DRV/Owner’s Manual. License Agreement. 1) All intellectual property contained in this library – including owner’s manuals and product literature – is the . We are an authorized Korg dealer and service unit has been serviced and tested by is fully functional and in excellent DRV Late s Digital reverb unit from Korg. 16 different ‘verbs that can be endlessly tweaked, PLUS you can run 2 different effects at the same.
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Following on from the DRV and DRV, this latest digital reverb cum multi-effects processor is Korg’s most sophisticated yet – bit, 20kHz bandwidth, full MIDI control and, for all armchair enthusiasts, an infra-red remote control. David Hughes finds some nice surprises lie behind the sleek front panel of Korg’s top-of-the-range stereo digital effects processor for those prepared to experiment.
I have to start this review with a confession: I was aware that such devices did exist but I never really put them at the top of the purchasing list, always promising myself that one fine day I’d perhaps buy one. Alas, I never did, and I’d hazard a guess that I’m not the only one in this situation. Effects units have come a long way in a very short time – another avenue of musical instrumentation to benefit from the advances in digital technology.
There is also a great deal of competition between manufacturers at all levels of this market but, to me, none of these companies have ever really gone to a great deal of trouble to point out the advantages of using a sound processor. And this, I guess, is another reason why I haven’t as yet taken the plunge and bought one.
In buying a synth, sampler or drum machine, your choice is usually based on one of two things. The first is obvious: It’s no use talking about Fairlights if you’ve just sold your grandparents to the white slave trade just to buy a plug for your amp! The second is one of basic sound – you either like it or you hate it.
These features make it comparatively easy to choose an kprg. Not so with a signal processor. There are too many variables to make a reliable choice. To me, devices that make a sound have always taken priority over things that simply modify an existing sound. But perhaps this is the best frame of mind in which to review a piece of equipment like the Korg DRV, concentrating on what it can actually do for you and what the end result sounds like instead of just comparing it with other instruments in the market place; though this, of course, must be taken into consideration.
It has a simple, uncluttered appearance rather like a Habitat showroom. There is only one rotary pot on the front and two pushbuttons, one of which is the power switch.
However, all is not lost because the DRV has a master card up its digital sleeve in the form of a rather elegant, hand-held, remote control box, which is used to operate the machine from the comfort of your master keyboard.
Okay, time to actually sit down and use the device. kotg
On plugging the unit into a source of electrons, ie. The machine then jumps to the effects program you last called up. Now, with every instrument, be it the mega-synth of your dreams or even a humble tumble-drier, there are two ways to get to know the machine. The second, the one which I usually lapse into naughty, naughty, slap on wristis known as the ‘tweety-pie’ approach, ie.
Far too often this latter approach is pushed upon you by the fact that the manual is about as readable as War and Peace and about as involved. And this, sad to say, is where Korg have goofed up a trifle. The manual doesn’t really explain exactly what ‘reverb’, ‘phasing’ and ‘early reflections’ are in detailed terms.
You’re expected to know what they are and what they should sound like. Also, there are one or two serious gaffs which had me sitting on the floor scratching the proverbial bum wondering what it all meant. Korg’s translator appears to be a little confused over the definition of ‘serial’ and ‘parallel’. At this point in the manual, I gave up and went to search out my Collins Dictionary to discover if I’d been using the wrong definition of serial and parallel since I did my O-Level in Maths.
However, I must say that the manual is streets ahead of the efforts from certain manufacturers who seemingly put more thought into their motorcycle repair manuals than those for their musical instruments. The graphics are quite good and do give a meaningful representation of the processes at work. I just wish that manufacturers would spend a little more time koeg to remove all of the topying wristaches from a manual before it’s released to the general public.
The next step is to connect the device to an instrument and an amp. The rear panel of the DRV is glorious: Consequently, I had no trouble hooking it up to my mixer with no rummaging around in draws trying to find a lead that would fit. So, if you’ve filled up erv available memory locations resident within the machine, you’re really up a gum-tree unless you are prepared to delete some of your previous edits. However, all of these marvellous ins and outs matter not one iota without actually assessing the sonic capabilities of this box.
Time to start playing The first thing I noticed about the DRV was that it does seem to need quite a beefy signal before the ‘headroom’ LEDs on the front panel start to twitch.
And the problem did not vanish altogether when I plugged my Akai AX80 into the mix – and yet that is a synth which is notable for its quiet output. So, I suspect that the Korg unit may have a problem in the pre-amp department. The DRV has 16 preset sound processing effects which include five reverb effects, two early reflections, two echo effects and a few ‘special’ variations on the above to bring the most out of the machine.
Iorg through the presets, I began to realise why these devices have become so valuable in recent years. It is always difficult to convey personal impressions of how something sounds in words and, obviously, what I like you might not.
The presets available remember, these are not ,org rigidly, you can edit them quite freely via the remote control and store them away afterwards form a pretty broad selection from the range of treatments that you might conceivably want. Running through the presets then, ‘Concert Hall’ sounds exactly as its title implies. A nice effect that needs little introduction since it’s really too accurate to quibble over. The original sound still shines through in all its glory but the tightly clustered reflections from the walls of your imaginary reverb chamber combine to make this one of the most usable of the effects available.
Similarly, ‘Space Reverb’ does much the same but successfully animates a sound, producing a combination of reverb and discernible echoes as the sound dies 300. Other notables include ‘Chorus and Echo’, ‘Gate Reverb’, and the ghastly ‘Reverb and Flange’, the last of which vrv emulates the appalling sweeps in pitch that became the hallmark of many a punk artist. As some of the above names imply, the DRV can be configured to create two effects at once. This is not a new idea, other processors such as the Roland DEP5 put the idea to good use.
The Korg unit does not fall short in this dtv at all. However, the front panel could be a little more helpful. The main user interface is a character backlit hurrah!! LCD display and this gives out all of the effect-specific drb, such as voice level and program name. Alongside the main display are a series of legends which describe the global functions of the unit, such as the mode you’re currently using, either serial or parallel, and the program group that you’re accessing.
The legends for program and oorg selection are kory and are therefore quite easy to read some distance away. Program number is easily legible in the form of a large, bright, two-digit LED. However, the indicators for the serial and parallel mode consist of two small rectangular LEDs and these are very hard to interpret unless you learn exactly where they are on the front panel.
This 30000 certainly had trouble with since I’m becoming myopic in my old age! Creating new programs is quite straightforward with the DRV and comes as a breath of fresh air in this world seemingly dr with ‘preset-itis’.
To me, buying a preset synth was somehow a contradiction in terms and, hence, I never really took to the idea of all these Alesis koeg ART processors dvr but that’s a personal preference.
You may, after all, be perfectly happy sounding just like every other band that happened to buy such a machine and, yes, there are an awful lot of them around. The initial route to customising your own effects is by adjusting the levels of the direct untreated and processed sounds.
Help with Korg DRV-3000 ( not working)
This is quite satisfying and lets you tailor the balance of the final elements to suit the kog of kprg environment you’re attempting to imitate. The second method of customisation dv by editing the program parameters themselves. There are some restrictions on the way in which effects may be combined korrg the DRV and this I didn’t take to xrv well at first, but you can’t have everything I suppose. This has more to do with the restrictions imposed by the hardware rather than any fault of the programmers.
The display is always helpful during the editing process, indicating clearly which effect is being modified and at which level you’re working on. Yes, there are a lot of them! For example, when editing a reverb effect, you can set the reverb time in the range 0. You can vary the degree of high frequency damping which is especially useful when emulating the effect of curtains and the odd deep-pile carpet in your hypothetical room.
Other options include setting the pre-delay time, that is the time delay which occurs naturally between the direct sound and the first reflected sound reaching the listener in say a concert hall, dvr or dog-house, depending on where you might want to be. It is also possible to filter the frequency content of a sound using the DRV’s high and low pass filter facility.
Furthermore, there is also provision to add a second reverb time to a sound process and to activate this from a footswitch not supplied plugged into the rear panel. Effects 6 and 7 are ‘Early Reflections’ and don’t refer to staring in a bathroom mirror first thing in the morning! Instead, these reproduce the initial early reflections which occur in an acoustic environment and indicate precisely the size and quality of that environment.
Here, you can set the type of early reflection groupings, either Hall, Random, Reverse or Plate the latter referring to ‘Plate Reverb’, which creates reverb-type effects using large sheets of metal. Buy one of these instead! One thing I succeeded in doing was to create an acoustic environment that was actually too small for the device, namely a snare ddrv.
This is a weird sound which doesn’t defy description but I suspect I’d spend most of next week searching through ‘Roget’s Thesaurus’ looking for drb descriptive words. A thoughtful addition is a ‘Delay’ function which lets you set a time delay between the processed and natural sound and really shows how well the DRV has been thought out. Several DRV effects fall into the category which was once the province of the good old digital delay line.
Of these, ‘Stereo Echo’ was, to me, the most impressive.
Korg DRV (SOS Sep 87)
Here you can set the echo times for both right and left channels independently, the principal difference between the two effects being the position of the feedback kogr in the algorithm. Musically, very satisfying, giving the impression of two very complex instruments at work. The penultimate effect is simply ‘Panning’, ie. Quite useful but, somehow, an effect which I feel was done to death many years ago.
Here, the variables are pan speed, pan mode and pan depth. Sounds like a lavatory commercial! Finally, we arrive at one of the musical delights of this instrument, a process not too dissimilar to sampling, pitch shifting. There are two possible modes here – effects 15 and This is how I tried it out: I played a test sequence drf two tracks of my Steinberg Pro sequencer, one an instrument track, the other a harmonising track.
When I hit ‘play’ on the sequencer, the result was two instruments each playing a melody, one of which was the real melody, the other a counter-melody produced as a result of the pitch shift.