The important thing to understand here is that on the original Wavestation, some of these parameters were similar to what we have to work with now, others were considerably more limited or didn't really exist at all.įurther, on the Wavestate, each of these parameters now has its own Lane, which means they can exist completely separate in behavior from one another. We'll get into each one of these functions separately below. Each of the seven Lanes in a wave sequence controls one of seven different variable parameters within the Wave Sequence. On the Wavestate, the concept of Lanes is retained, but has a slightly different application.

âÂ will all have their own individual automation lanes, and when you move controls on your digital console or control surface, the movements will be written into those automation lanes in the DAW so they're all recalled when you play back your track. For every audio track in a project, the many parameters attached to the signal path â volume, panning, aux send amounts, plug-in wet/dry mix, etc. and boy, can it get crazy in a hurry.Īnyone who's done parameter automation in a DAW understands the concept of automation lanes.

It's complex and detailed, but the guts of the process have been broken out in a way that feels very natural and intuitive to work with. Korg calls it Wave Sequencing 2.0, and it's pretty damn impressive once you get into it. These form the basis for pretty much everything unique that the machine does, and most of what surrounds them (aside from the vector controls) is not highly unusual for a digital synth.

The heart of the Wavestate is its wave sequencing oscillators.

Korg wavestate performances