Theoretically yes, practically no. The reverse is the common case, when you need to support older plug-ins — for example bit Logic Pro can run legacy bit audio units, but bit Logic Pro cannot run bit AUs. One big difference of bit mode is that your registers are 64 bits wide, potentially allowing a single instruction to do twice as much work as it would in bit mode.
Yeah sure, but you will see FL Studio bit will suck. Get a life and learn the lesson. Time will tell I was right all along. Can you make the interfaces bigger yet? Seriously fantastic synths and a great deal if you buy a nanokey, but bigger interfaces and some control improvements would help. I recently bought the 32 bit M1, my 50 yr old eyes would not mind resizing on my Analog Edition. Thanks from across the pond.
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Why does everyone keep saying you can use the Korg Plugins on multiple computers? When you buy it I got the M1 you get a code for that computer.
If you try to use it on another computer it says invalid. Korg Legacy Digital. Keygen- AiR.. Keygen- AiR. Korg Legacy Collection MS v1. Korg M1 Plugin etc , how do I get it to remember the preset in my Live set? Star added.
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Quote saved. View saved quotes Close. Login to quote this blog Login Close. Failed to save quote. Please try again later. Hard-wired to the VCA, this generates the contour that you would expect. However, when you use it to sweep the filter, changing the Sustain Level seems to have no effect on the filter cutoff frequency. Well, that's not quite true. It has a brief effect, but then the filter settles back to its previous cutoff frequency.
What's happening is this EG2's sustain level is always set to be 0V at the filter's input, and therefore does not affect the cutoff frequency. This means that, when modulated by EG2, the cutoff frequency starts below where the cutoff frequency would be if not affected by the envelope, rises above this point in the Attack phase, then drops back down to 0V in the Decay phase, in time for the Sustain phase. When you release the key or when the Hold time is completed the cutoff drops at a rate determined by the Release to where it started. Consequently, the Sustain Level control determines the height and depth of the frequency shifts in the Attack, Decay and Release stages.
Features of Korg Legacy Collection
Aside from a couple of rare Yamaha synths, I'm not aware of any other manufacturer implementing a filter contour in this way, and it is one of the oddities that sets the MS20 apart from the crowd. Happily, Korg have recreated it correctly on the Legacy MS What is not identical, however, is the calibration of the envelope times; the slowest Attack on my MS20 is much slower than that on the software version, although the Decay and Release are much the same. EG1, although the less flexible of the two, offers four stages: Delay, Attack, Sustain at the maximum level , and Release.
This acts almost identically on the two instruments, so we need say no more about it. To the left of the original MS20's envelopes lies a simple Modulation Generator that offers just two controls: frequency and wave shape. When this is switched on, the LFO is synchronised to the tempo of incoming MIDI Clock, the tempo of the host application, or the Tempo in Legacy Cell, depending upon the way in which you're using the program. It's a simple system, and it works well. The six knobs to the left of the Modulation Generator allow you to direct various combinations of EG1, EG2, and the triangle output from the LFO to the control inputs of the oscillators, the high-pass filter and the low-pass filter.
These knobs allow you to create a basic range of vibrato, tremolo and 'sweep' effects, and to shape notes in the usual fashion. But if you want to step beyond the limitations of the pre-patched architecture, you'll need to turn to the patch panel The Modulation section. Firstly, you can rename and write the current patch to any of the 32 locations in the memory bank. Next, you can save a single patch to disk although this file will not contain the Configuration parameters — see page or save the whole bank. When you wish to load patches, you can reload single patches or complete banks.
It couldn't be simpler. Unfortunately, Legacy MS20 does not allow this, so you are limited to using it as a stand-alone instrument. Operationally, I particularly liked the fact that physical patching on the MS20iC controller is echoed on screen so that, when you save and recall patches, you can see exactly what's going on.
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With 10 physical cables provided, you should have enough for any patch, but even if you run out, you can continue to make connections on-screen by dragging virtual cables from one socket to another. The software does not preclude 'wrong' connections, including the naughty but nice trick of feeding the output from the headphone socket into the Ext Signal In jack. It's just a shame that on-screen patching is not echoed by the magical appearance of a patch lead on the MS20iC controller! Legacy MS20's patch panel. Pleasingly, almost everything on the software version seems to work as on the original, including the unusual 'Track and Hold' behaviour of the mis-named Sample and Hold module for more on this, see the Synth Secrets August I experimented endlessly with signal levels, external filtering and compression, and with the band-pass filtering within the ESP itself but, try as I might, the best I could obtain was a glitchy noise that refused to track correctly.
The ESP works like this. If you're running Legacy MS20 as a stand-alone program, any audio presented to the computer's audio input is directed to the Signal In socket of the ESP. Once the ESP is receiving audio — and the key here is to discover that you must switch it on by clicking on the Audio In legend — you can set the signal level, and use the band-pass filter to isolate the range of fundamental frequencies if you do not do this, the ESP may try to track harmonics, which is one source of glitching.
You can then take the output from the frequency-to-voltage converter, using this as a CV to control other parts of the synthesizer, and the output from the Envelope Follower and trigger generator which is actually a Gate generator to do likewise. In practice, this works exactly as it did on the original ESP.
In particular, you'll discover that it remains impossible to use the derived CV as an even-tempered pitch CV, no matter how you adjust the CV Adjust within the ESP itself, or the Ext knobs in the modulation section. No change there, then — but of course you can use the CV to control parameters other than just pitch, and at least the emulation remains faithful to the original, warts and all.
The MS20iC is lovely, and I particularly like the fact that when you switch it off and on again the program and the Edit screen jump to the physical values of its knobs and inserted cables. Unfortunately, the quantisation of its knobs is too coarse for careful programming. To obtain precise adjustments, you must use the Shift key and mouse to change parameters on screen; programming in this fashion offers much finer control. This method allows you to program an Osc2 detune of 0. In contrast, the smallest division available from the MS20iC's front panel is 0. If you're using Legacy MS20 as a plug-in rather than as a stand-alone software synth, you'll notice that a second program appears in the effects list of your host application.
Called MS20FX, this has all the facilities of the MS20 software plus stereo inputs from within the host application note, however, that MS20FX is unable to process audio presented to the computer's audio inputs. I have owned an MS20 for 26 years, but I still hadn't tried some of these, especially the trick of overdriving the ESP for some excellent distortion effects. Thank you, Mr Programmer!
Directly comparing the two synths, I found that the ESP in the Legacy Collection works slightly better than that of the original MS20, but it will still glitch and become unstable in all but the most favourable of circumstances. Again, this is a testament to Korg's desire to produce an exact replica of the vintage synth.
I suspect that it would have been easier to create something that works well than to model something so erratic, but the only concession the company has made to the 21st century is to make the ESP stereo, which you will discover if you increase the Polyphony and Unison to values greater than '1', and set the Unison Spread to greater than zero. All of which brings us to Using Legacy MS20 and MS20FX is a doddle for anyone who has experience of the original MS20, and for anyone prepared to read the comprehensive but not overly long documentation.
As you can see in the screenshot above, Legacy MS20 's 'Edit' screen possesses seven sets of controls not found on the original MS20, and these extend Legacy MS20 's capabilities way beyond what was possible on the hardware MS20 back in The first of these Voices allows you to determine the polyphony, and how many voices will be overlaid in Unison. The former accepts figures from one to 32, and the latter from one to 16, meaning that polyphony can be as high as 32 voices, or as low as one, with up to 16 voices under each note.
Underneath these, you'll find the Unison detune and spread knobs which, as you would expect, determine the amount by which the pitches of the unison voices are detuned and spread across the stereo field.
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Unfortunately, there is nowhere to set the key priority. The original MS20 used single triggering and high-note priority, but Legacy MS20 has last-note priority, so there is no way to get the software to replicate the playing style of the original synth. You also have to be careful of the interaction of these six controls, because they can lead to at least one unexpected result. If you set the polyphony to be greater than '1', the voice mode to Mono, and the Detune and Spread to '0', you'll find that the tone of your patches changes when you change the polyphony.
At first, I thought that this was a fault, but it isn't. Given that the software is emulating an analogue synth, the voices are not identical, but they are so close that, with no detune or spread, you obtain phase cancellation. Every time you change the amount of polyphony, you are changing the nature of the cancelling, and thereby the tone. So beware. You must also pay attention to the amount of power demanded by higher polyphony and unison settings. I found that, depending upon the nature of the patch, I could typically get as high as 18 voices before the sounds started to glitch, or acquired a grungy quality.
This is quite low, particularly when unison is '2' or higher, but the consequence of setting the polyphony even lower is note stealing. If you want to stop the computer maxing out, you can set a CPU loading threshold that, if exceeded, will cause the MS20 to stop producing audio. This means that there will be no nasty digital noise if the processor overloads. The next panel has just one control, marked 'Analog'.