The unique interface allows musical melodies and phrases to be played with ease by simply stroking, tapping, or rubbing the touchpad. Horizontal motions control the pitch; vertical motions control aspects of the tone, such as filter cutoff, feedback, or modulation depth. The intuitive design and flexibility of the touchpad allows users who are not keyboard players to perform easily. Users can create performances that are rich with tonal changes that could not be produced on a conventional keyboard instrument. Of particular note are the 26 drum sounds that have been especially enhanced. Updated drum PCM includes sounds from the acclaimed Wavedrum percussion synth for even greater performance variety.

Author:Tojakree Meztigor
Country:Burkina Faso
Language:English (Spanish)
Published (Last):4 March 2006
PDF File Size:16.18 Mb
ePub File Size:4.87 Mb
Price:Free* [*Free Regsitration Required]

Accordingly, its patches are heavily biased towards synths, basses, sound effects and percussion. Blessed with the same durable metal construction and positive controls of the Kaoss Pad 3, the Kaossilator Pro abandons that model's moody red LEDs in favour of gorgeous emerald green.

The four-character display is occasionally cryptic, but is often supplemented by text scrolling across the pad — naming patches, for example. In common with other Kaoss Pads, the Kaossilator Pro's stereo audio inputs and outputs are phono connections. Power arrives via one of Korg's 9V adaptors but, unlike the earlier Kaossilator, there's no battery option.

At the opposite corner sits the headphone socket, adjacent to its dedicated volume knob. Be aware that there is no transmission of MIDI notes, though; the pad generates only continuous controller information, which felt, to me, like an opportunity missed. The majority are sound generators — generally dancey and synthy — with only the last 15 slots given over to effects processing. For simplicity, the horizontal X axis always controls pitch and the vertical Y axis is used for parameters such as filter cutoff, modulation or effects depth.

Lead and bass patches take pride of place, with some convincingly ripping sync solo patches and wet, resonant basses as highlights. With both modelling and PCM sound sources, the percussion voices are more instantly impressive than those of the older Kaossilator.

To help stretch them further, pattern variations plus effects or filter parameters are mapped across the green matrix, ready to enhance your beats.

Pad performance is easy enough to master, because there's hardly anything to it. The playing surface is less than 10cm wide and capable of just eight different notes, so you need to make them all count. There is no way to customise any of the programs either; the only tweak you can make is to override the note range Korg have built into each one.

Having set the scale and range, all that remains is to decide the root note of your song and you're ready to slide or bounce some fingers! These eight slots also store the range, scale and root note. The vocoders actually surpass those of the Kaoss Pad 3, being more varied and better chosen. Some incorporate decimators, delays, reverb or Korg's glitchy grain shifter, and all are under intuitive pad control.

Take your finger off the pad and the vocoder is instantly deactivated, leaving you free to sing or speak. The final five programs contain audio processors such as pitch shifter, delay and filter.

This chugs along at the current tempo, leaving you free to find the right notes. The small switch at the rear determines whether the arpeggiator's slider is used to lengthen the steps of each note or to control arpeggio speed.

In the case of speed, the divisions always fall within useful musical boundaries i. If you use the slider to change speed as you play, complex phrases sync'ed to current tempo are effortless. On the positive side, it's harder to get loops running out of sync. Furthermore, recordings are always in 'loop overdub' mode, which took some getting used to for me, as a KP3 user. To grab loops of an exact length, you must exit record mode manually at the right time or the recording process continues overdubbing.

Depending on the audio source, this overlap can quickly become mushy. Orange means the pad is looping, and red means it is looping and recording. With four loops to choose from, you'll soon be producing miniature performances, blending drum patterns, incoming audio and sounds you play or arpeggiate. One feature you look for pretty quickly is some kind of undo.

So, assuming your mistakes don't directly overlap the good stuff, all you need to do is hit the button on time. This technique may also be used creatively to bite holes in loops. There's no master level control for the loop bank. Instead, each loop's volume is mixed individually on the pad. The mixer is revealed by the Shift key and any of the pad buttons. Shortening the loop length in this way while simultaneously riding the level fader offers novel performance potential.

And after you glitch the hell out of it, return the loop back to its original length, confident there will be no loss of sync. The audio looper and vocoder are no mere gimmicks, either. Using the loop recorder, you can quickly record pad performances, build chords note by note, then add percussion or crazily arpeggiated sound effects.

In addition you can store up to 10 complete images of the entire Kaossilator and can automatically load one of these on start-up. The software renders the job of managing Kaossilator backups or configuring MIDI controllers an absolute whizz. For those who can't immediately lay their hands on an SD card, it will also happily receive loop data over USB to store on your computer.

Before transmitting to the chosen Loop Bank, you may also set the loop length, level, and even original tempo. Pros Decent selection of contemporary sounds. Four-track audio looper. Good and usable vocoder. Suitable for any level of experience. The sound programs and drum patterns are all preset. External power supply and no battery option.

Buy PDF version. Previous article Next article. New forum posts Re: Does acoustic foam actually do anything? Recent topics Does acoustic foam actually do anything?

Login You may login with either your assigned username or your e-mail address. The password field is case sensitive.


Korg Kaossilator Pro

A big improvement on the original Kaossilator, the Pro version gives you a great new way of making music. When we reviewed Korg's groundbreaking Kaossilator, we loved its innovative approach to creating loop-based music and hoped that it might spawn a bigger follow-up. Three years down the line, Korg has granted our wishes with the introduction of the Kaossilator Pro KO-Pro , a much-improved version that offers a variety of new features and looks all set to build on the success of the original KO Pulling the Kaossilator Pro from its box, it's immediately apparent that this is a far more substantial unit than the original version.


Korg Kaossilator Pro review


ACI 224R-01 PDF


Related Articles