Gear

The ER1 is a 6-voice programmable beatbox, unashamedly in the vintage Roland TR style -- maybe not in appearance, but definitely in concept and execution. Unusually, the percussion sounds are constructed from four programmable oscillators and four adjustable percussion samples (open/closed hi-hat, crash and clap). There are also two audio inputs which can be integrated into rhythm pattern steps and processed like the other percussion voices. Rhythms are constructed using the now-classic Roland-style step programming method (as used on the TR707, 808, and 909). The ER1 comes with 192 preset patterns, and users can overwrite these with 256 of their own making.

The tribe's third initiate is the Electribe S (or ES1 to give it its shortened name) which, under the continuing collective slogan "The Cure for the Common Groove", aims to take the elbow grease out of mutating digital audio into beats to make your pulse race. Billed as a rhythm production sampler, the ES1 marries its sampling facilities with the TR808/909-style, grid-based pattern sequencer that was such a strength of the other Electribe models. Korg's DSP know-how has been applied to the ES1's various sound-mangling effects which, in the company's understated words "let you aggressively process the samples to create your own signature sound".

1 MIDI IN, 2 MIDI OUT, 1 SYNC IN, 2 SYNC OUT, 1 TAPE IN, 1 TAPE OUT

  • Synchronises 24/48 ppq with MIDI clock & Tape Decks
  • Synchronisation switchable - on/off
  • master clock select - tape/sync/midi
  • tempo led indicator
  • power on/off

The Korg MS-10s was the most basic, and consequently the most inexpensive, of Korg's MS series. It featured a 32-note (F-C) keyboard and semi-modular design, in that you could reroute the signal of some modules via patch cords, but you didn't have to use patch cords to make a basic synthesizer sound. A monophonic synth, the MS-10 had one VCO, one VCF, an LFO with multiple waveforms, an ADSR with hold controls, and knobs to control pitch, portamento time, external signal level, resonance, and pulse width. It also had one wheel, for pitch bend

Since its introduction in 1978, the KORG MS series of synthesizers has caused a sensation by its sound, looks, and flexibility in sound creation. More than twenty years later, a new MS instrument is born, fusing the functionality of the SQ10 analog sequencer and VC-1 0 vocoder that were also part of KORG's lineup. The MS2000/MS2000R simultaneously returns to the origin of synthesizers and opens a new universe of possibilities.

In 1988 Korg launched the M1, which, if we set aside unaffordable monsters such as the Fairlight CMI and Synclavier, introduced on-board sequencing, 8-part multitimbrality, and the workstation concept to the world. It also introduced Korg's AI (Advanced Integrated) method of synthesis. This, although it lacked resonant filters, was bright and flexible, and was a great success, so much so that Korg produced a rackmount version (the M1R), a cut-down module (the M3R), and three souped-up keyboards (the T3, T2, and T1). There was even a rackmount version of the T3, although, with somewhat arcane logic, Korg named this the M1R EX.

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