in the upper-left corner of the screen. I scanned the lengthy list of Performances and noticed that none of them had any Notes attached, which I found a little weird. I merely assumed some of the plugin’s designers would have some notes on hand. Naturally, you are always welcome to add your own notes as performance reminders (for example, “modwheel affects Layers 1 and 3”). -KORG Opsix Native
The capabilities of all four Layers are the same, and if necessary, each Layer can employ rather sophisticated settings. Each of the four Layers can be enabled or disabled using the buttons on the left. If a Layer is activated, clicking on its tab will take you to that Layer’s settings. Many musical tasks can be accomplished with just one or two Layers in a Performance, but that is entirely up to you. It’s easy to observe how a sound designer created the overall sound and used the Layers by loading a pre-made Performance.
You will initially be on the Overview display when you first load the plugin. Using tabs, you can navigate to the different options pages. Synthesis, Wav Sequence, Effects, Modulation List, and other pages are among them. On the left side, you may still toggle between the four Layers as you go between those tabbed displays. -KORG Opsix Native
Keep to your lane
You can see a macro-style view of the activity within a Performance on the Overview panel. In essence, every Lane is capable of having fully unique settings that can loop at their own specified settings. For instance, consider the timing lane. You might want it to have eight steps with a 1/8th note beat between each step, or you might want to set it to a pace that corresponds to real time. Say, however, that you’d prefer the Sample lane to have five steps with a variety of waveforms in each step. However, it doesn’t end there because Pitch is the next lane over. You might adjust the pitch per step and the number of steps using that lane to your satisfaction. -KORG Opsix Native
You’ll notice indicators in each of the smaller views for the various lanes as they advance as you play a few notes in a Performance you’ve loaded. The steps will be displayed on each color-coded display as they progress through each of their associated sequences. Any of those will open the Layer’s Wave Sequence display when you double-click on it, allowing you to change it. There are some parameters connected to the Synthesis page underneath those smaller indicators for the sequences. They provide as quick access points to parameters for altering tuning, filter type, cutoff, etc. Just a brief reminder that any changes made here on the Overview page will also be reflected on the Synthesis page in the same manner (cutoff, tuning, etc.). There are some controls to change the effects for each Layer to the right of those settings (more on the effects later). -KORG Opsix Native
You can specify the Start and End steps for each Sequence lane. The Sequence can also have loop points created for it, and the playback direction can be changed (forward, backward, or alternating forward-backward). The lane’s steps will play in a random order each time the loop is repeated because it even has a random order setting. There are numerous options that can be saved as presets for later use, including Program (the settings for each Layer), Wave Sequence, and Wave Sequence Lanes. Wavestate comes with a number of presets to get you going.
Synthesis -KORG Opsix Native
After that, we examine the Synthesis page. On this tab, you can adjust the cutoff, resonance, trim (the filter’s input level), and output level in addition to the filter type (Polysix, MS-20, etc.). The MS-20 LP, MS-20 HP, and Polysix filter types all include an additional Gain setting. There are four settings available to alter how the input settings interact with the filter. The parameters to change the Velocity to Envelope amount, Key Tracking, Filter LFO, and Filter Envelope amounts are on the right.
Below those options, you can fine-tune the pitch by an octave or semitone. For keyboard pitch tracking, use the Slope setting. You can adjust modulation from the Pitch LFO, Pitch Envelope, and the Velocity to Pitch Envelope amount to the right of the Slope setting. The Portamento and Pitch Bend range settings can also be changed on this page. The Amp settings are discussed in the final section at the bottom. You can adjust the Amp LFO’s amount, Velocity, and Key Tracking from there. All three of those settings are bipolar (can be positive or negative). The Pan setting contains a Pan LFO in the final settings. Additionally, it contains a Random Pan feature that allows you to randomly pan any note you play inside the stereo field. Simply click on the label of the desired source of modulation (for example, “Filter”) to see its controls at the bottom and change its parameters. A little display depicting the shape of the waveforms as they are used when you play any notes can be found underneath the labels for each modulator. -KORG Opsix Native
Since there are so many different modulators, I won’t go into all of their specifics, but I do want to draw attention to the Vector Envelopes. In addition to manually blending between the four Layers using the Vector joystick control, you may create up to four per-voice modulation signals using the envelopes (Env A/B/C/D). The modulation of effects and/or the Performance Mod Knobs can also be done in a manner similar to this at the Performance level (all voices as opposed to per-voice). The levels of Layers A/B/C/D are controlled on a per-voice basis while the Enable Volume mode is active. You could want to load some of the multisamples and combine those sound sources with wave sequences or use this with other sound sources (e.g. various vocal sounds). -KORG Opsix Native
The Mod Processors are an additional intriguing element. There are two per Layer, and what they essentially do is change the original mod signal into something else. It is also possible to use the original, unaltered modulation signal. There are seven various categories (Scale, Offset, Quantize, etc.) available that can all have a different impact on the signal. For more information on the matter, I advise reading the manual because it goes into great length on each of those sorts.
Zones, setup, and scales
You may access the Program and Layer setup from the Setup page. You can change the volume, transposition, trigger, and degree of random tuning under the Program section. There are settings for Voice Allocation and Unison as well. The parameters for unison are Number of Voices (up to 16), Detune, Thickness (used to asymmetrically detune unison voices), and Spread (stereo panorama). -KORG Opsix Native
Recall the Layer setting that was previously mentioned? The Tune (+/-100 cents) and Octave controls are located in those Layer settings. They are only used during a Performance; when used outside of a Performance, they have no impact on the Program. The Layer’s Level (volume) setting functions in the same manner; a Performance is the only context in which it is used. One Layer in a Performance could need to be tuned differently than another Layer, or you might wish to use one Layer at a given level and another Layer at a lesser level. In this manner, for instance, the Program won’t play out of tune if it is saved and later chosen for another task. An Arpeggiator and MIDI channel selection are additional settings. Choose the pattern, octave range, gate amount, and swing using the arp’s parameters.
You can configure the note range for each Layer on the Zones and Scales page. Fade-in and fade-out rates are adjustable for each zone. The same principles apply to configuring velocity ranges. On this tab, you may also adjust the Performance Pitch and Scale (for all Layers). Arabic, Kirnberger, Pelog, Pure Major, Pure Minor, and Pythagoras are a few of the scales that are mentioned. -KORG Opsix Native
Mod List and Effects
There are a variety of effects available. Pre FX, Mod FX, and Delay are the three different tabs that each Program can use to use up to three effects. There are numerous presets available for each effect type in the Pre FX area, where you can choose the effect type. Compressor, different EQs, Ring Modulator, Waveshaper, Decimator, Guitar Amp, and other effects are only a few of the available effects. A variety of Phaser and Chorus options, VOX Wah, Polysix Ensemble, Talking Modulator, and more options are available under Mod FX. For the Delay component, there are numerous parameters and six different modes.
In fact, many of the effects I’ve discussed here have a variety of parameters that let you use them to their fullest extent. The effects are excellent; in fact, I wish Korg had packaged them in a different FX plugin so that I could utilize them in various situations. The Master Reverb and EQ are on distinct tabs. While each Program has access to the aforementioned effects, the Reverb and EQ in this plugin’s area are shared by the four Layers. The quality of the reverb and EQ are just as good as many of the other effects. -KORG Opsix Native
I wanted to briefly discuss some of the other modulation options as I didn’t address them elsewhere. Basically, you can click on anything you want to target (such Filter cutoff) and a Modulation section will show up on the right side of the screen. From there, you may choose the intensity and add up to two modulation sources. Controllers (mod wheel, X/Y joystick, velocity, pitch bend, poly aftertouch, etc.), Mod Knobs (eight controls at the top of the UI), Generators (envelopes, LFOs, Vector envelopes, etc.), CC settings (unipolar or bipolar), and many more sources can be used as sources. MIDI Learn is a simple to use program. Click on a control, then click the + icon on the right side of the screen (in the Mod Inspector area), and then right-click on a source. Additionally, the controls can be assigned to a specific CC number and configured as bipolar or unipolar. Any of them will open the same menu options if you right-click on it. The effects, like almost everything else in wavestate, are modulatable. -KORG Opsix Native
You can see all of the configured modulation sources and modulation routings in one place on the Mod List page. Due to the complexity of certain Performances, it is simple to limit the forms of modulation that they employ. Although new sources and targets cannot be added from there, it is still a highly useful feature and a clear source of modulation information.
What Korg has accomplished with this plugin has astonished me greatly. I truly can’t think of anything I would change about it because everything about it is excellent. As I’ve already said, the effects part is very fantastic and I’d like to see a standalone plugin version. Check out the demo version as soon as you can since this is one you shouldn’t miss.
The cost of the native Wavestate plugin is $199 USD. Patience may be rewarded in that area because Korg is known to occasionally have sales. You may upgrade to wavestate native for just $49.99 USD if you already own the hardware wavestate synth. Click here to visit their website for additional details and to download a sample version.
macOS High Sierra 10.13 or later
supported by an Intel Core i5 or higher or an Apple M1 or superior -KORG Opsix Native
Mac cracked apps screenshot: