Korg - Nu:Tekt NTS-1 Digital Synth Kit

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Since we previously set this to “0”, this is processed. However, we don’t want processing to occur when the knob begins to turn, so we set “isStop” to “1” directly after. This means that the processing is skipped until the knob is turned all the way to the left and the value is reset. This kind of processing is called a “flag”. It's the same flag as when we say, “set the XXX flag”. You might be thinking, “why don’t the numbers start with 1?”. In that case, the loop would end once the number reaches the same number as “frames”. That said, there’s only one chance for the numbers to be the same... so if you make a mistake in your programming and go over the number, you’ll end up with an endless loop. If this happens, the program may freeze, or perhaps the following process will start at zero, which could be convenient... That ties neatly in with the next topic. The “rate” variable is used for the main processing, which is why I’ve explained this function first. Korg shall not be obliged to provide support services for any Third Party Software supplied (whether relating to operating methods, defects, or otherwise). isStop” is used for determining whether the stop effect is activated or not. In the C language, we can use the numbers 1 and 0 as a substitute for true and false respectively, so we’ll set this to “0” prior to the stop effect.

As you can see in the Readme file, all you need to do to install is to run the prepared shell script. The three onboard effects units are inspired by those on Korg’s Minilogue XD, which itself took onboard effects to a whole new level. Numerous reverbs, modulation effects, and delays are available to blend and edit at will, to really finish out your sound creations. As we’ve written over and over again, the basics of audio programming are the same, whether you’re using the NTS-1 or working with a DAW plugin. For that reason, if you’re planning to develop on Linux, you’ll need to install this tool. Once you’ve successfully installed these tools, let’s build (create the program for) the sample components included with the SDK. We can process these alternately, but for the sake of clarity we transfer these into variables each time, “inL” and “inR”.In the event that Third Party Software is supplied, you agree to be bound by and to observe any terms and conditions relating to the use of such Third Party Software. Here we have the templates for creating the Mod (modulator), Delay, and Reverb effects. Actually, there’s already a template in logue SDK, but we’ll do this in a simple way so that our lesson this time goes smoothly. The fact is that if you’re not familiar with the folder structure, you might mistake the sample folder structures for one another and not know where to copy the files.

You hereby agree to the exclusive jurisdiction and venue of the aforementioned territory, without regards to conflicts of law provisions. Out of the box, the NTS-1 synth features saw, triangle, square and VPM (variable phase modulation) oscillators, along with one user oscillator: Waves. Saw, triangle and square are what you’d expect, boast a pleasing digital edge, and operate as described in the section on control. The VPM and Waves oscillators, however, prove more sonically diverse. VPM is Korg’s version of FM synthesis, which creates harmonically complex tones. Waves, meanwhile, is a wavetable oscillator with ring modulation and bitcrusher effects that, when deployed correctly, can make for wonderfully unpleasant sounds and textures.

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This time, we’ve got a workable buffer size, so we don’t get a negative result. Still, we need to get into the habit of thinking about minus locations in our array. Maybe some of you have already figured this out. We use this method to get a value that’s 40% more than the value in the “pth” location. There are two methods used to show the sizes of numbers in digital audio data: fixed decimal and floating point. Floating point is commonly used in our ordinary lives, in the same way as when we say "50% more." It's easier for people to understand. However, the downside of floating point is that calculations get processed slower. Korg provides no warranty in relation to any Third Party Software supplied and all warranties whether express or implied as to the condition, quality, performance, merchantability or fitness for purpose of the Third Party Software or any part of the same are (in so far as may be permitted by law) hereby excluded. As you might imagine, you’ll need a lot of memory to store long files of music data. The SDK of the NTS-1 includes a function for memory operations (handling memory), and the third line of our code includes the statement “#include buffer_ops.h” for doing this.

The NTS‑1 is a DIY kit, but the build is not really any more bother than grappling with some seriously small screws. The only scary bit is the snapping of the boards as they all come as a single piece. But it's fine, just apply some pressure and they break along the predetermined lines. So now that I’ve got a smug look on my face after explaining all this, we’ll get into the secrets of how the bitcrusher works. Korg reserves the right to make modifications to the Licensed Program and to the support services set out in clause 7 of this agreement (referred to in this agreement as “the Services”) without prior notification to you. The two slashes (//) at the beginning mark a comment. Use these to leave behind notes in your program, as they won’t have any effect on how the program runs.

On the second line, the number subtracted from the “prev” that was converted to an integer from the original “p” is stored in “slope”. Korg warrants that the Licensed Program when properly used will provide the facilities and functions as described in the accompanying documentation but does not warrant that the operation of the Licensed Program will be uninterrupted or error-free. Previously, we received a value from the knob, and if that value multiplied by 64 exceeded the “count”, it would be reset to zero. The good thing is that there’s a lot of information on the Internet about these tools, so I encourage you to poke around on the Web to get your environment all set up! We hope that this article series has given an opportunity to as many users as possible to build an interest in understanding how their favorite music and synth apps are designed, while playing around with the NTS-1.