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Old 7th January 2020
  #282
It's been interesting to see the comments so far. I want to point out one thing to start: Wave Sequencing 2.0, which seems like it's been overlooked (and is really the main point of the instrument!). Here's some info from korg.com:

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Wave Sequencing 2.0

With the Wavestation, each step of a Wave Sequence had a duration, a sample, and a pitch. This created ear-catching patterns–but the patterns repeated the same way, over and over. What if they could evolve in organic, unexpected ways, instead of just repeating?

Wave Sequencing 2.0 splits apart the timing, the sequence of samples, and the melody, so that each can be manipulated independently. Also added are new characteristics including shapes, gate times, and step sequencer values. Each of these is a “Lane,” and each Lane can have a different number of steps and its own start, end, and loop points.

Every time the sequence moves forward, the individual Lanes are combined to create the output. For instance, a sample may be matched with a different duration, pitch, shape, gate length, and step sequence value every time that it plays. You can modulate each Lane’s start, end, and loop points separately for every note, using velocity, LFOs, envelopes, Mod Knobs, or other controllers. Each note in a chord can be playing something different!

Lanes can also randomize the step order every time they play, with realtime control over the range of included steps. Finally, individual steps can be randomly skipped, with a modulatable probability from 0 to 100%. The result is organic, ever-changing sounds that respond to your control. The four onboard arpeggiators can interact with Wave Sequences for even more possibilities.



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As a side note, the “Lane” concept is inspired in part by the methods of 20th-century serialist composers such as Pierre Boulez. Of course, in the wavestate you can play it polyphonically from the keyboard, controlling and modulating the Lanes (or, in 12-tone speak, "rows") and event probabilities in real-time and separately for each note, if desired...and of course the pitch Lane doesn't need to play melodies; it can just introduce subtle detuning, or occasional octaves, etc.

When I was first explaining the idea to everyone, the person who picked up on it most quickly wasn't an engineer, but a classically trained musician.