Korg - Nu:Tekt NTS-1 Digital Synth Kit

Product Information

We’ll need the first line to create modfx. The second line is required for floating point operations. This time, we use just the knob A data, so the contents of “valf” are stored in the “rate” variable when k_user_modfx_param_time (index name of knob A) data is received. There are six filter types which include 2- and 4-pole versions of low-pass, band-pass and high-pass. Knobs A and B become cutoff and resonance respectively. They sound perfectly reasonable with some high resonant peaks, although they can't be pushed into self-oscillation. Holding the button reveals a Sweep modulator that sweeps the cutoff like a single slope envelope either up or down depending on Knob B and the speed set on Knob A. It's more obvious than it sounds. I admit that I was initially a bit sceptical about the Multi-Engine oscillator. I was frustrated by the expectation that I was supposed to be comfortable searching GitHub for open-source oscillators and annoyed that I might be shelling out more cash than the synth was worth. But after I pulled the lid off some of these more premium options, all of those negative feelings melted away. This thing is phenomenal. I mentioned how, when running other synths through the effects, they showed up the less than stellar sound of the included oscillators. That is not the case once you start working with custom oscillators. It becomes a whole other synth or a dozen other synths with multiple forms of synthesis, wave generation, bending, folding, resonating and modulating. It's fantastic!

Because of its size, the NTS-1 does have some limitations. The ribbon keyboard is fine for triggering the arpeggiator (which can be latched, by the way), but not so great for actually playing anything (you’ll be making use of that MIDI Input), and many features have to be accessed by holding down a button and turning a knob, so you’ll need the manual to hand for a while at least. The last button is the Arpeggiator, which is useful considering the keyboard, and also a lot of fun. Press to enable, hold it for a second to engage the latch, touch a couple of notes and let it go. While holding the Arp button the other six buttons become chord selectors; Octave, Major Triad, Major Suspended, Major Augmented, Minor Triad and Minor Diminished. You can use the keyboard to transpose if you try really hard. Continuing to hold the button down the Type knob selects between 10 different arpeggiator modes including Random and Stochastic. Knob A sets the pattern length from one to 24 steps and knob B handles the tempo or step duration if externally sync'ed. There's no opportunity as yet to edit the Arp chords or add your own but this may become possible via a firmware update or software editor. But as it is it's comprehensively fun to use. The versatility, the effects, the price and the fun to be had with the NTS‑1 are pretty unbeatable. Multi-Engine On the third line, we have something new. This is necessary to store lots of sounds into memory on the NTS-1. Previously, we received a value from the knob, and if that value multiplied by 64 exceeded the “count”, it would be reset to zero. Now we move on to the main processing. We’ll first skip to explain the function at the very bottom.A buffer is a place where data for temporary processing is stored or kept. This time, we’ll use the buffer for the array we created last time. We want to store a lot of sound data in this buffer, so we need to make a large array. Korg, in no event, will be liable for the direct, derivative, collateral or consequential damage caused by the use of or the inability of using the Licensed Program (including but not limited to damage of data, lost commercial profit, interruption of work, lost commercial information), regardless of the degree of damages, and even if Korg was aware of the possibility of such damages or the possibility of a claim for damage from a third party in advance.

Make does not need any additional special installation on macOS, Linux and Windows (and MSYS2), but we will explain where it is otherwise necessary to install. Although you might have figured this out by looking at the argument, all you need to do is to do the various effect processing for the data equivalent to the number of frames in “main_xn”, and write this as the output to main_yn.

There's more to Korg's latest pocket-sized synth than meets the eye

There are two methods used to show the sizes of numbers in digital audio data: fixed decimal and floating point. Floating point is commonly used in our ordinary lives, in the same way as when we say "50% more." It's easier for people to understand. However, the downside of floating point is that calculations get processed slower. With MSYS2, we’ll move to a different folder using the command “cd ” instead of the mouse. Now I’ll show you a bit of an easier way to do this. Here we have the templates for creating the Mod (modulator), Delay, and Reverb effects. Actually, there’s already a template in logue SDK, but we’ll do this in a simple way so that our lesson this time goes smoothly. The fact is that if you’re not familiar with the folder structure, you might mistake the sample folder structures for one another and not know where to copy the files.

You hereby agree to the exclusive jurisdiction and venue of the aforementioned territory, without regards to conflicts of law provisions. How this works is that “xn” contains input data, and this is processed so that the data overwritten at the end point of the function becomes the output data. This updates the variable that maintains the output, but only when the “count” variable is “0”. In other words, when the value is not “0”, “lastSmpleL/R” is the same value as last time. To circumvent this, we came upon a bold idea to separate the sounds by using the differential in the stereo audio.Pretty cool, eh—it’s like stopping a record. Now I’ll show you everything you need to know to make this effect.