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The KP3 has even more to offer than its predecessors.

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First released in 1999, the Kaoss Pad is (first and foremost) a signal effects processor with a large, 'playable' surface. This means that parameters from a particular effects program can be mapped onto a large X-Y control surface and an incoming signal can then be manipulated by changes you draw on the screen itself.

A second pad arrived in 2002, prompted by requests from Kaoss users who demanded onboard sample triggers, extended effects algorithms and an improved control surface. These features were duly implemented, along with DJ tools like BPM detection and a dedicated mic input.

Additional features

So, what's new in KP3? Firstly, the screen has, once again, been modified. Gone is KP2's grey and blue approach, which subtly shifted hue as you applied finger pressure.

In its place comes a screen divided into red LED blocks that light up as they follow your movements around the screen. It's all much clearer and even more intuitive than before, which (for a product famed for its immediacy) is quite a coup.

Indeed, so proud is Korg of the KP3's screen that each time you load a new effects program its name scrolls across the screen in giant letters. And in case you're still not impressed, a minute or so of inactivity will trigger a series of dancing screensavers to rival the Blackpool Illuminations.

Take our word for it: the surface is truly brilliant.

The next key update is in the number of effects programs offered by KP3. The 100 programs in KP2 always seemed a little ungenerous so we're delighted to report that KP3 swells this number to 128.

Kaoss Pad's great forte has traditionally been tempo-based effects, whereby modulating delays clocked to the tempo of your input signal spin off into weird and wonderful places. There are still plenty of programs that subscribe to this philosophy, but they've been joined by many others that take a different tack.

The decimator is effectively a bit-crusher, which grabs your audio by the scruff of the neck and then beats it into lo-fi submission.

The filter has also been expanded to offer up to 72dB of cut-off, which is pretty extreme to say the least. Combine this with some of the Kaoss' resonance and you're in filter heaven.

EQ effects are also brought more to the fore in KP3, with EQ parameters sprinkled liberally around the control pad. It's astonishing how quickly you get used to how the effects parameters are spread around the pad, and therefore how quickly you can learn to play and control them.

Performance tools

It's not just the number of effects types that have been overhauled - some great new performance features lie in wait, too.

For starters, KP3 has an FX release level control, which appears as a long-throw fader to the left of the main screen. This enables you to set a fade-out time for any effects with a release time, such as delays and reverbs.