Gonna switch gears a bit here and talk about a desktop synth rather than MI modules 🙂 I do actually use a fair few desktop synths, but Korg’s OpSix has proven itself over and over for being the do everything synth i’ve wanted, and has even drawn me away from my modular for sound design work.
Chapter 1: Operators
OpSix has 6 operators (crazy i know). each operator can be one of 6 modes: FM, Ringmod, Filter, Filter FM, Wavefold, and Effect (and bypass and mute). Each mode refers to how the carrier reacts to the modulator. Each carrier has an internal oscillator as well. Each mode will either mix the internal and modulator, or the modulator will affect some part of the carrier, be it oscillator phase, amplitude, filter cutoff, etc. Each operator also has a pitch menu with fixed/ratio controls with detune, transposition, modulation amount controls, and velocity. You can also change the amplitude EG, set up key splitting, and normalled modulation in the “level” menu.
FM is your typical phase modulation, really more Z1/Prophecy-like than DX7, with 23 waves to choose from, each with variable pulse width (Serum-style) and self-feedback. Ringmod makes the modulator effect the carrier operator’s amplitude, allowing for ringmod and VCA-like modulation, depending on the value of Shape. Filter combines the modulator and carrier oscillator with variable mix then runs them through a filter, one of 12 types, 8 of which are analog modelled. Filter FM has the modulator control cutoff frequency at audio rate with the same filter types, and it tracks the keyboard. Wavefolder mixes the modulator and carrier osc then gives you gain and bias controls for the wavefolder.
Finally you have the effect operator, which gives you access to one of 10 effects, including 2 EQ’s, Phaser, Short Delay (for delay or karplus stuff), Comb (for dank dubstep, or karplus stuff given it tracks the keyboard), Distortion, Overdrive, Decimation (bitcrushing), and a Phase Distortion Waveshaper using a wavetable of 64 waves.
Each operator is a synth unto itself, basically, and they can be freely combined. Each also has its own amplitude envelope and normals to other modulation sources.
Chapter 2: The Filter
The main filter of OpSix is after the matrix, so a master filter if you will, given you can filter within the matrix. There’s 11 filters to choose from here, most of which are modelled, and you get cutoff, resonance, envelope amount, and control of envelope amount as the main parameters. There’s also keytracking and LFO amount with a control amount parameter on page 2.
Chapter 3: Modulation
There’s 3 envelopes and 3 LFOs in OpSix. The first two of each are normalled, the third are designed to be patched in the matrix. The envelopes are standard ADSRs, the LFOs have 23 (different) waves to choose from, including arpeggios, randoms, etc. Each as a speed control with sync, phase, and fade in options. The modulation matrix (shift+mod) gives you 12 modulation slots where you can assign controllers, keyboard stuff, CC, EGs, LFOs, and aftertouch to any parameter (and I do mean any), with bipolar amount control and control for the control (so you can, for example, use a mod wheel to control something’s amount, or use another modulator to AM a modulator).
Chapter 4: Effects
There’s 3 effect slots with 30 effects each. There’s too many to go into here so check the manual, but needless to say it’s pretty good. I would prefer 4 effect slots, but I can make it work. Some of the highlights here are the OG Ensemble effect, Auto Wah, modelled guitar amps and cabs, granulator, and Shimmerverb. It can all be modulated via the matrix.
Chapter 5: Other Stuff
It has a fairly standard arpeggiator. The sequencer is super nice to use and can easily do longer and shorter sequences than 16 steps, both because you can do sub-step stuff and because there’s a length parameter. You can choose direction, reset, swing, note resolution, and for each step you can have up to 6 notes with adjustable start and end times and velocity. There’s also a motion sequencer which works like automation in a DAW. You can also transpose the sequence.
The voice menu allows you to add global unison, portamento, and determine if the synth is polyphonic or monophonic with two modes (retrig or legato). The misc menu allows you to transpose a patch, set pitch bend range, master vibrato, enable Lo-Fi mode, control global algorithm feedback, set up oscillator sync per keypress (or disable it), build a custom algorithm, and copy/paste operators. The global menu has midi stuff mostly.
There is a randomise function which allows you to randomise any or all parts of the synth with a set randomisation range and random type. It’s pretty handy and almost always lands on a useable patch – depending on what you call useable.
Conclusion
OpSix is feature rich and powerful, especially for being effectively a custom MIDI controller wrapped around a Raspberry Pi running Linux as a VST host. There is a VST version, but it runs horribly on my PC in Bitwig. It’s incredible for analog sounds (including hybrid analogs like the Alpha Juno and Jupiter-like hardsync using FM), FM sounds, and most importantly, sound-like sounds. It’s effectively a modular synth in a box for, when I got mine, $540, which sounds like a lot when you think of it as a VST in a box, but is cheap as a modular synth in a box. Plus there is something to be said for tactility.
Overall, I consider OpSix both a natural progression for Korg, and them raising the bar once again (which, presumably, everyone will fail to reach). I say second best both to not encroach on whatever your favourite synth is, but also because there are probably other, better synths, like Phaseplant, Iridium, Falcon, Pigments, Avenger, etc. I don’t have the time or synth budget to try them all!
Taika Sound Design 
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