Highlights


operators

High-pass filter

6dB/oct self-oscillating high-pass filter
 

sound engines

Low-pass filter

12dB/oct self-oscillating low-pass filter
 

sound engines

Zero-delay feedback

Topology-preserving, zero-delay feedback loop with 4-X oversampling
 

Waveforms

Rage!

Rage switch for pushing the filter over the edge
 

Unison

CV inputs

CV inputs for filter cutoff modulation of both filters
 

Microtuning

Wet/dry

Wet/dry knob for parallel processing
 

Pure Analogue Rage

PMS-20 is an analogue-modelled dual high-pass/low-pass filter. Simulating the characteristic Korg-35 filters from the iconic Korg MS-20 mono synth, PMS-20 brings the aggressive, screaming sound of the original unit to the Reason Rack. PMS-20 is an exceptionally versatile unit with many uses, from crunching up beats, adding some bite to samples, or giving vocals an edge to crafting hoovering sweeps, making synth leads growl, or demolishing whole tracks.

Download on teh
Read the PMS-20 manual

Audio demos


Authentic Circuit Modelling

In order to faithfully capture the true character and response of the original filters we have modelled the exact behaviour of the analogue components by using techniques comparable to those applied in industrial circuit simulators. A topology-preserving, zero-delay feedback loop combined with 4-X oversampling ensures that the sheer authenticity of the analogue sound is preserved when driving PMS-20 into saturation, as well as into self-oscillation.

Massive-sounding Filters

Introduced in 1978 the MS-20 was a an analogue, re-patchable, monophonic lead and bass synth and was Korg's first major successful portable synth. In addition to its two analog oscillators, the MS-20 featured two resonant voltage-controlled filters with a gorgeous, powerful sound that later on has made them a distinctive characteristic of the MS-20 “Korg-sound”. It has been used by countless artists including Depeche Mode, William Orbit, Aphex Twin, Air, Mr. Oizo, Jimi Tenor, The Prodigy, Daft Punk, Royksopp, Jean-Michel Jarre, and Portishead. (Accordingly William Orbit loved the filters in his MS-20 so much that he used them relentlessly to process his recorded audio, samples, and beats.)

All product names used are trademarks of their respective owners, and reference to these here in no way constitutes an association or affiliation with Primal Audio. All trademarks are solely used to identify the products whose sound was studied during the development of PMS-20.