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Review Summary
2x Voices for duophonic; normally monophonic
Transpose Positions: 2 octaves down, normal, 2 octave up
Proportional Pitch Control: b (Pitch down) Pad: about -2 / 3 octave - (Modulation) Pad
Noise Spectrum Types (white and pink)
About 0.01 msec./oct
About 1.5 sec./oct
Sawtooth, Square, Pulse (Dynamic Pulse)
VCO-1 in low freq. mode, 0.2 Hz - 20 Hz: VCO-1 and VCO-2 (audio range) about 20 Hz - 20 kHz
1/30 semitone from turn on max
50 % - 5 %
ADSR, +45 %
LFO, +15 %
1 V/oct
LFO sin wave, +1/2 oct.
LFO square wave, +1.5 oct.
ADSR, +9 oct.
S/H, +2 oct.
Low pass (I: 12 dB/oct., II III: 24 dB/oct.)
16 Hz - 16 kHz
30
1/2 - self oscillate
C3 key (left edge): 0 V
C6 key (right edge) 3 V
80 dB
Digital
VCO-1, VCO-2 (square wave)
Keyboard or LFO trigger
VCO-1 sawtooth wave and square wave, VCO-2 square wave and pink noise
Attack Time: 5 msec. - 5 sec.
Decay Time: 10 msec. - 8 sec.
Sutatin Level: 0 - 100 % or Peak
Release Time: 15 msec. - 10 sec.
Attack Time: 5 msec. - 5 sec.
Release Time: 10 msec. - 8 sec.
Pedal: 6.3 mm monaural phone jack
Portamento Foot Switch: 6.3 mm monaural phone jack
Connector: 6.3 mm monaural phone jack
Maximum Output Level: '-20 dBu at 10 k Ohms load
Output Impedance: 10 k Ohms
Connector: XLR connector
Maximum Output Level: '+4 dBu at 1 k Ohms load
Output Impedance: 330 Ohms
Connector: 6.3 mm stereo phone jack
Maximum Output Level: 50 mW + 50 mW at 33 Ohms load
Output Impedance: 10 Ohms
Connector: 6.3 mm monaural phone jack
Maximum Input Level: -10 dBu
Input Impedance: 22 k Ohms
IN
Type B
Keyboard CV (IN/OUT): 1 V/oct.
Connector: 3.5 mm monaural phone jack
GATE IN: +3 V (minimum)
GATE OUT: +10 V, key down; 0 V all keys up
Connector: 3.5 mm monaural phone jack
TRIG IN: +3 V pulse min., 10 Musec. Duration minimum
TRIG OUT: +10 V pulse on key depression, 10 Musec. Duration
Connector: 3.5 mm monaural phone jack
AC adapter jack (DC 9V)
6.5 W
496 x 265 x 89mm ( 19.53 x 10.43 x 3.50")
3.7kg (8.16lbs)
4959112162990
Legendary sound that connects the past with the present. Reborn again as an analog synthesizer module.
Since its appearance in 1972, the ARP Odyssey has been loved by countless musicians as a classic analog synthesizer. Forty years later, in 2015, with the advisory assistance of David Friend, co-founder of the ARP Instruments company, KORG resurrected the ARP ODYSSEY with a complete reproduction of the ARP Odyssey's original circuitry. The ARP sound, which continues to be envied as an iconic analog synthesizer, was once again back in the hands of today's musicians. Now, KORG has further broadened the reach of the ARP ODYSSEY in today's world by releasing a new model.
The ARP ODYSSEY Module is a keyboard-less ARP ODYSSEY with the very same analog synthesis circuitry that completely reproduces the original. To fit perfectly in today's DAW-centric music production environments, they provide it in a more compact module form. The lineup includes model, the white Rev1, reproducing traditional styling in a cutting-edge tabletop body. The real ARP sound that transcends history is once again available to the world.
True analog sound generated by a complete replication of the original ARP Odyssey's circuitry
The ARP Odyssey is known best for its sharp and biting tone and the rich possibilities of modulation that allow an incredible variety of sounds. The ARP ODYSSEY Module is equipped with the very same circuitry as the ARP ODYSSEY, which itself is a perfect replica of the original unit, developed under the supervision of the ARP Instruments company's co-founder David Friend. Its module-type design invites the user into an even deeper world of sound design.
Synthesis
2VCO. The duophonic design allows two different pitches to sound when you play two notes
The high degree of pitch stability for which the ARP Odyssey was remarkable in its time has been perfectly reproduced
Pitch is variable over a wide range of 20 Hz - 2 kHz
Pitch modulation and pulse width modulation can be controlled
Oscillator sync provides sharp, great-sounding overtones extending into a high range
Noise generator provides two noise types: white and pink
Powerful LFO can be used as a modulation source for the oscillator or filter or as a trigger source for sample & hold
Ring modulator generates metallic sounds with rich overtones
The distinctive S/H MIXER lets you easily create sample & hold sounds by using the oscillator or noise generator as a source that's triggered by the LFO or keyboard
A wide variety of modulation sources such as S/H, LFO, ADSR and AR can be used to modulate the filter
A high-pass filter is provided following the low-pass filter, giving you even broader sound design possibilities
A new function, the DRIVE switch generates extreme and aggressive sounds
VCA GAIN slider leaves the note sustaining. Ideal for sound design
Envelope generator with two types: ADSR and AR. This can be used not only for the VCA but also to modulate the filter or oscillator
Control
The original PPC (Proportional Pitch Control) based on a rubber pad has been reproduced. Press the rubber pad with your finger to control pitch bend or vibrato depth in proportion to the pressure
A portamento slider and transpose switch are provided. You can also use a switch to select either of the ways in which Rev1 of the original ARP Odyssey differ as to whether portamento is applied the moment that you operate the transpose lever
Connectors
Two types of audio output jack are provided: 1/4" phone and XLR
External audio input jack is provided, allowing you to process sound from an external device
Headphone jack with adjustable volume is provided. By connecting the headphone jack to the external audio input jack, you can apply self-feedback to generate powerful sounds
MIDI IN connector and USB MIDI port are provided, allowing connection to a PC or MIDI device