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Korg releases desktop versions of three of its most popular synths: wavestate, opsix and modwave.

2024 NAMM Show: In yet another big gear announcement from Korg, the manufacturer has revealed three module versions of its most popular synthesizers: wavestate, opsix and modwave. If you liked the look of these instruments but you’ve no need for a keyboard or fancy integrating them into a rackmount set-up, it is your lucky day.

Each of the three synths now supports MIDI 2.0 Property Exchange, a feature that exchanges tones, programs, and other information between devices using MIDI messages, and their factory sounds have been redesigned to respond to polyphonic aftertouch. This means they’ll pair well with Korg’s Keystage, the brand’s first MIDI 2.0-compatible keyboard controller.

The desktop versions of the Wavestate, Modwave and Opsix are designed for both desktop and rackmount use, measuring 4U in height and 19″ in width, and the rear jack panel is recessed to allow easy access to cables even with gear mounted directly above. The synth’s brackets offer a choice of panel angles for desktop use: flatter for performing standing up, or more upright for working while seated in your studio.

The Korg modwave module offers of the features of the modwave mkII in a compact 19-inch desktop/rackmount package.

The Modwave is a modern take on Korg’s cult classic DW-8000 synthesizer that transforms the original into a “modern monster synth” equipped with powerful wavetable oscillators, flexible modulation capabilities and 60-voice polyphony. Korg says that its responded to user requests in updating Modwave’s LFOs with options for free-running, delayed start and retriggering, while adding a pre/post switch for reverb sends.

Find out more on the Korg website.

The module version of the Opsix offers all of the features of Korg’s Opsix mkII, also announced today. This includes an expanded 64-voice polyphony and the addition of new “sound components, waveforms, filters, shaping possibilities, effects, LFOs, envelopes, modulations and more”. Opsix is an ‘Altered FM’ synth that augments classic DX7-style 6-operator FM synthesis with subtractive, analogue modelling, waveshaping and additive synthesis, along with analogue-style filters that emulate the MS-20 and PolySix. The 19″ rack-mountable enclosure has the same controls as the keyed models, yet is easily transportable and fits neatly into any studio or desktop production system.

The Korg wavestate module offers all of the features of the wavestate mkII in a compact 19-inch desktop/rackmount package.

Korg’s Wavestate is a 21st-century reimagining of the Wavestation, a digital wave sequencing synth made by the company in the ’90s. Wavestate mkII was released in June last year, expanding the original’s polyphony from 64 stereo voices to 96 and adding a variety of newly designed Wave Sequences and Programs, along with expanded internal storage and redesigned companion software, Wavestate Editor/Librarian. The desktop version’s polyphony has been boosted up to 120 voices.

Here’s what they say about the wavestate:

“In 2020, the acclaimed wavestate brought KORG’s Wave Sequencing to the next level. Featuring the radically re-imagined Wave Sequencing 2.0, the wavestate delivers astonishing, ever-changing sounds with extensive hands-on control. Far from a nostalgic reissue, the wavestate was designed from the ground up for a new generation of musicians, producers, and composers, taking cues from sources as diverse as modular synths, groove boxes, and algorithmic composition.”

Find out more on the Korg website.

Could Korg Grandstage X be the best-looking stage piano yet?

We’d be happy to be seen with it at a gig.

It’s been six years since Korg released the GrandStage, so a new version was definitely in order (not least because the original has now been discontinued). That has now arrived in the shape of the Grandstage X, a mighty fine looking stage piano that comes with seven dedicated sound engines.

With its angled control panel, flat top, aluminium body and perforated metal cheeks, the Grandstage X certainly gets off on the right style note; the two tone ivory and black colour scheme looks great, to our eyes. It’s the sound that counts, though, and here, the story starts with the SGX-2 engine, which powers 13 acoustic pianos. These include the new GSX Piano and the existing Nautilus, Oasys and SG1D pianos from Korg’s back catalogue, and there’s a nod to the ‘80s and ‘80s house revival with the inclusion of the classic M1 Piano.

The EP-1 engine provides seven electric pianos that cover the requisite vintage bases, and there are no less than three different organ engines (CX-2, Vox and FC-1). Further engines include the AL-1 analogue modelling sound source, which deals with synths, and the HD-1 PCM module.

The interface on the Grandstage X has been designed with live players in mind, and promises to be very intuitive. You can layer and split at the touch of a button, and there are dedicated level controls for each part.

The keyboard has Korg’s RH3 weighted hammer action, and we’re intrigued by the key-touch slider, which promises “instant control over volume and timbre changes with each keystroke”. There are Nutube-powered analogue-style effects, an EQ and multiple delays and reverbs. The Grandstage X also has a slight arranger keyboard vibe with the inclusion of a rhythm and chord progression function, which creates a backing track that’s said to complement your playing.

Here’s what they say about it:

“Meet the Grandstage X, Korg’s flagship stage piano, now completely redesigned with seven inspiring sound engines, 700 preloaded sounds, a user-friendly interface, and a sleek aesthetic design. Every aspect of the Grandstage X is intuitively arranged, empowering you to select and play your favorite sounds effortlessly. With its elegant, light ivory two-toned body and perforated side panels, the Grandstage X not only delivers the highest sonic quality but also stands as a visual centerpiece whether on stage or in the studio.

Grandstage X is not just a stage piano; it’s a statement of excellence. Prepare to elevate your performance and let the Grandstage X take you and your music to new heights.”

Korg Grandstage X Sound Demo:

There’s no shortage of competition in the stage piano market, but with its distinctive look and high-quality sounds, the Grandstage X could definitely be a contender. There’s no word on a price yet, but you can expect it to arrive in June. Find out more on the Korg website.

The original KingKorg synth was launched in 2013. The 61-note keyboard wasn’t dead, but never really seemed to fully capture the public’s imagination. And, Korg has now taken the XMT virtual analogue engine that powered it and added it into the more compact KingKorg Neo. Now, a new KingKorg swings into town.

XMT stands for eXpanded Modelling Technology, with the aim of it being to provide a wide variety of sounds and simple operation. This means preset algorithms that combine different oscillator types – everything from simple sawtooth and square waves to more complex offerings and PCM/DWGS.

The extensive filter section, meanwhile, models multiple types – expect the flavour of ‘70s monosynths, ‘80s polys and, of course, Korg’s own MS-20. There’s a 16-band vocoder, too, complete with formant shifting and individual control over the level and pan of each band. Either the input from the supplied mic or the synth itself can be used as the modulator.

In fact, each of the three oscillators or two timbres (A and B) can be set as the source for the mic input, opening up even more possibilities.

KingKorg Neo also offers three master effect slots, each of which can access six different effect types. The Pre FX slot includes the likes of distortion and an amp sim; Mod FX deals with phasing, chorus and tremolo; and Rev/Delay does (wait for it) reverb and delay. You can select which effect goes in each slot with a dedicated dial, then finetune it with further controls.

So far, so straightforward, but if you want to stretch the limits of the KingKorg Neo’s capabilities, you’ll want to familiarise yourself with its virtual patching system, which enables you to make six virtual patch assignments for each of the two timbres. So, you can connect control signals such as EG, LFO and joystick movements to the sound parameters of your choice.

KingKorg Neo has 200 presets spread across eight categories, so you can just dive in and start using those if sound design isn’t your thing. There’s also a handy step arpeggiator that will automatically generate arpeggiated phrases based on the chords you play; you can choose from six different arpeggio types and specify the duration, interval and on/off status of each step.

With its OLED display and block-based layout, the KingKorg Neo’s interface appears to be clean and concise, and you can also assign up to 40 programs to eight category favourite buttons for easy recall during live performances. The 37 full-size keys are velocity and release-velocity sensitive.

The Neo will be available from February priced at $949/£1,099.

Find out more on the Korg website.