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To understand the pull of the Wavestation, you have to take yourself back to 1990. Analogue was dead and FM was on life-support. Sample-playback instruments had taken hold and the biggest sellers of the day were seen as little more than glorified organs, capable of calling up a reasonably convincing sampled ensemble for the Holiday Inn crowd: "Thank you ladies and gents, I'll be here all week. Don't forget to tip your waitresses".
It was into this very environment that Korg dared to release the Wavestation. The product of a US-based team of designers rescued from the now-defunct Sequential Circuits, the Wavestation shared the vector synthesis of Sequential's Prophet-VS.
The onboard samples were of a decidedly electronic nature, with none of the usual drum kits, pianos or nylon guitars (for the moment, anyhow). They could be stacked, layered, filtered and processed by a still-impressive selection of effects. Better still, you could crossfade and blend your sounds with the joystick mounted above the pitch and mod wheels.
That might have been enough to shake synthesists out of their doldrums, but it was the inclusion of wavesequencing that tipped the scales. The Wavestation gave users the ability to string any of the onboard waveforms together in a row with individual control over pitch, volume, and crossfade time.
Using this technology, it was a breeze to fashion sounds that shifted and evolved over time. Complex rhythmic passages could likewise be created. It was, and is, brilliant, though it is seen as being difficult to program. Fortunately, there are software editors available for the thing even to this day, not to mention an utterly convincing virtual incarnation from Korg itself.