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odhooghe
Published on 05/20/01 at 03:16
See Overall Opinion.
UTILIZATION
See Overall opinion.
SOUNDS
See Overall Opinion.
OVERALL OPINION
Released in 1988, the M1 is the the world's best selling "synth".
This commercial success is probably because the M1 appeared to many musicians as sufficient in itself.
Its internal sequencer of 7700 notes (admittedly limited capacity but still allowing them to record a sequence of bases), its effects and 4 MB of sounds made the M1 workstation quite comprehensive and fairly easy to use .
Even if its technical features are now somewhat outdated, the M1 is an excellent "sample player (or synthetic) that deserves a prominent place in every home studio.
User review: The M1 is one of the essential parts of the studio B "New Sources Musicales." We use it mainly to create maps, an area where this synth excels.
Despite the small number of core samples (in the terminology Korg PCM), it is possible to program the sound textures that stray from the same sample base. Subtractive synthesis of M1, although brief, is nevertheless effective.
We regret in particular the absence of a more powerful filter that could greatly contribute to broadening the horizon of the sound program of the M1.
UTILIZATION
See Overall opinion.
SOUNDS
See Overall Opinion.
OVERALL OPINION
Released in 1988, the M1 is the the world's best selling "synth".
This commercial success is probably because the M1 appeared to many musicians as sufficient in itself.
Its internal sequencer of 7700 notes (admittedly limited capacity but still allowing them to record a sequence of bases), its effects and 4 MB of sounds made the M1 workstation quite comprehensive and fairly easy to use .
Even if its technical features are now somewhat outdated, the M1 is an excellent "sample player (or synthetic) that deserves a prominent place in every home studio.
User review: The M1 is one of the essential parts of the studio B "New Sources Musicales." We use it mainly to create maps, an area where this synth excels.
Despite the small number of core samples (in the terminology Korg PCM), it is possible to program the sound textures that stray from the same sample base. Subtractive synthesis of M1, although brief, is nevertheless effective.
We regret in particular the absence of a more powerful filter that could greatly contribute to broadening the horizon of the sound program of the M1.