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- It features 16-voice polyphony, high-quality digital samples (including drum sounds), an integrated 8-track sequencer and digital effects processing. It is one of the bestselling synthesizers in history, selling an estimated 250,000 units.
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Introducing the KingKORG NEO, a virtual analogue synth that stands in a league of its own. It is the only hardware synth to offer the distinctive filters of five of the most iconic synthesizers of all time for maximum sonic possibilities.
- Wavestate
Legendary synthesis, radically re-imagined. Organic,...
- Synthesizers / Keyboards
NTS-2 oscilloscope kit + PATCH & TWEAK with KORG....
- Wavestate
- The History of Korg Synthesizers
- Minikorg 700: Korg’S First Synths
- 700S and 800Dv: from Mini to Maxi
- S-3100: Polyphonic Power
- S-3300 and S-3200: Ridiculous Polyphony
- MS-20: The Punk Synth
- MS-10 and Ms-50: No Less Punk
- Polysix and Mono/Poly: Korg Hits The Sweet Spot
- M1: Digital Success
- Wavestation: Dave Smith Lends A Hand
When compared to Roland and Yamaha, Korghas always done things a little differently. Founded in 1962 by Tsutomu Kato, a nightclub owner, to make drum machines, Korg has always remained resolutely original. When I asked Korg synth designer Tatsuya Takahashi about this, he told me that, unlike the others in the Big Three Japanese musical instrument c...
The story of Korg’s first analogue synthesizer starts in 1967 when young engineer Fumio Mieda (and the soon-to-be inventor of the Uni-Vibe) came to Kato with an idea to build a programmable organ. Kato liked the idea so Mieda got to work on Prototype No. 1, a test product organ with a unique synthesizer section—perhaps even the first synthesizer to...
In 1974, Korg released an upgrade to the 700. Called the 700S, it added a second oscillator section, noise, filter modulation, a sustain parameter, and a comprehensive ring modulationcircuit. What’s better than a 700S? The correct answer is two of them. For maximum power, Korg took two 700S’s, crammed them into a single case, and called it the Maxi...
The late 1970s was a magical time for synthesizers. Everyone was trying their hand at something different, aiming to come to market with an analogue polyphonic synthesizer that could satisfy players wanting more power than what a monophonic instrument could deliver. Korg’s answer to the polyphonic problem arrived in 1977 with two absolute monsters,...
If you’re already going over the top, why not push it even further? Too much is, after all, never enough. Witness then the PS-3300. Essentially three PS-3100s in a single box, it offered three of everything for each of the 48 keys on the keyboard plus a global section with sample and hold, a global envelope generator, mixer, and more. Fabulously ex...
Where the PS series was fat and luscious, Korg’s next line would go in the other direction. The MS line of instruments, which included the single-VCO MS-10, dual-VCO MS-20, and MS-50 expander, debuted in 1978. With their decidedly raw sound and—in the case of the MS-10 and some 20s, screaming filter(Korg changed the filter in later revs)—plus rugge...
Like the kid in the movie, Suburbia, the MS-10 was smaller than its compatriots yet no less punk. It had a single VCO and angry Korg-35 filter circuit from the MS-20 as well as patch points plus something the 20 didn’t have: pulse width modulation. Completing the family was the MS-50, a patchable expander meant for use with other MS instruments—or ...
Thanks to the development of integrated circuit technology and the lower prices they allowed for, by the early 1980s polyphonic analogue synthesizers were readily available and relatively affordable. Rather than try to compete with the Roland Jupiter-8 or Sequential Circuits Prophet-5, Korg went after the lower end of the market, opening a new chap...
Despite some success with the PolySix and Poly-800, the mid-1980s was a tough time for Korg. Digital was clearly the way, but a few interesting releases aside (the digital/analogue hybrid DW-8000 comes to mind), Korg would spend much of this period playing catch up. That is, until 1988 and the fateful release of the M1. Like Roland’s D-50, which de...
While the engineering team in Tokyo continued the development of AI synthesis with variations on the M and later 01/W series, Korg’s newly established US branch was making waves of its own, literally. And the person at the head of the team was none other than Sequential Circuits’ Dave Smith himself. When Sequential went bust, Yamaha bought out the ...
The Korg Wavestation is a vector synthesis synthesizer first produced in the early 1990s and later re-released as a software synthesizer in 2004. Its primary innovation was Wave Sequencing, a method of multi-timbral sound generation in which different PCM waveform data are played successively, resulting in continuously evolving sounds. [1] .
- 1990–1994
- $2195, £1575
- 32
- Korg
The new modwave mkII provides an astonishing 60 voices of polyphony - almost double the original modwave's 32, and an unprecedented number for a wavetable synth at any price. Responding to user requests, we've updated all LFOs with options for free running, delayed start, and retriggering.
- Synthesizers / Keyboards
Jan 18, 2021 · Even today, the ARP 2600 stands as a bridge between the individual elements of modular synthesis and the immediacy of a production / performance instrument. Included are an ample supply of oscillators, envelopes, a filter and amplifier – all of the building blocks of analog synthesis.
