The art
of sound design
Amsterdamer
Victor Morello
I created this sequence as a nod to an existing Modular V preset I made years ago, called Berliner. It uses two rows from the sequencer to create a duophonic melody, based on a simple but effective chord. Tweaking the modulation amounts on the cutoff and the resonance can lead to many interesting grooves!
Victor Morello - on KORG MS-20V
The main strength is definitely the organic quality of sound. I feel there has been a big step up in emulation quality in the last couple of years and this product definitely shows. It is a very straightforward adaptation with no filler content. This makes you more aware of the core sound and go deeper on subtle setting, like you would do on actual hardware. This simple but bold design definitely helps you get in the zone and focus on the sound instead of fancy moving graphics on the screen.
I focused on simple sounds that are versatile and show the quality of the filters and oscillators. I also included some typical funk and progressive rock patches, which relies on the core sound of the filter and oscillators, and usually do not sound convincing on most analog emulations.
Night Ride
Marco Iodice
A simple patch with a huge and dark result. The preset consists of two detuned saw waves, triggered by an arpeggiator. The spice of the patch comes from Channel A of the sequencer: it gives dynamism to the sound modulating both filters rhythmically. I really enjoy using the Timbre Macro dynamically to change the oscillator waves and Mod wheel to detune the sound.
Marco Iodice - on KORG MS-20V
The work done on the two filters of the instrument is incredible, using them and experimenting with the resonance is pure pleasure. Compared to the original hardware there are some very convenient additions in the patchbay, which give the possibility, for example, to modulate directly the PW or the VCA. I think the pearl of this software is the addition of the sequencer, a powerful tool that adds many more possibilities of sound and modulation!
“I usually create macrogroups in my Daw, divided by typology of preset, so as to have from the beginning a clear picture of the sounds on which I will work. A fundamental part of my process is surely the inspiration that the instrument transmits to me. KORG MS-20V has a specific magic: even a very slight filter movement can make a huge difference to the sound result. This made the process enjoyable and unpredictable to me. I found in this Arturia's recreation everything I expected from this synth: warm sound, unpredictability, hours of fun. One of my first approaches to hardware synths was with a KORG Ms-20 of a friend. After years, having had the chance to work on some presets of this software version is an amazing feeling to me! The addition of sequencer and effects make this synth even more beastly and will ensure you a lot of fun while creating your patches!”
Marco Iodice
Ripping Concrete
Sonar Traffic
Ripping concrete was an experiment to see if I could use FM on the oscillators yet still keep the sound playable. Turns out that after a little tweaking this worked and also it gave a rough quality and movement to the sound without using the LFO at all. Then I add feedback via the mod wheel to make the sound fly out of bounds completely.
Sonar Traffic - on KORG MS-20V
I love the MS20 V for its ability to sound lifelike and gritty with the half modular concept giving just the right amount of extra options by way of the half modular concept.
The MS20V is so close to the original, not only in sound but also in the user interface. The fact that there's not a huge extra set of capabilities limits you in a good way. Then of course the patch gives you a lot of possibilities already. I also hoped Arturia would include the sequencer in the package and they did! So that opens up the possibility for those characteristic underground techno / EBM / new wave basslines and more.
Rings Of Saturn
New Loops
Rings of Saturn has to be one of my favourite presets I have done for the MS-20 V. It's a huge, cinematic pad with a deep, analogue sound and unpredictable behaviour. It has a raspy character and the notes interact with each other, bouncing around the stereo image. With it's sweeping filters, I think it shows the rawness of the MS-20 V quite nicely.
New Loops - on KORG MS-20V
With the MS-20 V, I was immediately struck by the sheer massiveness of the sound. It has real depth and thickness. The filter models have loads of character and the whole thing is oozing with analogue nuance. Being able to play polyphonically with great sounding, modern effects opens up this classic synth to all kinds of sounds, whether keys, pads, leads, or bass. This one is sure to be a favourite of many producers.
I wanted to make a preset that sounded alive and with raw character. For the pad sound, the attack and release were set first, then the filter, filter envelope, and finally a decent amount of effects. Everything else is tweaking until it's just right.
Filters On Ecstasy
Tobias Menguser
This drony soundscape makes heavy use of the unique filters of MS-20V. this audio example was created just by holding a few notes and tweaking Brightness & Timbre Macros and mod wheel on top - welcome to MS-20 heaven!
Tobias Menguser - on KORG MS-20V
I owned an original MS-20 and SQ-10 in the '90s and when designing sounds for KORG MS-20 V I definitely was feeling the sonic details of the original - super fun to use with endless patching possibilities!
I was clearly focusing on the unique filters with their different modes and also made use of the polyphony of KORG MS-20 V, not possible with the hardware at all.
Drunken Lead
Gustavo Bravetti
Gustavo Bravetti - on KORG MS-20V
I'm amazed about how fat, raw, and thick KORG MS-20 V's sound can get. Extremely close to the original, even in aggressiveness, if pushed. The cherry on the cake is the six-voice polyphony with dispersion. I always wondered how an analog string ensemble or a unison lead made of multiple MS-20 would sound, and now I know... just amazing!
The last time I played with an MS-20 was a long time ago, so I started exploring feature by feature, and the sounds started popping out. I particularly like the flexibility of semi-modular synths and the possibility of introducing distortion and even feedback loops through the patchbay, so I spent a lot of time on those areas, and it paid off!
“When I started sound design I forced myself not to go too crazy on this instrument but to create useful sounds with a little twist. Well, sometimes it got a little out of hand but that's due to the character of this instrument - you can't always predict what's going to happen.”
Klaus Baetz
Pong Bits
Ed Ten Eyck
Pong Bits: This is a pitch and filter sequenced sound with a kind of quirky result.
Ed Ten Eyck - on KORG MS-20V
I know it's just visual, but something about patching cables makes me feel like a kid in a candy store. I do like the optional MKII mode as it has a more aggressive sound to me.
It varies really. Sometimes I'll have a complex idea in mind or perhaps just the basic idea/feel. Other times I'll just go for it and start patching & twisting and see what happens.
Puking Telephone
Klaus Baetz
I love this sound because on one hand it has an almost digital, bit crushed and dub step-like vibe which is really cool. On the other hand it just sounds so funny and crazy that I just have to smile when I play it and it instantly creates this image of a puking telephone in my head.
Klaus Baetz - on KORG MS-20V
What I love most about the KORG MS-20 V is its raw power. You're always a little bit afraid because this little monster could start screaming any time and there are plenty of ways to make it do so. This, combined with the great FX section to shape the sounds, creates an immensely powerful combination that is really fun to use.