Korg

Part 2: Gordon Reid concludes his review of Korg's new family of workstations.

Though digital technology has transformed the nature of synths, effects, and even multitracks, project studio mixers have largely remained steadfastly analogue, breaking the chain which, if complete, would allow your music to remain in the digital domain from sequencer to master.Korg's 168RC forms the heart of a system designed to all but eliminate the analogue signal path, and Paul Wiffen wonders where it's been all his life...

Long before the M1, Korg tried to win the hearts of synth fans with the diminutive MS20. Norman Fay steps back in time.

Though Korg's new N-series keyboards aren't completely new on the inside, having much in common with the recent X-series synths, they still have plenty to offer as powerful workstations, with some neat and contemporary embellishments for '96. Gordon Reid sketches out the Korg family tree...

If you think Korg have been neglecting their Prophecy monosynth in favour of the numerous Trinity add-ons they're producing, think again. Gordon Reid heralds the arrival of two new Prophecy patch banks.

Korg have added a vocal harmony generator to their i-series of intelligent arranger workstations, taking advantage of the same harmonising technology that's behind Digitech's market-leading Vocalist series. Gordon Reid finds out whether the new unit has anything surprising up its sleeve...

Paul White nervously opens Pandora's box — and realises that instead of being the mythical source of demons and sorrows, it's just Korg's new compact guitar multi-effects processor...

It was 1973 and everyone was playing Minimoogs, and ARP Odysseys. So why did the Keio ORGan company produce a little synthesizer with the most unorthodox controls imaginable, call it the MiniKORG 700, and try to convince the keyboard cognoscenti that it was worth buying? Gordon Reid explains...

Paul White tests an integrated 8-track digital studio package, no larger than a drum machine, that comes with just about everything you'll need to make high-quality recordings.

At the January NAMM show in 1987, Roland launched their D50, which mixed synthesis and sampled sounds in one package, a compbination which has remained popular to the current day. Paul Wiffen examines how S&S evolved into the most widespread form of sound generation on the market.