All user reviews for the Korg MaxiKorg 800 DV

duophonic its insured fabulous big time travel provided

UTILIZATION

Use a bit unusual but very simple commands to start up you can go from one sound to another on stage with a little practice

SOUNDS

70es typed it only looks like these brothers 700S and 700
very soft and grainy filter and bawling through the ring modulator

OVERALL OPINION

I had two at one time, ONE ME stolen by some JULIAN CROSS NANTES I research since 2004 (also if you have information I'm interested) this man has abused my kindness for me strip my 800DV I had for years (plus other material by the way) I made the mistake of selling the second was a good friend of Paris thinking that I could retrieve the first
since I have a 700S that I love and remember the good times spent with my 800DV
a synth that is unlike no other, a must-have with MS20 and PS of the same brand

Go see the page of "700", forget the "S" which is on top. Add the possibility for the oscillator down 64 '(LA 4 middle octave below 440 Hz). The 800-DV is multiplied by two: two Korg 700 superposs physically but also in the sound.
You can put the two synths in unison, but there are also several possibilities to perform all necessary a voice from the other. Out of the two voices spare if you want.
The 700 has an internal bin for storing the power cord (useful!), Not 800. Too bad!

UTILIZATION

Each section is simple handle, but less clear than a 700. In dpart not understand it very little because the distribution of functions is fanciful. However it is convenient for synthesis of scne. So, once it is done, all is well trs.

SOUNDS

Not really INTERESTED in playing two voices polyphony. In the era c'tait fashion ... on the other hand, in unison mode, four more PWM oscillator (simulation of two oscillators each), a really big sound to play solo! Note the existence of a gnrateur pink noise (sonar submarine) playable, which is a rarity in the world of synth and that is not otherwise available with a real synth research.
A little spcial ... but it has to be can attach.

OVERALL OPINION

I purchased this synth the era of sampling everything is, so for a mouth bread. It REPRESENTATIVES an era that I have apprcie because everyone DLIR with this kind of synths that REPRESENTATIVES well this state of mind. No way that I spare.

Well, this synth in 1973, not Midif. These are two synths for a single keypad (trs heavy transport) so duophonic. The advantage of this particularity is that many Obviously two sounds, so diffrent two waveforms are combined. The little less, if you want to quibble is that sometimes, rglages identical, the two sounds are trslgrement dsaccordes towards each other (but hey, this is not dramatic). For cons, I can not find the keyboard trs enjoyable: I find it slow (not fast solos possible) and trs fragile: I am always afraid of breaking it. No pitch bend either ...

UTILIZATION

I have no manual ... Nanmoins, it's easy: one button = one function scabies. In addition, this synth a trs ct pdago INTERESTED because colorful diffrent agrmenter come all the buttons. on the other hand, and as I mentioned above dj: the two Co-ordinators can lead synths as much trs beautiful sounds that things that sound wrong. You just have to give a bit of trouble (just!).

SOUNDS

It's not a moog, for the cons I never would sell! The bass is terrible! While fat will. I do not use nearly as. There is also a basic arpgiateur: TRS 70's (those who squeaker squeaker squeaker of Manir cyclic). The great thing is, with two synths sound itself DDouble = sound in two of four lines constitus Different. Personally, I find that more convenient vector synths.

OVERALL OPINION

I have about two years and it is true that we must take some time before the connatre bte. Over time we learn apprcier its grain and its operation especially trs. I am glad trs and I will highlight in my next recording (even if to sustain rglages trs limits will not simplify my chih). And then there was this synthesis of the mouth right? I do not know what his current cte, but it must be a good qualitprix saw sounds good fat coming out of this machine.

Duophonic split: each tilt is indeed accompanied by a signal splitter with saw-tooth (but which also serves as mixer or the signal to enter the second tilt, or work with the ring modulator), if we added white noise generator and pink (you can have both, one on each channel ...) plus the portamento (variable for each channel), the fine tuning (a total of four pots of understanding) and the famous double filter "traveler", we get (once grasped the finger ...) to have an almost duophonic quadra ... (Or a 4-way multitimbral sound a note)

UTILIZATION

Use child was (very didactic in fact), ultimately much more intuitive (in my opinion) than the Minimoog (but not as clear and "square" than the Arp Odyssey (I compare synths equivalent sold roughly the same price at the same time: between 900 and 1100 F in 1973) ...
However, for a user to synths which grew with the sacred trilogy vco / vcf / vca
all controlled by LFO and ADSR / CA or ADS + modulation wheel (pitch + mod), access is confusing ...
the low-pass filter s'adorne a high-pass filter, and the whole is called "traveler"
ADSR is reduced to the attack / sustain (in fact decay), the sustain / release is a 3-position switch, the emphasis / resonance (not self oscillation of the filter) is another inter three positions, etc..
If we add the arpeggiator that can work: module top (A) or the lower module (B), or both simultaneously (C) or both alternated (D), or up and down without repetition (E) and we complete with the two scales for assigning keys (modes A, B, C, D) for playing the keyboard at the top, bottom of the keyboard, the two simultaneously, two separate (left hand (well, left finger) and right hand (well, right finger), with change in priority (high note, bass note) and retrigger the envelope or not, it includes:
1. the fingering is rather special ... or problem (there may well not get out any sound or have not provided a glissando in the program ...)
2. once the above fingering well-integrated play opportunities are incredible, and in particular allow accompaniment, bass lines and effects of percussion and rhythm absolutely huge ... (Not to mention the sound effects).

SOUNDS

The ability to finely tune oscilloscope can be very rich and expressive sounds (you can do with four multitimbral channels simultaneously - note that the basic setting of the oscilloscope is 64 to 2 feet, and you can add a chorus of white and pink noise, a ring modulator ... while offering waveforms triangle, sawtooth, square, pulse and chorus (actually pulse modulation) ...

Remember that all these functions are multiplied by two (two independent synths but can interact via the ring modulator, mixer and crossover modes arpeggio driven by the LFO).

Last addition, the filter traveler (that make the sound of the Korg and, to some extent replace the Pitch / modulation - which gives the well characteristic of these machines (low 700/700s/800DV/synthé 770) and were able to exploit so well and Vangelis Kitaro), these filters can be controlled by one or two pedals VCF, which frees the hands to play the other buttons (and there are a gaggle!)

Overall, a good big bass sounds very fat (in my opinion, this chapter, it is unsurpassed - it's not for nothing that Francis Rimbert, back when he was in Gaffarel Korg demonstrator was using controlled by a pedals to play his bass lines in its CONCERE demo.
But it also beautiful tablecloths (by trial and error, we come to almost sounds ...), Mellotron sound effects very credible and sound gong, percussion, ethnic instruments (the koto at the didjeridu) with generators DOUBLE noise and ring modulator.

Finally, for very fat leads to attack with portamento or bender (handy for making sounds Walter Carlos (given the time it was not Wendy) and Tomita, both the two oscilloscope + suboscillos coupled slightly detuning and adjustment of keyboard playing in unison ... it's all good.

OVERALL OPINION

This was my first synth (offered by Ms. for Father's Day 1976 ...) Paid 800 F (after haggling tight) with Paul Beuscher. At the time (as mentioned above), I hesitated between the Minimoog (at the time, I played with that of Sergio Macedo), the Arp Odyssey, and the Welson Syntex Korg 700s ...) Finally, was the DV 800 and I do not regret a single moment purchase. With its superb flight case leather brown granite-lined blue velvet (with box reserved for the VCF pedal that I bought very quickly thereafter), it was class ... (Flight case on wheels anyway indispensable given the weight of the beast ...
I recorded three albums with, a lot of soundtrack, made moult concerts and it still works perfectly. A time (early 80's, I almost sell it. Fortunately for me - a posteriori! - The potential buyer was forfeit: he thought I was selling a 800 Poly ... The guy was disappointed but ultimately all is for the best: I kept my 800DV (I still have the invoice and the original notice), and later I bought a Poly 800 for next to nothing on ebay ...
And to think that at the time (1976-1982), what I got room per musico my friends who swore by the Minimoog or Arp Odyssey ...

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.