Page 28 Advertisements Column 2

Rip It Up, Issue 116, 1 March 1987, Page 28

Why should a sampler and a synthesizer be combined? Experimentation. IBS f SI t *-u»>- 8 222<; : -2. \2; ■ 2 ' v. <2; 1 2-2 . ' ' ' " ' ' ' -22 'f'f Sff T* Px . ■ * jtilllWwl' ' I HE feit' Ii J 118 ■ ■ J| ■ ltr% ' Hlt-St- i< '■■ "'^' iiit ii .JyJ >4l; Jw -1,. : , „■ •. ■/ ■ ' i .4.J0 ■_ ifcw ■H • w ■l' • g .'5 « ing - let you control the oscillators di- for precise touch control of Autobend, ■R '• Wl ’0 '■ rect| y- Use each technique independently, VCE VGA. envelope rates and other param■B ? y s or combine them in richly textured multi- Velocity Switch lets you play comSB» '"4*' ’W samples and wavetables. You edit samples pletely different sounds as you change and waveforms with powerful functions your attack. like Truncate, Mix, Link and Reverse, plus Unlike other samplers, the DSS-1 lets — — auto, back and forth or crossfade looping ■ you access 128 sounds without changing a I need to get to my sounds quickly and modes. Then apply a full set of synthesis disk. Each disk stores four Systems of 32 also create new patches when I'm on tour. parameters, including two-pole or four- sounds. Within each System, your proThe DSS-1 gives me that flexibility. It's a pole filters and Korg’s six-stage envelopes. grams combine up to 16 sample groups very responsive instrument. r * * i and/or waveforms with complete sets of , „ M/ . z 7 Exact Control Choose from four sam- synthesis parameters and keyboard setM ... , . , Steve Winwood plingrates between 16 and 48 KHz, with ups. In effect, the DSS-1 becomes a new Multi-Instrumentahst, Vocalist, Composer up to jg seconds of sampling time. Config- instrument every time you call up a Sysure the keyboard with 16 splits assignable tern. The library of easily available 3/2" • IZ ~ , ■ . over the full 127 note MIDI range. Layer or disks is already substantial and growing Korg combines the realism of sampling detune the two oscillators on each of eight fast. Four disks - each with 128 sounds - with the flexible control of synthesis to voices. Then process your sounds with a are supplied with the DSS-1 to start your create a new kind of keyboard with un- complete synthesizer architecture and two comprehensive Korg sampling library, limited possibilities for musical experi- programmable DDLs. By combining the best of digital sammentation: the DSS-1 Digital Sampling The DSS-l’s power is easy to use, so you pling with familiar and flexible control of Synthesizer. The DSS-1 recreates sounds can work with sound and music, not pro- synthesis, the DSS-1 allows the modern with digital precision. But it also shapes gramming manuals. The backlit 40 char— synthesist to experiment with new sounds the complexity and variety of sampled acter LCD display takes you through the never before available, sources into new dimensions of sound. ' total sound generation process with op- Start exploring the fusion of sampling FvrortHrmal Dsnu tu nee , ■ tons and instructions at every step. Soft- and synthesis now. at your authorized ucepuonai Kanw Ine DSS-1 s ex- ware that talks your language and a logical Korg Sampling Products dealer, traordinary potential for creating new front panel menu help you go beyond synsounds begins with three sound genera- thesis, beyond samplingwithout dictat- Samnli™ tion methods. Digital oscillators sample ing vour direction. Sampling any sound with 12 bit resolution. l\vo so- b Products phisticated waveform creation methods - Expression The DSS-l’s five octave key- ■ ■WfB Ml Division Harmonic Synthesis and Waveform Draw- board is velocity- and pressure-sensitive, SAMPLING IS ONLY THE BEGINNING . CALL IN TO YOUR LOCAL DEMEO j I SiJlliOsiillllfll®^®■ -/111®OS & “ w 111111 l Hlllllllll Distributed by Custom Music Ltd, PO Box 9648, Newmarket, Auckland. ’ ■