Korg have made the process as uncomplicated as possible. You hit the Sampling button, at which point the four sample pads flash red and the display shows the number of beats available to record.
The beats value may be set to 1, 2, 4, 8 or 16 — but no other intervals are offered. Plus, if you work with extremes of tempo, not all intervals can be selected. The lowest tempo supporting 16 beats is 74bpm — suggesting that the maximum sample time is about Mostly you never even think about this stuff; all the calculations of loop length and sample time take place under the covers, which is fine by me!
Having set your sample length, recording begins as soon as you hit one of the four pads. Incidentally, there's no equivalent of the earlier Kaoss Pads' 'Auto Rec' function which ensured that sampling started on receipt of an audio signal. Having started recording, your loop will fill the maximum number of measures, with progress represented by the successive lighting of each of the eight Program Memory buttons.
Once complete, the pad turns orange and looped playback begins immediately. Simply hitting the pad again stops looping and the pad glows green to indicate a loop is present. Each sample pad is assigned a MIDI note. However, the pads do not respond to external note triggering during sampling. This is a pity, since it prevents you from initiating the process precisely, using a sequencer. To obtain a perfect loop, there's nothing for it but to master hitting the rubber pads in time.
This really needs to been seen in motion to do it justice and should yield hours of fun. To create a one-shot sample instead of a loop, you must end the recording prematurely by pressing the pad before the loop is complete. Having done this, the pad turns red and the sample will be played in full each time you trigger it.
Korg have covered all the bases pretty well, although I did miss a fast means of wiping sample memory. However, it's not exactly laborious to sample again over the top, should you make a mistake. At any time, you can fade your samples in or out using the dedicated Level slider. Should you require individual level control of each sample, press the Shift key and the relevant sample pad to engage Loop Edit mode. Oddly, the moment you do this, only the sample you have just selected remains audible; the others are silenced until they're selected for editing or you exit from this mode.
The level of each sample is set using a bar-graph that materialises on the matrix above each pad. Hit the pad and push your finger along the matrix to set its level — very Star Trek. You'll also notice that the main display changes to indicate 'Shot' if the sample is a one-shot or '0. Loop Edit has one last trick — and it's a corker! Initially, each loop is divided into eight equal slices, represented by illuminated Program Memory buttons. Individual slices may be switched on or off via these buttons, as seen previously on Korg's sampling Electribes.
But the results here are very different. With the Electribes, deactivating a slice will silence the loop for the duration of that step. The KP3 simply skips any steps that you turn off, as if snipped neatly out. Therefore, you can dynamically and non-destructively re-order your loop during playback. This technique is also interesting when isolating sections of very short loops as it generates a series of buzzing, 'stuck CD'-type noises. Instant granular synthesis, anyone?
And this still isn't all. The Sampling button teams up with the Shift key how did the other KPs cope without it! When resampling, the KP3 captures its entire audio output, complete with any loops, incoming audio and effects. It's very much like boucing down multitrack audio and, in theory, could be done ad infinitum — leaping from pad to pad, warping your audio with different effect treatments each time.
If you are the sort who agonises over the 'cool results to hard effort' ratio, brace yourself for a flush of embarrassment. In the past, there was no way to back up your KP samples — they were as ephemeral as a politician's promise.
In common with the earliest sampling Electribe the ES1 , samples don't have names, just two-digit numbers, and a card can hold up to of these Similarly, up to WAV or AIFF files can be stored too with the same naming restrictions and can be imported, with the limitation that if a sample is too long it will be truncated. The Korg Kaoss Pad is a touch-operated dynamic real-time effects controller and sampling unit.
The base of the Kaoss Pad lays around an XY pad - as you move your finger around the pad you are controlling many sophisticated aspects of a built-in effects processor. Move your finger left to right and you control certain aspects of the sound. Move it up and down and you control other parameters. The Kaoss Pad produces complex sounds that are hard to achieve with any other controller.
The Korg Kaoss Pad is packed with sampling effects like like filters, delays, reverb, and flanging, along with DJ effects like isolator, slicer, and auto-panning. Programs are selectable via a rotating knob. The programs are assignable to eight of the memory buttons for instant recall. The Kaoss Pad also comes with several synth sounds including analog synth programs and ethereal ambiance-type sounds, aswell as vocoder programs for MC or vocal processing.
The Kaoss Pad also includes it's own "light show", creating a sense of groove. It's just so easy — and most importantly — fun to use. Eno described Kaoss Pads as "a way of taking sounds into the domain of muscular control It's immediately obvious what you do, and it takes you into a completely different place, because when working with computers you normally don't use your muscles in that way.
You're focused on your head, and the three million years of evolution that resulted in incredible muscular skill doesn't get a look in. What's the best ever Kaoss Pad song? I've created a demonstration track of how these different combinations can work by adding live effects to a button-bashing improv on my Roland — streaming here. With the looper controls you can sample and rearrange snatches of vocals or beats, or add pseudo-vinyl scratch effects.
Hey, what's that sound: Kaoss Pad. An easy-to-use gizmo that has captured the imagination of everyone from Jonny Greenwood to Brian Eno.
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