Korg

- I use it with mono and poly synths (with a MIDIpal to sequence chords), but I essentially got it for using with a Korg Arp Odyssey. - I receives it some 6 hours ago - I already have other sequencers. It's a small 2x8-steps sequencer on 2 channels (or 16-steps sequencer on a single channel) sequencer, all-analog, with MIDI out and USB. It can be powered with two batteries (for approximately 5 hours) or the USB port, and a lot of connectors are provided for synchronizing. It features 8 playing modes, in Z, W, alternate, parallel or serial and of course random. You can choose the steps that are to be read (on/off gate), the step jump, the active step (unselected steps are jumped and the number of steps gats lower with it, allowing twisted sounds) and glided steps. Pros: its reduced learning curve, its minor/major modes that allow to gain time with pitches, its (lit) step pads, its many connection/sync slots ans how easy it is to use as a whole. Its appearance and sturdy look (metal case weighing approximately 1.3 lbs). Cons: the main flaw in this device is the mode selector which forces the device to get sync to the first step, so you just can't change mode on-the-fly while playing live - at least you can't with it as a master controller. Also, you won't be able to take advantage of the glide settings if you use it in MIDI, which is quite frustrating. The SQ1's main aim is to deliver patterns on the fly in a really old-school manner, as for more elaborate lines there are much more up-to-date devices. Of course, it allows to modulate other settings such as a filter's frequency cut. Il brings a real electronic and mechanical-sounding touch to your prod, by the way no groove or shuffle setting is available. This makes for a very limited device, just like older analog sequencers (and its bigger brother), but its very practical and finally quite inspirational. I would have liked the possibility to change mode without having to relaunche the sequence, and tp save a few lines. On this matter, the device sends both channels' pitches and gates through MIDI, so it's easy to get the MIDI data (on an MPS for instance) and save it there. Except for the position of the knobs, rebooting the device won't allow you to get the previous program - really old-school! To sync the SQ-1 as a slave, you can either use USB (for configs involving a computer), a Voca, a TR or any other unit with either MIDI or jack (old-school style!) sync. For instance if I want my MPC to be the master in the chain, I send its clock to the TR 707 and the sync to the SQ-1 will be done using the 707's sync out slot and the SQ-1's sync in. The Volca can also receive MIDI and send sync on its (mini jack) sync out. Last but not least, it can be used as a MIDI converter through CV-gate, as all data entering the USB/MIDI in are transmitted to the SQ-1's CV/Gate out.

I use this synth in my home studio alongside other analog and digital synths. I have a SH101 for basses, leads & FX, it has a round, warm sound. I also have a Polysix which is a natural choice for pads, due to it being polyphonic and relatively unstable. The minilogue is polyphonic too, but not enough to be 100% at easy for pads, especially with long envelopes. But, it has a sharp sound and works well for agressive leads, bright stabs, fast sequences and so on. The metal front and knobs seem reliable. The controls are pleasant to use. This synth is small (50cm/20in large) and a real lightweight. So, it is quite easy to transport. The keayboard is not standard-sizes, keys are smaller than usual. The problem is, it takes some time to get used to it so as to play it correctly. The good point is, you get three full octaves in only 50 cm. The keys feel pleasant to play and rather silent. Each parameter can be controlled from its dedicated control on the front, except for portamento, LFO sync, VCA velocity switching and sequence settings (steps and swing). The knobs are mere, "normal" knobs, so when you load a patch their position do not match the current settings. The 8 VCOs (2 per voice), 4 VCFs (1 per voice) and VCAs are analog. Envelopes and LFOs are digital. The only effect this synth includes is a delay. From what I heard it seems to be digital, but when tou use it you'd swera it is analog. So much that it quickly becomes noisy when used with time settings over a few dozen milliseconds. Overall, in its price range, this product offers a lot of strong points: - 4 analog voices - 2 VCOs per voice with a wide variety of waveshapes (variable in continuous) + noise - Possibility to sync the VCOs + FM + AM (ring) - VCF can be set to 12 or 24dB/oct - and it sounds good - 8 voice assign modes (poly, mono, unison, duo unison, arpeggiator, ...) - an easy-to-use 16 step sequencer But: - No hold or latch for the arpeggiator - Enveloppes a little too digital, especially for longer time settings - No metronome for realtime recording on the sequencer (a real practical problem) - Portamento setting through a menu that is not so easy to access - And, some BUGS : - VCF keyboard following doesn't work in legato mode - USB sequencer sync is a bit messy: I can't get my sequence to begin from its starting point - I have several times had the VCF resonance stuck at max value on 2 voices out of 4 - ...

-250 patterns of up to 4 bars max. -32 master effects (Kaos pad-like). -1 individual effect per track, from among 38 effect types. -50 gate arp -25 groove types (you can change the groove of a track) ------PCM--------- -56 kicks -58 snares -16 claps -56 hit-hats/cymbals -71 percussion/toms -52 synth hits/ synth FX/ instrument hits -16 voices -27 instruments ------SYNTH Modeling--------- -55 pre-set oscillators ------KING KORG FILTER--------- electribe/MS 20/Moog/Prophet 5/oberheim / Acid ------MODULATION--------- -72 presets - Pattern can be saved as WAV or Ableton live projects. - Motion sequencer (to record parameter changes) For more details, visit Korg's website USE - Very user-friendly, I haven't had the need to read the manual (which is pretty brief) - Compared to the EMX version, some important functions are missing, like the "transpose" mode and the fact that you can only record four bars per pattern, instead of eight. Plus, you only have one insert effect per track instead of the 3 on the EMX. - The pads are very pleasant in use and they can record the playing velocity if you wish so. - The unit is very well built, metal housing and tightly anchored knobs, it's solid. - The filter has an endless encoder, which ideal to avoid value jumps between patterns. - You can send MIDI data over 16 fixed channels, as well as the "groove type," which is very useful to sequence your favorite expanders. SOUND - For people who know the EMX version, the sounds of the electribe 2 are a continuation of their predecessors, but with more clarity, precision and warmth (even without tubes), all while keeping a very low signal-to-noise ratio. - The addition of the king korg filter is a real plus that you can hear in the sound. You can play with the resonance of the filters without any artifacts, it's smooth, warm and round, almost like an analog filter. - I think it's a pity that many PCM sounds lack sustain. The synthesis and modeling section also lacks some flexibility. - The oscillator section is excellent and justifies by itself the purchase of this electribe. It gives you access to quite a few new sounds, like the ones dedicated to 8-bit, Chip tune and Dubstep. - The fact that you can save your patterns as Live projects gives you more flexibility to work sound in a studio environment. OVERALL OPINION - I've been using it for almost a week now, so it's only an initial review, but I'm pretty sure this small groove box will be of good service. - I can take it along in journeys, even on a plane with batteries, it's a sort of big musical notepad, like a sketchbook for a painter. You can easily make first drafts of musical projects with this box, which can later be worked more thoroughly in a studio environment. - Nevertheless, I am very surprised that the patterns are limited to 4 bars, especially knowing that the song mode doesn't exist anymore. I hope this will be addressed in an update., because even if you only have 4 actual buttons, I can easily imagine that the bars could be expanded to 8 with flickering effects, like on the keyboard mode. - Very good value for money, considering it costs half what the previous generation did.

Hi all, I won’t get much into the details as to the Mini 700’s specs, (if you need it have a look at the Mini 700 reviews: https://en.audiofanzine.com/analog-synth/korg/minikorg-700/user_reviews/ ) I’ll mostly develop the question of the Mini 700S’s second oscillator. I really think this second oscillator makes all the difference – to say the truth i rarely if ever use the synth without it. It doesn’t look like much, but in spite of its limitations it brings so much to the sound. 6 control buttons in all – no more than that. 3 faders, 3 switches and a selector. - Balance fader: allows to set the balance between both oscillators. - Pitch faders (Coarse and Fine): two self-explanatory ways to set the second oscillator’s pitch. - Effect switch : a badly chosen way to describe the activation (or lack thereof) of the second oscillator. - Long Sustain switch (acts on both oscillators): allows to obtain a very long sustain - Travel vibrato switch (acts on both oscillators): accentuates the vibrato’s depth - Selector switch: allows to determine oscillation mode from Duet, Modulator 1,2,3 (which are different nuances of Ring Modulator. (800dv owners will understand) and two noise types (Pink and White) Bass sounds can be fat or sweet, leads are lush and unctuous, sin waves are sweet and the pink noise is superb. Plus a modulation and detune between both oscillators which provides an incredible natural chorus. I’ve been extremely lucky to get this for FREE(!) and its bigger brother the Korg 800dv for 200 bucks a few months later – needless to say I’m more than happy with these little wonders. I got both in terrible states, with nothing working. But, and that’s where the magic operates, such devices are very easy to take apart and service by yourself, and they’re sturdy both in the inside and outside. All I needed to do was clean them up and, a miracle, they ended up singing like on their first day! Since that day, I’ve been in love with old Korgs. They’re stable and accurate, unlike some old Moogs you need to retune. The most surprising is that while you could expect them to sound the same, they don’t! They feature the same electronics but not the same schematics, and I don’t get the same sounds from one or the other. They perfectly complement each other. The 800dv is a dual 700 (or a dual 770), but the 700s is not. I can guarantee that, if it were to be compared with another model I’d go with the 770 or PS900, but clearly not the 800dv. The only thing I could reproach them is their lack of expressiveness – joysticks and aftertouch only arrived with the Sigma model. Neither the 800dv or the 700 or 700s featured these. If you’re handy, there’s a way out using a pitch bend wheel though, and I added one to my Mini 700s – without the switch I added on my 800dv. It’s a bit tricky to do though, and the bend effect is limited to a single tone. Another thing you could IMO reproach this mini 700 is that I hate function buttons to be right under the keyboard. It’s clearly unpractical, so I redesigned ot for that reason – the keyboard is lowered and the front controls put above (it’s not easy to do, you need to set the electronic cards up inside and replace some cables which are originally too short). All this comes with beautiful woodwork, giving allure to this keyboard. Included pictures show my Mini 700s before and after I customized it. As a whole, it’s easy to transport, quick to set up, does not feature any control buttons on the up side, which can be a good thing and allows to put another synth above it, but also a bad thing as it’s not very practical for realtime sound modulation – plus, it sets the keyboard a little high when you put it above another synth, and it will often be the case with a mono synth. I personally use it alongside my Korg PE2000, both work great together. What about a mini 700s lead solo with the right hand and pad chords on the PE2000 with the left hand? You need to try it to believe it! A faithful friend I take both on stage and in the studio – and possibly one of the most interesting synths alongside its 800dv sibling. The Mini 700s is superb!

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Sturdy and well-finished, with good ergonomics. Not bad for trance, provided you only use the rhythm part. Good effects and nice editing features, easy to use. Made for beginners. 270 seconds of sampling. It’s a joke, right? Old time musicians will get what I mean : had an 80s electronic musician been told that in the era of 500 GB SSDs Korg would come up with that joke of a 270-second-memory sampler, there’s no way he would have believed it! So what we get here is a hardware sampler which features no content (as it’s a sampler you can put what you like in it), and yet you can’t put anything in it as there’s no room left for that… Well done, Korg! :) Now, as to what kind of customers such a concept is aimed at… well, don’t ask me! Oh, yeah, and it also features sample transfer through an SD card while the esx2 is marketed as “perfectly integrating with Ableton” (so, with a computer), yet it seems that having datas flow through the (non-included) USB cable was too difficult to do for the (normally top notch) engineers of this modern yet not so up-to-date concept… Another feature: resampling :) A great feature, very useful on a sampler, of course… Yet, there’s no room for resampling either! Yeah… Thank you Korg for that stroke of genius which interest still eludes me. Either the designers are bull**** virtuosos, or this crazy product (I mean REALLY crazy, as in “perfectly mad”) comes from a masterplan to disgust users from ever using a piece of hardware again! Should anyone know the truth, please let us know! EDIT: after trying an Elektron, I must review the grade I gave to this Korg, if only because of its excellent ergonomics. The lack of memory can be compensated PROVIDED you only use it as a sample player and turn it into a drum machine ala Volca. Don’t ask too much of it, after all for the price this is something that can be understood. However, it isn’t a real, nameworthy sampler – just a rushed sample-based drum machine with included effects.

It's pretty weird of Korg to create such a device in these times when everything is done with a computer. In the end, this is what anyone may be wondering with this Microsampler ─ the umpteenth version of the very lucrative Micro series of the Japanese brand. Regarding the features: 37 velocity sensitive minikeys. 14-note polyphony. Sampling frequencies: 48kHz, 24kHz, 12kHz, and 6kHz. 160 seconds of sampling at 48kHz. 5 sampling modes (ONE SHOT, GATE, LOOP, KEY GATE, and AUTO NEXT). Sampling sources: Audio IN (Mic or Line) and Resampling. 128 motifs (patterns), configured in 8 banks of 16 patterns. Number of bars per pattern: From 1 to 99. 21 types of effects, including the effects of the Kaoss Pad: General effect and insert effect. Built-in mic for fast sampling. CD-quality sound. Loop recording in real time. Sample editing tools. Import/export of WAV/AIF files via the USB interface. It can be mains or battery-powered. USE It was conceived as a portable and mobile tool. It's not complicated, but the manual is indispensable to find your way. In this regard, the manual is fairly well-done and instructive. For editing, everything goes swiftly with the "write" button. In terms of use, I would say the Microsampler is well-conceived without being pretentious. SOUND The sounds included in the banks of the MS aren't very interesting, except for one or two maybe. So you'll have to import everything you have in your head and play it quickly. Good sample reproduction at 48kHz, it's pretty smooth and the sound is clean, which is much more important. Effects are all right but a bit disappointing, in the sense that you can only choose one at a time. Other than that, it has good dynamics and the sampling system is all right, without being an experimenting nor synthesis beast. Because there's not much to do at this level here, no filters, no specific parameters, no complex editing. Sound goes out as it comes in, with the bare minimum in terms of editing. The small sequencer is a very good idea, it's the kind of stuff that allows you to quickly build an idea or that can come in handy in case of emergency onstage. The effects aren't bad, but it's impossible to choose one per sound, you have to do it at the bank level and then you determine the dry for each pattern. It's not great, but it spares you from having to carry an effects rack around, so it's interesting anyway. OVERALL OPINION You have to take the Microsampler for what it is, a portable sampler to take your sounds anywhere. It has nothing to do with an Ensoniq ASR10, an EMU 3, an Akai S3000 or the more recent Octatrack. It's not a experimental tool transcending the imported sounds, but rather a sample player with keyboard. People who buy it with the intention to revolutionize their set with the "sampling" legend will be disillusioned very fast. It's ideal live, for mobile musicians and also for people who don't have the means to buy all sorts of instruments, but who want to get out of their PC/Mac. The Microsampler is, in my opinion, a very interesting unit. But you shouldn't expect from it something it can't do. Its "plastic toy" aspect doesn't annoy me, because its lightness and the services it provides are more worth than its looks to me. At the price you can get it secondhand today (it's a bit expensive new), it's a trustworthy companion given its simple but solid features.

I use the Kronos in a context where I'm getting back to making music after stopping it for many years. In the past, I’ve played many keyboards of all kinds, including a Korg MS-20 in 1979. The Kronos is the first keyboard I’ve bought since returning to music. I chose it because of its capacities, the numerous videos about it and a great test about it on AudioFanzine’s French version. I’ve ha dit for two months asof writing this review. To sum up muy impression, it’s 99.9% positive as to its sound synthesis and processing capacities, as well as its sound quality (tweak it a little and you can really get it to sound big, almost analog-like). Factory settings are good overall. There’s a large additional offer with excellent presets – even among the free offers. Some offer very cheap yet very high-quality soundbanks, such as coyote14 (https://www.youtube.com/user/coyotesynth/videos) who also offers very valuable tutorials). There are also more expensive professional soundbanks. However, the most important remains to have fun with sound experimentation. The 9 synth engines open the door to seemingly infinite possibilities. Ergonomically, the synth is well-thought, especially regarding the way to access each screen. However, the file management system is very complex, sometimes even obscure. As I’ve said I’m not a beginner, however this keyboard demands much, much time to be plainly mastered or even really usable. As an example, I’ve counted that the entire collection of manuals amounts to approximately 1800 pages!! Still, this comes with the feeling to have a particularly powerful keyboard. An outstanding care has been given to these mauals. Beware if you’re not at ease in English though, as the 1200-page Parameters Guide is in English only, and this guide is a must-read to get into the core of the machine and consider mastering its entire parameters. Hence, I wouldn’t recommend this keyboard to a beginner. Alongside these manuals, I’ve used Youtube videos, the “Audiokeys” and “KorgForums” online forums. This is undoubtedly a fascinating synth (or should I say workstation). So why giving it 4 stars instead of 5? Because of the keyboard, which is the said “heavy” RH3. It being a heavy-touch keayboard suits my taste, as I couldn’t play a piano sound on light-touch keys. The keys are mobile enough to get a good velocity level on other kinds of sounds (such as organ, pads, solos &c) so no problem regarding that. The problems are as follows: 1/ The noise generated by the keys . This question has been raised by many (not all) users. The keys are noisy at impact (which is rather normal), but they’re also noisy when released (which is way less). Consequently, the keys hardly get forgotten when playing softly. 2/ Bad calibration of the key’s velocity . The maximum velocity settings (120 to 127) are indeed impossible to reach, even when hitting very hard. The consequence with some layer-programmed sounds is that the last layer simply can’t be reached. Again, many users have reported that problem. 3/ Aftertouch : again a mechanical calibrating issue . It takes at least two fingers when pressing to start getting an effect – no matter which velocity curve is selected. I could write a lot more on this awesome instrument. Is could talk about sampling or audio ins for instance, and the possibility to sample any external source to turn it into a sample that will be used as the basis for a nex programme, and so on. This instrument requires to invest much time (especially in reading) to learn how to use it, but the pleasure it offers is well worth the time spent.

(Originally written by amnesie1/translated from Audiofanzine FR) UTILIZATION Easy and intuitive use regarding sound synthesis. In spite of the lack of controls, it's easy to browse through the different menus and you'll quickly find any parameter you want to edit. However, the main problem is that some parameter changes are audible in real time but others only after retriggering! For example, if you edit the filter cutoff the change will affect notes you play afterwards but it will have no effect on the current note. On the other hand, you can edit resonance parameters in real time!!! So don't try to edit the sound in real time, use the modulation matrix. Given this, the modulation matrix should be more comprehensive. The synthesis engine is very comprehensive. Both methods are rather easy to use and give interesting results although they are not as ergonomic as the other functions of the device. I haven't used the sampling section so I can't say anything about it. The biggest turnoff is the storing of data. You need floppy disks, which isn't the most simple nor ergonomic solution. And the floppy disk reader is incredibly slow... I won't create too many presets... SOUNDS Here come the most subjective section. The 12/24 dB analog filter sounds just fabulous and very fat. Processing a digital sound (sample, wave) with this analog circuitry produces it a very strong and interesting character. I love hybrid solutions. The sound is not well-defined and it could be more refined, but it has the character of the time when it was made. You get a good dose of aliasing, which result very interesting musically speaking . If you like Carpenter's sound this synth is for you!!! And once again, listen to its fabulous filter!!! OVERALL OPINION It's true that it's very bulky and you won't be able to take it with you on stage. It also looks awful. But what a sound!!! I find it's quite pleasant to use once you've learned the basics (sample and waveform creation). The floppy disk storing solution is not very practical and a ROM would be a great improvement. But in spite of these disadvantages I love the sound and the versatility of this bulky monster.

In 1991, Korg debuted the T series with three different versions: the T1 (88 keys), T2 (76 keys) and T3 (61 keys). The Ex versions – "T2ex" and "T3ex" – feature an extra ROM with 512 kb of PCM acoustic piano sounds, the best you could get at the time, which was originally featured on the T1 model. Introduction The T series succeeded to Korg’s famous M1, aka the best-selling synth ever and the first general public workstation. It features an 8-track sequencer, 16 tracks of polyphony and dual multi-effect inside. The T series’ sound engine is the same as the M1’s, and the patches are even compatible with one another. It’s a subtractive synthesis ROMpler, with the sound part taken care of by PCM samples (4MB for 144 samples). The T, aka the “M1 on steroids”, features a larger screen, a floppy disk drive, two additional 100-patch banks, and 8MB of waveform (instead of 4MB). With a price of 200 to 250€, its current value-for-money on the used market is very good. Apart from its manufacturing quality, it features the punchy sound of the synths of its time, such as the D50 or Wavestation. Its dynamics is a pleasant surprise, in particular in the lower register with powerful and precise bass sounds that don’t crumble down. The output provides very little hiss or noise. Soundwise Its strength resides in the versatility and variety of its available sounds, with a palette ranging from synth sounds (bass, leads, pads, FX) to “realistic” instrument sounds – though their “realism” now appears quite debatable. In a nutshell, the synth can reproduce every General MIDI instrument (piano, organ, strings, winds etc...) with a quality only slightly better than GM sounds, so as a whole it sounds cheap. However, some patches are worth a listen, plus you’ll easily something fit for you among the numerous (20,000+) sysex patches available on the web. The user has 2 banks of 100 single patches each, “PROG A” and “PROG B”, plus an extra “Combi” 100-patch bank. - each Combi is made of 8 single patches or 8 multitimbral parts that can be used at taste (as a separate instrument, keyboard split or layering modes). I personally use layering quite a lot, by mixing 3 or 4 carefully chosen sounds you can easily enrich the basic sounds. For those into it, it’s an occasion to buy a piece of legend. The M1’s sound has contributed to write uncountable hits of all kinds in the beginning of the 90s, in styles including pop ballads, synth pop, pop, radio rock, house, new beat, jungle, techno, hip-hop, dance, ambiant, ethnic, TV themes and so on... In terms of synth sounds, the result is quite basic but it provides generous lows. - a variety of nice pads - synth brass - analog synth-type bass - convincingly-sounding leads - son percussive sounds and FX As to the realistic sounds: - the typical 80s drum sounds are awesome, full of punch - the Hammond, Rhodes and church organs are not bad, especially the mythical “M1organ” from Robin S – Show Me Love fame - beautiful LA piano sounds (piano + strings) - pianos are little realistic but perfectly suit piano house, italo disco, new beat or old school jungle registers - cheap sax sounds which still work in an old school house or hip-hop context - 1 electric guitar patch with an igniting feedback, very nice to play (6-7 minutes into the demo down the page) - Convincing acoustic guitars - 2 or 3 convincing slap basses - Some nice sounding clavinets Pros + overall sound quality, punch with little background noise, lush bass sounds typical of Korg’s old synths + many patches available on the internet, and various sounds + easy to program, good ergonomics (except for the sequencer) + a good, minimalistic design, sturdy with its metal frame + 4 separate jack outputs + 4 MIDI outs + MIDI in and Thru + pleasant keyboard with aftertouch and joystick Cons - no arpeggiator - non-resoning filter - the sequencer part (its ergonomics and editing features lack something) - among all available patches, many sound poor and General Midi-like - quite a big keyboard - when aging, the backlight tends to diminish and disappear. When it happens, it can come with a trebly noise coming from the synth’s frame (and not the audio outs), which comes from the voltage inverter which supplies the backlight with 12V. It’s a well-known problem on synth with an electroluminescent leaf-type (“EL”) backlight (such as the Wavestation, Kawai K5000, Yamaha SY and TG, K2000, Korg 01W...). The backlight and inverter can be changed, or the entire screen changed for a LED model. - sometimes, disconnecting the backlight’s supply (CN6 connector with two wires, plugged on the KMI-077 supply board) stops the said noise - with time, the switches tend to do what they like (but they can be changed) In the end… If you listen to the demo, you’ll get an idea of the patches on the KORG Legacy VST which features the M1 and T series models’ patches as well as those of the Korg expansion cards. I compared using an RME interface, while the sound timbres ate faithful to the original the plug-in lacks depth and dynamics compares with the synth. Sound samples These are raw stereo recordings of a T2ex, recorded using an RME FF800 with no processing. Or, listen to the demo. https://www.youtube.com/watch?v=PPrrqJeCZI4

The Korg microArranger is a 61 key professional workstation synth. It is one of the more affordable keyboards that I can actually say that I enjoyed working with from start to finish because most synths in this range are pretty dull. The keys on this synth are touch sensitive and have a great feel to them. They made me feel very comfortable while playing melodies and chords. UTILIZATION Using this synth took a little more time than I expected because I had to learn the layout of it. But the manual covers everything so it was not hard it just took a little more time than I thought that it would. It is easy to transfer back and forth from my PC to the Keyboard too via the SD card slot. OVERALL OPINION This synth has some really good sounds, and for it to be less than 500 bucks you probably will not find a better synth on the market that is built this well while still being portable. The electric pianos and basses are really good. The basses are probably my favorite sounds because they are all full and thick, this is not what I would expect to get out of a “cheaper” board. There are also 33 drum kits and 89 total effects to choose from on this keyboard. The drum kits are ok, nothing that really stood out to me and some of them even sound very similar to the kits that are on my Fantom X6. This board is great for gigging as well as creating music in a studio because it has a one track at a time sequencer that makes everything pretty simple to work with. This keyboard worked with my DAW so it was easy for me to create music on my PC with this keyboard. I do not think they keyboard is worth the purchase if you already own some “higher end” keyboards, but if you are looking for your first

This is an old-school analog synth, made by Korg. This synth is duophonic. It's got 2 analog oscillators, VCF filters, and a ring modulator. It has 3 1/2 octaves. It can be set up to play monophonically with two seperate oscillators or duophonically. Thus it has double of all the controls, so that it can be played with both voices. Basically, this comes down to playing single-note melodic lines, and given that limitation, it's got some really great sounds. UTILIZATION Messing with the different parameters on this synthesizer is somewhat difficult to figure out at first, at least for me. But it really just comes down to messing around with the different sounds. It takes time to figure out, as most synths do. But in time it can be really useful. There's a lot of really awesome sounding tones you can get out of it. The setup isn't too difficult. When recording with it I usually go directly into the pre-amp, as it's generally easier. I haven't seen a manual for this so I can't vouch for its quality. SOUNDS I like the sounds of this synth a lot. As it's an old analog synth, I don't really dwell too much on how "realistic" the sounds are, because they aren't really that close to real instruments. A good synth, in my mind, should sound like a synth, and not an imitation of something else. Therefore, I find this synth to be exceptional. It's great for synth bass lines, as it has fat, warm bassy sounds that can be a nice alternative to a bass guitar. It also has great high-pitched, singing tones, great for melodic lines like those used in the Cars and other New Wave stuff from that era. It's got reasonable touch sensitivity and aftertouch. Definitely responsive to dynamics. I think the oscillators and modulators give it some really awesome sounds. OVERALL OPINION I like the sound of this synth the best. It can be frustrating that it only has two voices, and most often I'll use it monophonically, but I do think it has a nice sound. I'd say overall it's probably going to run you a pretty penny, but unless you have some AMAZING analog synth simulator that I am not aware of, I don't think you'll be able to find much that sounds like this much cheaper. I've played a few synths that are like this, and while this one isn't as nice as some of those were, it's still got a lot going on. I definitely recommend this if you can find it.

The Korg M3R is a very capable/useable/lush/musical instrument and synthesizer. It is NOT the Korg M3. Often it is decribed as a "scaled down version of the Korg M1", obviously one of the most succesful Korg instruments ever sold, while the difference largely being the M3R having one oscillator, as opposed to two oscillators in the Korg M1. Sureley, the price/performance ratio has got to be one of the best "out there". This synth sounds the deal. I can highly recommend it as one of the hidden gems; again, especially if you take into account prices paid. Below is my cheat sheet - including a list of all published ROM sound banks made available for the Korg M3R. Also, the 20 sound banks available/provided by "Polynominal" contains a good show case for the synth: https://polynominal.gumroad.com/l/CFTmT?fbclid=IwAR1BkxokRvzHdbA6M-UqvaPC9dfLzVAogAEptqVL8sUFvzoln1tTYPQE-FQ Korg M3R Ai Synthesis Module – Notes General Ai synthesis: stands for Advanced Integrated Latest OS version: #16 Check OS version: Turn on the MR3 and keep hold + (my M3R: #13, my M3R II: #14) Battery Replacement: CR2032 in a simple holder (after replacement, factory reset) Factory reset: , , go to page 5, RELOAD PRESET, OK Test Mode: Save important data; data will be broken. Turn on M3R and keep hold + Sysex mode: In Global go to 4A MIDI DUMP (before ensure Memory Protect = OFF and that sending/receiving unit midi channels are matching) Editors: MIDIQuest, Emagic Sound Diver (reportedly works fine on Win10 x64), M3LibEd (win98), Motu Unisyn (up to OSX 10.4), CLAB m1-3 Manager and Big Noise (both ATARI ST). Review author T. Goldschmitz, Amazona.de (see section at end of this document) has built an M3R Editor in CTRLR. Hardware Editor: Korg Remote Editor RE1 (rare). Used for editing with the M3R, 03R/W, A1 and original (1994) Wavedrum using a dedicated 8-pin DIN cable. You can simultaneously edit two or more M3Rs from a single RE1. The RE1 parameters are divided into six sections: M3R RE1 Combination Play F1 Combination Edit F2 Program Edit F3 Effect Edit F4 Global F5 Drums F6 RAM memory cards: Korg MCR-03 256 kbits (said to work with Korg M1, M3R, WAVESTATION, T Series 707, DS-8, A series; and also with Waldorf Microwave). M3R Mitsubishi Plastics Bee Card S-RAM 0256SRMSP25. RAMBoy 256 von K.S.R.E Music. Korg RAM memory card battery: CR-2016 ROM card and Sysex file sound banks ROM cards: for the Korg M3R ROM cards were released in pairs. One card contained PCM waveform data (MSC for M1/M1R and M3R) and the other contained program/patch data (RPC for M3R and MPC for M1/M1R). The PCM card is the same as the ones used in the M1, while the RPC program/patch card is specific to the M3R (i.e. the M1 MPC cards cannot be used). The following waveform and program cards (RSC-xxS = Set) have been released for the M3R by Korg and third-party sound design publishers: Publisher: Korg RPC-00P - M1 internal pre-load data RPC-12 - World omnibus RPC-13 - Bun May - by Fumiaki "Bunmay" Ogawa RSC-01S (MSC-01 and RPC-01) - Variety RSC-02S (MSC-02 and RPC-02) - Synth 1 RSC-03S (MSC-03 and RPC-03) - Drums 1 RSC-04S (MSC-04 and RPC-04) - Orchestra 1 RSC-05S (MSC-05 and RPC-05) - Piano RSC-06S (MSC-06 and RPC-06) - Fretted Instruments RSC-07S (MSC-07 and RPC-07) - Synth 2 RSC-08S (MSC-08 and RPC-08) - Percussion RSC-09S (MSC-09 and RPC-09) - Organ RSC-10S (MSC-10 and RPC-10) - Ethnic 1 RSC-11S (MSC-11 and RPC-11) – Brass RSC-12S (MSC-12 and RPC-12) - Synth 3 RSC-13S (MSC-13 and RPC-13) - Ethnic 2 RSC-14S (MSC-14 and RPC-14) - Sound FX RSC-15S (MSC-15 and RPC-15) - Drums 2 RSC-16S (MSC-16 and RPC-16) – Environment Publisher: Bo Tomlyn Bo Tomlyn’s - M3R - Vol. 1 Bo Tomlyn’s - M3R - Vol. 2 Bo Tomlyn’s - M3R - Vol. 3 Bo Tomlyn’s - M3R - Vol. 4 Publisher: Key Clique Inc. (Bo Tomlyn, Mike Malizola, Chuck Monte) RPC101 - L.A. Studio Hits M3R Vol. 1 RPC102 - L.A. Studio Hits M3R Vol. 2 RPC103 - L.A. Studio Hits M3R Vol. 3 RPC104 - L.A. Studio Hits M3R Vol. 4 Publisher: Kid Nepro (Sysex) KN - M3R - New Age/Soundtrack Mix Publisher: Kinneticsfx (Sysex) KFX - M3R - MR3 Morph (cp. M1 Internal Pre-Load Data sound bank – but adapted for the M3R) Publisher: Livewire Audio M3R Dreams - Volume 1 – 1989 M3R Dreams - Volume 2 – 1990 Publisher: Many Midi Products (Sysex) ManyMIDI - 2471 - M3R - Synth Patches Set #1 ManyMIDI - 3014 - M3R - Synth Patches Set #2 Publisher: Metra Sound (Sound Art Media) (2024: sysex files are flawed/will not work – do not buy) Soundcard I - M3R - Metra Sounds - Standards - Peter Gorges Soundcard II - M3R - Metra Sounds - Modern Times - Ciccio Malacrida Soundcard III - M3R - Metra Sounds - Actual - Mike Boekler Publisher: Patch Pro Inc. ROM3R1 - M3R - Patch Pro Inc. ROM3R2 - M3R - Patch Pro Inc. ROM3R3 - M3R - Patch Pro Inc. ROM3R4 - M3R - Patch Pro Inc. Publisher: Sound Source Unlimited (today Greytsounds) Category: Top-40, Soundtrack M301R - Pop/Rock Collection Category: Top-40, Soundtrack, Jazz M302R – Multi-Timbral, Vol. 1 M303R – Radical Film Textures Publisher: Ultra Sounds (today Sound Art Media – NB: “same sound banks as Metra Sound”) Comeback 2010 Vol. 1 - M3R - Ultra Sounds - Sound Art Comeback 2010 Vol. 2 - M3R - Ultra Sounds - Sound Art Publisher: Valhala Music Inc./Hit Music Productions (a division of UK distributor AMG) Category: ROM Style M301 – Top 40 M302 – Orchestral M303 – New Age M304 – Rock Category: International Gold (by Hit Music Productions, UK) B301 – British Mix #1 B302 – British Mix #2 Publisher: Voice Crystal, Inc. (Eye & I Productions) VC1 VC2 VC3 Publisher: XFP (Sadatoni FP) M3R Ambient & New Age Soundbank (2025) Tip! Have you changed the global midi channel from “1” to another channel and as you scroll through the patch list on board in the M3R only some patches can be heard/produce sound output? If it is the Combinations that cannot be heard, you may want to check/set all included single programme midi channels (channel one through eight), that together make up the “Combi”, to correspond to the global midi channel; i.e. to the same channel as you use on the M3R. Each of the (maximum) of eight programmes comprising a Combi can be set to play on any midi channel (1-16) of your choice . Solution: 1 Press Edit+Combi 2 Press Combi four times = menu 4A "midi ch 1-4" 3 Make sure each program included in the Combi (i.e. 1-8; press page right to go to menu 4B = "midi ch 5-8") is changed to correspond to the same midi channel as your global midi channel selection 4 Press Global (page down) four times = menu 0B “combination write” to confirm/save your changes NB. you will manually have to repeat/set this for each and every Combi. This is very tedious work: if possible, consider arranging your multi-synth studio set-up so that the M3R use midi channel 1. Reviews Amazona.de, by T Goldschmitz (November 2022): https://www.amazona.de/greenbox-korg-m3r-budget-rack-version-der-korg-m1/?fbclid=IwAR3Y-GmVP5gw7kgZLvRUyWxr_ncFrN7kr-JQIcMmI5Y85KtvdCfog06WtCY Muzines, by Simon Trask (September 1989): https://www.muzines.co.uk/articles/korg-m3r-and-re1/134 Publications Korg M3R Bible. 1989. Spiral bound paper. Paperback – January 1, 1989 by Bobby Maestas (Author) Pricing at release Amazona.de (November 2022): “The M1R rack cost around £1300 in the UK when it first appeared. The M3R undercut that significantly at £900. But if you add the RE-1 Remote Programmer, which cost £275, you're back at £1174 (all prices including VAT).” Technical specifications Model: M3R «AI Synthesis Module» Class: sound module, Technology: Ai – Advanced Integrated – synthesis Rack: 19”, 1U HE Country: Japan, Year: 1989 Display: 16 x 2 LCD Samples Resolution: 16 bits ROM size: 2 MB (corrected). Elsewhere stated as “3 MB” Polyphony: 16 voices Multitimbric: 8 parts Oscillator: 1 sample PCM Filter: Digital Low pass LFO: 2 modulators Envelope: 3 EGs Memory: 100 slots Effects: 22 models CPU: NEC D70320, DAC: BB PCM54HP The Korg M3R came boxed with a plastic black cheat sheet at purchase. Owner’s Manual Corrections Power Consumption: 23W Dimensions incl. rack adapters: W 48.2 x D 33.2 x H 4.4 cm. Weight: 4.9 kg excl. rack adapters Options Korg RE1 Remote Editor Korg RCC-050 (5m), RCC-100 (10m) 8-Pin DIN remote connection and power cable Transparent stickers outlining functions (F1-F6)