Judging by the extensive demo, Korg have taken great strides in the area of physical modelling. 20‑bit D‑to‑A conversion at a 48kHz sampling rate also ensures a high degree of audio fidelity. Apparently, the machine has up to 32‑part multitimbrality and can combine different methods of synthesis, allowing you to use, for example, analogue‑sounding bass parts, FM piano parts and physically‑modelled sounds in one composition. DSP, being digital, can't produce true analogue synthesis, but Oasys can accurately emulate it, so what Korg are telling us is that their new baby can be anything you want it to be - and it can be several different things at the same time. Korg's new Oasys synth is based upon 'open‑architecture' digital signal processing, which means it can be whatever its software tells it to be. Up to now, we've had analogue synths, sample‑based digital synths, FM digital synths, wavetable digital synths and, more recently, physical modelling synths. Amidst the parched sands of the NAMM show, Paul White found welcome relief at Korg's Oasys of advanced musical technology, where the latest efforts of the company's US R&D team were unveiled.
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