Korg

FM VERDICT
9.3
opsix is packed with unique
character, and – rarely for
an FM instrument – it’s fun
and accessible. Another top-
class digital synth from Korg
FADERS: The faders and rotaries
control operator level and ratio (coarse
tuning). A shift press switches control
to wave shape and operator mode
OPERATOR MODES: The diagrams
along the synth’s top edge detail how
carriers and modulators interact in
each operator mode
ANALYSER: opsix’s central screen can
be used as both a spectrum analyser
and oscilloscope, which is handy for
visualising patches
SEQUENCER: The opsix sequencer
is six-note polyphonic and has
four Motion Sequencing lanes for
automation
operator parameters, global fi lters and
effects, or cross-modulation of other
modulators. Each modulation routing
can also be assigned a secondary
control source for adjusting the depth
via inputs such as the mod wheel, a
control pedal, velocity, keytracking or
another internal modulator.
Compared to subtractive
synthesis, FM is an inherently
complex process and can be a lot
more fi ddly to program. Classic
hardware FM synths always struggled
with this – Yamaha’s DX range were
notoriously time-consuming to
program, and many users ended up
using them largely as preset
machines as a result. Recent times
have seen vast improvements; in the
plugin realm, the likes of FM8 make
the process easier by giving access to
all parameters in a more open,
multi-window interface, while recent
hardware like Elektron’s Digitone and
Yamaha’s Montage have succeeded in
making FM synthesis feel far more
hands-on and expressive.
opsix is probably the most
pleasingly accessible hardware take
on FM synthesis we’ve seen to date
though. The user interface is,
relatively speaking, fairly clean and
easy to navigate. To the left side is a
bank of six faders and rotaries used to
control each operator. The faders are
used to set the operator level, while
the rotary adjusts the ratio (ie coarse
tuning). With a shift press, however,
the faders can be used to alter the
oscillator wave shape and the rotaries
to change the operator mode.
In a particularly smart move,
these controls are backlit, and use
variations in colour to identify how
each operator is set up. The opsix
uses different colours to mark carrier
and modulator assignments as well
as, when shift is pressed, which mode
is being used for each operator.
To the right of the interface are six
data entry rotaries used to control the
remaining parameters, making use of
various menus selected by a row of
buttons underneath. While this does
mean that quite a few elements share
the one bank of controls – from
individual operator envelopes through
to modulation tools, fi lters and effects
– it’s generally easy to navigate and
rarely feels like parameters are buried
too deep within the menus.
That said, the opsix could have
benefi ted from a few user-assignable
macro controls. The UI does have a
home screen, which gives quick
access to several top level parameters
like the algorithm, global attack and
decay, and levels for each effect.
There are also several assignable
control sources like the mod wheel,
keyboard velocity or pedal input. An
additional rotary or two would’ve
brought extra expression though, to
let users tweak parameters confi gured
to suit each individual patch.
It might disappoint some users
that, like the Wavestate, opsix’s
37-note keyboard will register velocity
and release velocity but not
aftertouch. The synth is also
monotimbral, which is hardly unusual
at this price point, but it does put it
in contrast to its sister instrument
Wavestate, with its multi-sound layers
and splits, or its closest competitor
Digitone, which offers four
simultaneous FM engines.
opsix’s voice count is lower than
that of the Wavestate too, at 32 rather
than 64 voices. It does offer a unison
mode though, fantastic for creating
thick, powerful digital sounds capable
of fi lling the full frequency spectrum.
In all, opsix doesn’t quite have the
frankly jaw-dropping complexity of
Wavestate, but this is still one of the
fi nest digital synths going. Rarely has
a hardware FM instrument felt this
fun and intuitive to program, and the
ability to mix-and-match operator
modes lends opsix a genuinely unique
sonic character. Another resounding
success for Korg.
FADERS:
The faders and rotaries
OPERATOR MODES:
The diagrams
ANALYSER:
opsix’s central screen can
SEQUENCER:
The opsix sequencer
Korg opsix | Reviews
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FMU365.rev_korg.indd 73 26/11/2020 11:14