Ensimmäinen Edellinen Tuote 2 / 17 Seuraava Viimeinen
Tuoteryhmä: Synat ja synamodulit

Korg N1R räkkilevyinen synamoduli "Demo"



590.00eur 399.00eur


Korg N1R on harvinainen räkkilevyinen synamoduli.

Meillä on viimeinen kappale varastossa, jonka myymme poistohintaan. Kuvat ovat kyseisestä yksilöstä.


64:n äänen (yhtäaikaa soivia ääniä) polyfonia, 16 Multitimbraali, erittäin monipuolinen ja hyvät soundit omaava (Urku, overdrive + kaksi erillistä multiefektiprosessoria, leslie-efektit ym...).1269 programs eri ohjelmaa, myös General Midi. 402 combinaatiota, rumpukittejä 39 kpl, Arpeggiator( 20 eri tyyppistä arp.) 4 ulostuloa  To Host. 18 megan aaltomuotomuisti.

Korg's N1R presents their AI2 synthesis technology in rackable form with 64-note polyphony, 32-part multitimbrality and a massive onboard library of well over 1000 different sounds and combinations. Layers and splits can be set up for control over a single MIDI channel and, as you'd expect from a serious modern synth, there are two independent effects processors on board. These are capable of producing a wide range of both conventional and less conventional effects, including resonant filtering. Though there's full GM, GS and XG support for the creation and playback of Standard MIDI Files, the N1R is actually a very flexible synthesizer -- it might not do anything radically new, but the sheer number of sounds combined with good audio quality and a well-conceived user interface makes it a very serious instrument.


Although everything is crammed into a 1U box, the N1R has a comfortably uncluttered feel, complemented by a clear display based around intuitive icons. There are four audio output jacks on the rear panel, plus just a single set of MIDI In, Out and Thru sockets -- which begs the question 'How does the 32-part multitimbrality work?' You need to use the direct computer connection if you want to send more than 16 MIDI channels at a time, but I'd have thought a second MIDI In socket would have been more use to more people. This may not be too drastic a problem -- few people are likely want more than 16 parts out of the N1R, especially since the polyphony will probably run out before the number of parts does. The N1R's two sets of MIDI channels are designated A and B, and both Mac and PC drivers for the computer connection are included on a floppy disk; Mac users may also use MIDI Manager or OMS if preferred. Power comes from an external PSU, but at least this connects via a substantial 4-pin DIN.To take the pain out of sound editing, four real-time control knobs are included in addition to the main data entry wheel, while an internal arpeggiator offers 20 different arpeggio types, all of which can be sync'ed to MIDI clock if necessary. To simplify connection to a computer, a 'to host' socket is provided that is compatible with both Macs and PCs via optional adaptor cables. And for those more intimate moments, there's a headphone jack.


The front panel reveals the N1R to be non-expandable. There are no card slots, and no provision for adding internal waveform cards or chips as you can with the Roland JV2080 or the forthcoming Emu Proteus 2000. What's more, though there are low-pass filters within the voice architecture, these lack resonance and thus self-oscillation -- a curious omission, given the proclivity of modern composers to use thwips, blips and sweeps with seeming abandon. There is a 'colour' parameter which peaks up the filter slightly near the cutoff point, but it's really quite subtle.

Navigating through the various edit and setup pages is done by means of 14 small buttons, all of which have dedicated functions, or at worst, pairs of functions depending on what mode you're in. Data values are changed using either the data wheel or cursor buttons, and the two-colour, backlit display employs lots of friendly graphic icons to help you along the way. But for me, the best part of this synth is the section controlled by the four knobs at the right hand side of the front panel. A Select button steps through three sets of functions that can be directly accessed via these controls, all of which are printed on the panel above the knobs, and the most useful mode provides instant access to Attack, Release, Cutoff (frequency) and Effect (amount). I've often thought that a synth with hundreds of sounds that could easily be tweaked would be very welcome in those studios where the business of making music takes precedence over fiddly patch editing -- and here it is. The other two sets of functions relate to the main arpeggiator parameters and to Balance, Pan, Modulation and Portamento.


When you want to edit sound Programs in more depth, you're greeted with an icon-based block diagram similar to that of a basic analogue synth. Each block may by selected in turn using the cursor buttons, while pressing Edit brings up the editable parameters relevant to that block. The Oscillator, Filter and VDA (level envelope) blocks each have one envelope and one modulation input, again depicted by small icons. Selecting any of these allows the relevant parameters to be edited very simply, and although I generally dislike editing synths, I sailed through most of this one without ever opening the manual -- the user interface is supremely friendly and one of the best I've yet come across. The demo songs are also worth a listen -- not only do they really put the instrument through its paces, but you also get a scrolling list of the machine's key features along with the display changing from orange to green in time with the music! Exit, and an aspirin, gets you back to normality.