The company even claimed that OASYS would support several models simultaneously, allowing players to mix orchestral models with analogue-synthesis models with drum samples, and so on. Some of its technology subsequently appeared in the Prophecy, Trinity, Z1, and Triton.Korg R&D had used the software SynthKit to develop a wide range of models, but these were to be whittled down to a selection that included imitations of orchestral instruments, tonewheel organs, FM synthesis, stereo PCM synthesis, wave sequencing, additive synthesis, and various forms of analogue synthesis. Sadly, it was never fully released commercially in this form, but nevertheless, it did exist. The original OASYS keyboard, as previewed in SOS March 1995. there was an upper limit to the complexity that OASYS could support. The only limit would be the power required by the models. in principle - support an unlimited range of sound-generation systems. This meant that, unlike the fixed models in Yamaha's VL1 and VL7, the OASYS could Long before the advent of software synths, Korg R&D had designed OASYS to be capable of loading and running whatever algorithms the company developed for it. Nonetheless, it was real, although it looked unlike any previous keyboard, with the centre of its control panel dominated by a touch-sensitive screen that provided access to, and control over, its complex sound-generating system - or rather systems.
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