KORG HISTORY
Korg is recognized as one of the most
innovative manufacturers of electronic musical instruments and accessories in
the world. With its headquarters based in Tokyo, Japan, Korg maintains a
network of distributors operating in countries around the world.
From producing the first synthesizer in
Japan, to defining the Music Workstation category, to inventing the world’s
first handheld electronic tuner and more, Korg has been at the forefront of
technology, and strives to bring to market products that are not only cutting
edge, but also extremely user-friendly, inspirational, and of the highest
quality.
Inception
The company began as many do—with the idea
that something could be done better. In the early 1960s, Korg founder Tsutomu
Katoh was a nightclub proprietor. Tadashi Osanai, a noted Japanese
accordionist, performed regularly at Katoh’s club. Katoh told Osanai that it
would be nice to have a rhythm machine to keep the beat. Osanai, an engineering
graduate from Japan’s prestigious Tokyo University, was certain he could build
a rhythm machine himself, and convinced Katoh to finance his efforts.
In 1962, Katoh rented a small facility
alongside the Keio (pronounced K-O or Kayo) railway line, where Katoh and
Osanai worked on developing a mechanical rhythm machine. The fledgling
enterprise was dubbed Keio Electronic Laboratories, which later became
Korg — a derivation of the words “Keio� and “ORGan�. Their first product, the
Disc Rotary Electric Auto Rhythm machine or DoncaMatic DA-20, was released
in 1963. While primitive by today’s standards, the instrument represented a
major breakthrough in its day. By 1966, the company had made the transition
from electro-mechanical technology to solid-state with the introduction of the DoncaMatic
DE-11. Korg continued to release many “Drum Machines,� as they came to be
known. The Mini-Pops (MP Series) and Korg Rhythm (KR) series were extremely
popular. As sampling came into vogue in the mid 1980s, the DDD-1 and DDD-5
(Digital Dynamic Drums) became the star performers, eventually giving way to
the S3 in 1990.
Keyboard Products
During the 1960s and 1970s, the organ was a
dominant product in the keyboard market, so in 1967 when Katoh was approached
by Fumio Mieda, an engineer who wanted to develop keyboard products, he
provided the backing for Mieda to try his hand at developing a new type of
organ. In 1968, Mieda created the “Prototype I,� which was an organ with
programmable voice capabilities similar to a synthesizer.
Furthering their idea and in order to produce
products to bring to the public market, Katoh and Mieda created the KORGUE
organ, which was completed in 1972.
During that same time, a musician friend of
Katoh and Mieda visited the USA and saw a MOOG synthesizer. Upon his return to
Japan, he told Katoh that the Prototype I was actually no different than a
synthesizer, making the Prototype I the first “synthesizer� in Japan. This
encouraged Katoh to develop the Prototype technology and to enter the new
synthesizer market.
Synthesizers
In 1973, using many of the basic design
concepts of the Prototype I, the company introduced their first synthesizer,
the mini KORG 700 (K1 in the U.S.), a monophonic synthesizer. This was
the first product to be sold under the Korg brand name. The mini KORG was soon
joined by the mini KORG 700S (K2 in the U.S.), an
effects-enhanced version. The mini KORG family proved popular for providing
high quality sound in an easy-to-use and affordable package. Based on the
enormous success of the mini KORG, the company continued to develop
synthesizers.
1975 saw the introduction of the Dual-Voice Maxi-Korg
800DV (K3 in the U.S.) SyntheBass and the 900PS preset synthesizer.
A year later, the Polyphonic Ensemble series (PE1000 and PE2000) was unveiled.
The PE series helped to launch Korg as a full-line electronic keyboard company.
By 1978, Korg had introduced two new lines of synthesizers that retained some
of the patching capabilities of early modular synthesizers — the polyphonic PS
series and the monophonic MS series. The MS10 and MS20 were
extremely successful, and are still coveted by techno and dance artists today.
Also part of this flush of products was Korg’s first vocoder, the VC-10.
The PS-3100 was the first polyphonic synthesizer from Korg, and it was
soon joined by the PS-3200, one of the first programmable polyphonic
synthesizers ever created, allowing sounds to be recalled at the touch of a
button. The PS-3300 followed in 1979, and actually contained three
separate polyphonic synthesizers that could be played together from one
keyboard. In 1980, Korg launched the TRIDENT, combining a
polyphonic/programmable synthesizer, a string synthesizer, a brass synthesizer,
and effects into one performance-oriented keyboard.
Sequential Circuits revolutionized the
synthesizer industry in 1978 with the Prophet-5, the first instrument that was
polyphonic, easy to use, and allowed every knob setting to be saved in a bank
of user presets. Musically the instrument drew raves; however, its $4,000 price
tag limited its appeal. The significance of the Prophet-5 was immediately
apparent to Mr. Katoh and the engineers at Korg. They began work on a similar
product, which led to the introduction of the Polysix in 1981. The
Polysix featured six-voice polyphony and, like the Prophet 5, was fully programmable.
However, its $1,995 retail price tag was unprecedented. In 1981, Korg also
released the Mono/Poly, another coveted item today.
Korg further redefined the synthesizer market
with the introduction of the Poly-800 in 1983. With a list price of $795,
the Poly-800 was the first fully programmable synthesizer that cost less than
$1,000! It was also Korg’s first product equipped with MIDI. The Digital
Waveform series (DW6000 and DW8000) in 1984 and 1985 introduced a
whole new palette of tone colors by utilizing complex digitized waveforms
beyond the reach of the simple square and sawtooth waves used up until that
point. 1987 found Korg breaking ground again, using FM technology in a highly
intuitive way with the DS-8 and 707.
Korg acquired Sequential Circuits in 1989,
forming the nucleus of a research and development center based in California’s
Silicon Valley. The first product developed by Korg R&D was the Wavestation,
introduced in 1990. Using technologies such as Advanced Vector Synthesis and
Wave Sequencing, the Wavestation won awards and recognition for its technical
achievements and innovation, and was followed by a number of related products.
Both the California-based R&D group and
Korg Inc. continued to explore new technologies, delving into physical modeling
and other forward-thinking forms of synthesis. One of the most unique results
of these efforts was Korg’s WAVEDRUM, released in 1994. It combined the
expressive playability of an acoustic drum with the dynamic power of DSP
Synthesis, allowing drummers and percussionists to use all their familiar
playing techniques to create and dynamically control a wide range of sounds. An
all new WAVEDRUM-WDX was announced
in 2009, featuring great sounds, a fantastic feel and 100 built-in loop phrases
to practice along with!
Meanwhile, the R&D group worked on a new
project dubbed “OASYS� – Open Architecture Synthesis. Their research yielded
new technologies that Korg went on to implement in a number of products,
including the OASYS PCI Card that brought unparalleled sonic excellence
to the computer platform back in the late 1990s; and set the stage for the
OASYS keyboard in later years.
The Prophecy Solo Synthesizer was
unveiled in 1995. Using DSP synthesis first developed for the OASYS project,
the monophonic Prophecy provided algorithms for producing realistic analog
timbres, VPM (Variable Phase Modulation) tones similar to FM synthesis, and
physically modeled brass, reed, and plucked string instruments. Korg built upon
its DSP technology in 1997 to create the Z1 Physical Modeling Synthesizer.
This 61-key polyphonic multitimbral instrument was equipped with a stunningly
powerful synthesizer engine, a cool polyphonic arpeggiator, and an X-Y control
pad. This same modeling technology is the basis for Korg’s MOSS
expansion board, which is still widely used in its workstations today.
In 2000, Korg introduced the MS2000 Analog
Modeling Synthesizer, as well as a rack version dubbed the MS2000R.
Featuring the latest DSP-powered analog modeling system, these products pay
homage to the meaty analog sounds of the original Korg MS series synthesizers.
They include powerful 16-band vocoders, modeled on the classic Korg VC-10,
which can use vocal or rhythm sounds as input. Revamped versions with a new
sound set and color scheme - the MS2000B and MS2000BR followed. A
mini-key version based on the same sound engine appeared in 2003. Dubbed the microKORG,
this fun performer rapidly became one of the bestselling synthesizers in the
world, and stayed at the top for years. The HI (Hyper Integrated) synthesis
engine that powered the famous TRITON Workstation line proved strong enough to
stand on its own in the X-50 and microX stage and studio
synthesizers. Collectors are still searching for the rare camouflage version of
the X-50, and the elusive white version of the microX.
Exhaustive research and
development led to the MMT (Multi Modeling Technology) synth engine, giving
rise to the knob-laden RADIAS in 2006; followed by the streamlined R3
in 2007, and the ultra-portable microKORG
XL in 2009. These three synths offer vocoding and an advanced sound engine
offering multiple synthesis options. The RADIAS is a sound designer’s dream,
adding drum parts, step-sequencing and the retro-style tilt-up panel found in
certain analog classics.
In 2010, Korg celebrated its
analog heritage with the release of monotron
– the pocket sized, ribbon controlled analog synth featuring a VCO, LFO and the
classic analog filter found in the legendary MS-10 and MS-20. Able to run off
batteries and process external audio, monotron proved to be an instant hit,
winning a coveted “Key Buy� award from Keyboard
Magazine. The success of monotron paved
the way for the 2011 release of monotribe,
an Analog Ribbon Station. Building on the raw power of monotron’s analog synth,
monotribe added a three-part discrete analog rhythm section and Electribe-style
sequencing.
In late 2011, the monotron
family grew with the addition of monotron
Duo and monotron Delay. Adding a
second VCO with separate tuning, monotron Duo borrowed the famous X-MOD (cross
modulation) circuit from Korg’s Mono/Poly offering the ability to make everything
from a rich vibrato to extreme metallic sounds reminiscent of an FM synth. In
addition to its analog VCO, VCF and LFO, Monotron Delay added a Space Delay
effect with Time and Feedback controls, allowing for mind-bending synth sounds
and effects. Winning Keyboard Magazine’s
“Key Buy� award in April 2012, these popular additions to the monotron family
proved that if you need powerful synthesis anywhere, at any time, than you need
look no further than Korg!
Workstations
January 1988 saw Korg’s introduction of the M1
Music Workstation. It combined a keyboard, realistic PCM-sampled ROM-based
sounds, a drum machine, a sequencer, and digital multi-effects in a single
package. The M1 went on to become one of the most popular synthesizers of all
time, and served as the archetype for an entire category of musical
instruments: the music workstation.
The company continued to refine the
workstation platform over time, unleashing the T-Series in 1989, the 01/W
in 1991, and the mid-priced X3 and X2 in 1993 and 1994.
Improvements included the addition of disk drives, expanded polyphony, enhanced
synthesis and sequencer capabilities, and choices of 88-note weighted-action,
76-note, and 61-note keyboards. The doubling of the polyphony to 64 notes and
the RPPR (Real Time Pattern Play/Record) function led to the N-Series in 1996.
Meanwhile, Korg once again expanded the
concept of the music workstation in another direction in 1995 with the modular Trinity
DRS (Digital Recording System) Music Workstations. The sleek metallic
cabinet, huge blue TouchViewâ„¢ (touchscreen) display, and ribbon controller
redefined the concept of the user interface, and defined the look of the future
TRITON line. Available modular options include the Prophecy Solo Synth
expansion board with DSP sound modeling, PBS-Tri (8Mb) Flash ROM for loading
new sounds from the Korg and Akai format sound libraries, HDR-Tri for
four-channel hard-disk recording, SCSI and S/PDIF interfaces, and Alesis
lightpipe I/O.
Trinity set the stage for the TRITON Workstation/Sampler
introduced in 1999, and represented further advancements in workstation
evolution from Korg. Like the M1 a decade earlier, the TRITON defined the music
workstation with a host of fresh features including a new HI (Hyper-Integrated)
synthesis system, mono/stereo sampling, a newly designed sequencer with
extensive editing options, great sounding effects, powerful dual polyphonic
arpeggiators, user-installable option boards, and more.
In 2001 Korg launched the Karma Music
Workstation. While its synth and effects engines are identical to TRITON’s,
the instrument’s unique feature is KARMA™ (Kay Algorithmic Realtime Music
Architecture), a patented technology licensed from Stephen Kay. This
revolutionary technology is able to generate complex musical and timbral
changes based on a highly advanced algorithmic engine. Karma has won many
awards and accolades for Korg, and has shown the company’s continued commitment
to innovation by addressing users’ wishes for new forms of musical inspiration.
In 2002, the TRITON line of
workstations was expanded to address, in part, the “wish lists� of thousands of
loyal TRITON users. The TRITON Le (available in 61, 76 and 88 key
versions) distilled all the best features of its namesake into a streamlined, cost-effective
package. Synthesis, effects and sequencing are provided, with optional sampling
available.
In the other direction, the TRITON STUDIO
(61, 76, 88) was the total package, guiding users from sound design to
expressive performance; from initial recording to final audio CD. Its lightning
fast CPU and improved TouchView interface, along with its open sampling system,
massive 120-note polyphony, wide range of expansion capabilities, internal hard
drive, and CD burning option made it Korg’s most powerful workstation yet.
Adding a vacuum tube-driven effect section and a gigantic sound-set (the “best
of� collection from the TRITON sound card options), the TRITON EXTREME
(2004) offered the largest (at the time) on-board sound collection of any Korg
workstation. Introduced in 2006, TR was the final workstation in the
TRITON family, bowing out in 2008. Outside the workstation category, the TRITON
sound engine powered the X50 and microX stage and studio
synthesizers as well.
In 2005, Korg once again took the workstation
concept up a few notches with the OASYS Open Architecture Synthesis Studio.
Completely software based, the OASYS originally offered four distinct synthesis
engines, sampling, audio recording and mixing/production all in one unit.
Additional synthesis engines, effects and sample libraries were added in
software, providing valuable sound enhancements without changing the hardware.
OASYS also ushered in the use of a color TouchView display.
One of the OASYS synthesis engines – the HD-1
High Definition Synthesis – was re-created (with a few differences) in a
hardware chip as the EDS (Extended Definition Synthesis); forming the basis for
the M3 and M50 workstations in 2007 and 2008, respectively. The
M3 also ushered in Korg’s modular KKS “Korg Komponent System�, allowing the M3
keyboard to accommodate an M3 brain, RADIAS brain, one of each, or whatever
suited the user, making for a compact and customized performance instrument. M3
and the more portable M50 also added a new drum track function and chord-triggers
to the workstation arsenal. In 2008, the free M3 XPanded upgrade added
even more OASYS derived sounds, as well as delivering more DAW-oriented
sequencer editing screens. The EDS family was joined in 2010 by the EDS-i
(Enhanced Definition Synthesis-integrated) based microSTATION. Offering 61 mini-keys, this lightweight, compact
workstation offers 480 ready-to-use Programs and 256 dynamic Combinations. With
full sequencing, dual arpeggiators and Auto Song Setup, microSTATION is the
perfect companion for anyone on the go or working in a tight space.
In 2011, Korg changed the game with the
release of the groundbreaking KRONOS
workstation. Winning the coveted “Best in Show’ at the 2011 Winter NAMM show,
the “Gotta Stock It� award from Music
Inc., and championed by world renowned musicians such as Herbie Hancock and
Jordan Rudess, there’s no doubt that KRONOS is a winner. Offering 9 awesomely
powerful synth engines, the inspiring KARMAâ„¢ engine, advanced MIDI and audio
sequencing, an all-new Set List mode designed for performance and complete
computer integration, KRONOS is the ultimate package.
Software & Computers
Despite the popularity of Korg’s recent
synthesizers, there is still an appetite among consumers for those coveted
golden-oldies. Having access to all of the original schematics and technology,
Korg went about creating software versions of their most popular synthesizers
of the past. The original Korg Legacy Collection included a replica of
the MS-20 hardware, designed to function as a USB software controller. The
original gave way to the Korg Legacy Analog Edition 2007 and the Korg
Legacy Digital Edition. The Analog Edition hosted the MS-20, Polysix and
Mono/Poly, all reborn and enhanced thru software. The Digital Edition contained
the popular M1 and WAVESTATION, and as a bonus included all of the data from
the all of the options, cards, and upgrades originally available. As more and
more music is created with computers, Korg has supported the computer musician
with a wealth of MIDI controllers in a variety of formats. The microKONTROL
in 2003 offered mini-keys, drum pads, sliders and knobs – the first controller
to offer them all! Two years later (2005), KONTROL49 included many of
the same features and full-size keys. The K-SERIES offered a more basic
keyboard controller. Not everyone needs keys, and in 2006, padKONTROL
was an enormous hit. The nanoSERIES launched an entire line of
low-profile controllers for the laptop musician in 2008. The controller line
expanded even further with the microKEY
family, offering 25, 37 and 61 key configurations, and nanoSERIES2, the second generation nanoSERIES controllers!
In 2010, Korg announced iElectribe – a recreation of the original Electribe•R – for
use on iPad! This groundbreaking software app was soon followed by iElectribe Gorillaz Edition, iMS-20 and iKaossilator (available for both iPhone and iPad). True to form,
Korg was once again leading the way in developing groundbreaking musical
instruments.
Tuners and Metronomes
Korg’s innovation has never been limited to
keyboard instruments. In 1975, Korg introduced the world’s first hand-held
electronic tuner, the WT-10. Electronic tuners are so commonplace today,
it is hard to imagine the sensation caused by the WT-10, but it made precision
tuning available to virtually every musician and spawned dozens of competitors.
Since then, Korg has sold over 20 million tuners!
Korg followed with the GT-6 guitar and
bass tuner in 1978 and the WT-12 tuner in 1979. The GT-6 was an
affordable tuner that was immediately embraced by guitar and bass players
alike, while the WT-12 featured electronic meter-readout with quartz oscillator
reference and adjustable standard pitch calibration.
1985 marked the launch of the compact DT-1
digital tuner — an auto-chromatic tuner with LED meters, housed in a case with
the same dimensions as an audiocassette. They also introduced the DTM-12
digital tuner/metronome, which provided accurate tuning capabilities as well as
a built-in metronome.
In 1987, Korg took guitar tuning to the next
level by introducing the DT-1 Pro, the world’s first professional
rack-mount digital tuner. The DT-1Pro quickly became a “standard� piece of gear
for leading guitarists who were using a rack system on the road or in the
studio, and was replaced by the DTR-2000 and DTR1000 in 2002.
Both support dropped tuning up to seven semitones flat and offer several types
of display. The DTR-2000 also provides an illumination function that lights up
rack-mounted equipment below it.
During the late 1980s and early 1990s, Korg
introduced a host of tuning products including: the GT-1 guitar/bass
tuner, MT-1200 multi temperament tuner, GT-2 guitar, BT-2
bass and AT-2 chromatic tuner (with a seven octave range). 1994 saw the
introduction of the AT-1AC auto chromatic tuner with built-in contact
microphone for tuning acoustic instruments. In 1997, Korg launched the GA-10
guitar/bass tuner and the CA-10 chromatic tuner, both very successful as
entry-level guitar tuning products. In 1999, Korg introduced the DT-7 guitar/bass
chromatic tuner, the first guitar tuner to feature the legendary Buzz Feiten
Tuning System®. The critically acclaimed DT-7
was one of the most accurate tuners on the market, and it also featured an
extremely wide tuning range. The extremely flexible GT-12 guitar/bass
chromatic tuner and OT-12 orchestral tuner continued Korg’s tradition of
precision and accuracy.
Korg’s latest tuner offerings continue the
tradition of innovation in the world of tuners. The AW series (AW2/AW2G)
are chromatic tuners that clamp onto the instrument – trombone, sax, guitar,
etc. The latest floor pedal tuners (Pitchblack, Pitchblack+, Pitchblack Poly)
offer great visibility. The folding Pitchjack offers keychain
convenience, and the trimode DT4 and GT4 lets the user select their
favorite metering mode. 2008 also saw the introduction of more specialized
tuners, such as the BA40 and HA40, meeting the needs of the
bluegrass and Hawaiian musician respectively. The ultra-compact, always
reliable CA-1 and GA-1 continue to be top selling tuners the
world over. Released in 2011, pitchclip is
a compact, accurate, and easy to use chromatic clip-on tuner used by artists
such as Joe Satriani, Zakk Wylde and Paul Gilbert.
The MM-1 MetroGnome debuted in 2001 as
the world’s smallest metronome. In 2010, Korg introduced the Micrometro, with clip-on styling, seven
time signatures and duplet, triplet and quadruplet patterns. Other offerings
include the Humidi-Beat, a portable
metronome with a built-in thermometer and hygrometer, and the TM-40, the digital tuner that lets you
practice pitch and rhythm at the same time!
Effects
From the beginning, Korg has brought
outstanding musical effects to the marketplace, originally placing the
mini-Korg filter in a footpedal unit back in 1972. Throughout the days of tape
(Stage Echoes), analog (SD series), and into digital, Korg produced a full line
of rack mount effects. The company produced two lines of sophisticated pedal
effects in the early 1980s including the modular PME40X pedal board. Originally
launched in 1994 as a dedicated guitar processing line from Korg, ToneWorks’
first series of products included the G2 acoustic guitar processor, G4
rotary speaker simulator, G1 guitar distortion processor (which made use
of Korg’s newly-developed modeling technology), AX30G Guitar
Hyperformance Processor — the first product to feature a built-in Pressure
Pedal and 28 different effects.
In 1995, ToneWorks followed with the
introduction of the AX30B Bass Hyperformance Processor with pressure
pedal and 27 different effects, the G5 Synth Bass Processor and the
revolutionary Pandora PX1 Personal Multi Effects Processor. During the
late 1990s, ToneWorks launched a number of products including: the AX300G
Guitar Hyperformance Processor with 100 effects; the AX300B Bass
Hyperformance Processor with 60 effects; the AX1G (guitar) and AX1B
(bass) Hyperformance Processors; the Pandora PX3 (Personal Multi Effects
Processor) and the Pandora PX3B (Personal Bass Multi Effects Processor);
as well as the innovative AX1000G Modeling Signal Processor, the first
product to actively feature Korg’s REMS™ technology (Resonant structure and
Electronic circuit Modeling System) and the REMS name. Later additions to the
ToneWorks line included the AX1500G and the AX100G. Offering a
smaller footprint, more programmability and more interface options, the AX10
Series debuted in 2004, with models for guitar (AX10G) acoustic (AX10A) and
Bass (AX10B). Many of these same modeling techniques were found in the unique AmpWorks
and BassWorks models.
First released in 2001, the Pandora line of
effects processors added the PX4 and PX4B models, complete with
innovative features such as an infrared transmitter (for convenient practice
with wireless headphones) and “dial-in� amp modeling.
In 2001, ToneWorks also expanded the scope of
its line of products with the introduction of the PXR4 digital recorder,
followed by the D4 in 2005. These pocket-sized powerhouses offered
complete recording, editing, and mixing capabilities, as well as effects,
modeling, a USB port, and a great-sounding built-in microphone, all in a
package about the size of a sandwich — for ultimate portability.
The year 2005 also saw the introduction of
the PX4D [Dual: Guitar/Bass] and PX4A [Acoustic]. In 2008 the
Pandora family continued to grow with the release of the PX5D, taking Pandora’s fabulous effects and adding a USB/computer
interface and footswitch control for live use. In 2011, Korg announced the all
new Pandora Mini!
Electribes and Dance Products
In 1999, Korg moved into the burgeoning dance
market, unveiling its Electribe series, beginning with the Electribe•A
Analog Modeling Synthesizer and the Electribe•R Rhythm Synthesizer.
Both feature cutting edge sound generation married to a classic interface for
creating patterns that perfectly capture the needs of this music genre. Korg
continued its dance products development with the Electribe•S Rhythm
Production Sampler in the year 2000. It allowed users to create and
aggressively process new, unique beats. It features resampling, Time Slicing of
loops, and more. The last model in this series, the Electribe•M Music
Production Station, showed up for the first time at the Frankfurt
Musikmesse in March 2001 and featured both PCM Synths and Drums inside one
unit.
The current Electribes feature Korg’s Valve
Force vacuum tube processing for analog warmth or hard-edge snarl. The EMX-1
is based on the MMT synthesis found in the RADIAS and R3; the ESX-1
combines synthesis, sampling and processing for building up dynamic tracks.
These models were updated in 2010 with support for SD storage and all new,
up-to-date patterns!
The revolutionary Korg KAOSS Pad made
its debut in 1999 as well. Packed with 60 versatile effects programs, this
unique product allows real-time control over digital effects processing using
its built-in touch-sensitive X-Y pad. In 2002, KAOSS Pad technology took
another leap forward, resulting in the KP-2 KAOSS Pad, with added
synthesis and effects, BPM functionality, motion recording, and more. Combining
performance sampling, effects and compelling pad lighting is the KP-3 KAOSS
pad, introduced in 2006. The battery-powered pocket-sized miniKP
debuted in 2007, unleashing KAOSS everywhere. In early 2011, Korg announced the
Kaoss Pad Quad, allowing for simultaneous use of up to 4 different effects, all
controlled with that familiar X-Y interface. Mini-KP was updated in 2012 with
the mini KAOSS Pad 2! Adding microSD
support, MP3 playback, an internal mic and 3 program memory locations, the
latest addition to the KAOSS family does not disappoint.
The versatile KAOSS pad technology found
homes in other Korg products as well – from an ongoing series of DJ mixers [KM-2
(2001); KM202, KM402 (2008); even the powerful ZERO8 mixer
featured a version of touchpad technology)] as well as the video KAOSS
entrancer in 2004. In 2008, the KAOSSILATOR placed Korg’s powerful
synthesis under KAOSS pad control, creating a new type of musical instrument
that can be enjoyed by musicians and non-musicians alike. In 2012, Korg added Kaossilator 2 to the family, bringing
microSD support, additional sounds and dual loop recording!
Digital Recording Studios
In 1991, Korg entered the professional
broadcast category, and began to create sophisticated digital recording and
mixing products under the SoundLink name. The technologies perfected here were
incorporated into the popular D-series of Digital Recording Studios, which made
the transition into the home recording market. The D-Series was designed for
musicians who wanted to make professional-quality recordings both in their
homes and on the road, beginning with the versatile 8-track D8 in 1998.
Then came the successful 16-trackD16 in 2000.
Korg brought this product line to the next
level in early 2001, with the D12 and D1600. Both featured
high-quality, uncompressed 24-bit/44.1kHz recording that goes well beyond
CD-quality, non-destructive editing, digital automated scene mixing, built-in
multi-effects, a PCM drum machine, TouchView display (D1600), and the ability
to burn a CD from an internal CD-RW drive. For the guitarist, Korg introduced
the D1200 in 2002. Building on Korg’s REMS modeling technology, the D1200
adds a Modeling front end to the recording process aimed at helping guitarists
and singer/songwriters get a great sound and start recording quickly and
easily.
The popularity of these products led to the
highly-professional D16XD and D32XD– the XD indicating Xtended
Definition 24-bit / 96 kHz recording. The XD Series (2003) featured modular
enhancements, allowing the addition of a tube preamp, eight more analog inputs
with analog compressors – even an ADAT Lightpipe output. The D32XD even
featured motorized faders. For more personal use, Korg released the D3200 in
2005, equipped with a multi-function Knob-Matrix, Click-Point interface, and
the simple to use Session Drums. Simplest of all was the D888 –
essentially a live mixer that recorded each channel as an individual .WAV file,
so recordings could easily be captured and then transferred via USB to a
computer-based editing suite.
DSD (1-bit) Recorders
Korg took the world by storm with the first
consumer-priced application of DSD 1-bit technology with the MR mobile
recorders in 2006. Unlike traditional digital recorders where the final
resolution must be decided before recording, the MR series record the direct
output of the A/D converter, allowing the same recording to be repurposed into
any format with no loss of fidelity; excellent for mastering, archiving, and
capturing the true dynamic range and ambience of the original source. The
shirt-pocket sized MR-1 offered unbelievable mobility, and the larger MR-1000
proved to be an excellent field recorder and mastering deck. After consulting
with many top recording professionals, the Studio version – MR2000S was
released in 2008; featuring a single-space rack format, extended metering, sync
and other production features. In 2010 Korg released the MR-2, adding SD card support, a built-in adjustable mic, analog
limiting and more! And, in 2012, Korg updated the MR2000S as the MR2000SBK, bringing a larger hard drive
and a sleek, black faceplate.
The CX-3 and BX-3 Combo Organs — A Blast
from the Past
Even as Korg ventures into new territories,
the company has, in a sense, returned to the past. Building upon its organ
development, Korg’s original CX-3 Combo Organ went on sale in
1979, followed by the dual manual BX-3. Breaking through the monopoly of the
legendary tone-wheel sound, the compact and portable CX-3 went on to become a
favorite in its own right, and is still widely used by musicians in studios and
on stages around the world. In the year 2000, the new CX-3 Combo Organ
was reborn, making full use of Korg’s acclaimed DSP technology and reflecting
painstaking attention to musically sensitive keyboard touch and exterior detail
(such as knob and drawbar placement). The new CX-3 is as good as the real thing
–– and certainly easier to haul than a 310-pound Hammond B-3.
In 2002, Korg took musicians one step closer
to a real B-3, with the addition of the new dual-manual BX-3, featuring
waterfall keys, pitch bend and modulation wheels, additional voice parameters,
and a matching wooden stand.
This impressive CX-3 modeling engine also
found its way into Korg’s industry leading OASYS and KRONOS workstations,
adding new features and providing that same magical tone.
Stage Pianos
In 1980, Korg introduced its first stage
piano, the LP-10. The SP80 came next, followed by the EPS-1, a
unique instrument that layered piano and strings together. In 1986, the Sampled
Grand series (SG1 and SG1D) provided an astounding piano sound
with a keyboard action that was second to none. Korg revisited the stage piano
in 1996 with the SGproX.
TheSP-100 was debuted in 1999, and
followed up by the SP-200, SP-300 and the arranger enhanced SP-500
in 2002. Korg’s recent offerings include the SP-250 piano and the Pa588
interactive workstation. Both feature an amazing piano sound, a collapsible
metal stand, true half-damping pedal, and built-in monitor speakers. Korg’s
top-of-the-line piano action – RH3 Graded Hammer Action – provides a life-like
touch to satisfy the demanding pianist.
With the discerning performer in mind, in
2009 Korg introduced the SV-1, the
Stage Vintage piano. Featuring a range of signature sounds, including two
phenomenal grand pianos, in demand electric pianos, organs and others, the SV-1
is the perfect partner on stage or in the studio. With a straight-forward front
panel and Korg’s RH3 Graded Hammer Action, SV-1 delivers the sound you need
when you need it.
In 2011, Korg unveiled the SP-170S, a simple,
stylish and easy to use piano. With ten sounds, including two skillfully
sampled grand pianos, the SP-170S is the ideal choice for a great sounding,
great feeling and easy to transport piano.
Pa, i, iS, SAS Interactive Workstations
Korg started down the interactive road with
the amazing SAS-20 way back in 1982. Then in 1993, the i3 marked
the beginning of the company’s interactive workstation series in earnest. These
keyboards and modules used a variety of editable “Styles� the performer could
interact with to create an amazing multi-faceted musical performance from a
single instrument. The “i� series led to the enhanced “iS�
series, and in 2000, Korg introduced the Pa, or Professional series.
ThePa80 and Pa60 used the
acclaimed “HI� synth engine from Korg’s powerful TRITON series and introduced
the XDS dual song player – a valuable asset considering the entertainment
nature of these instruments. The compact Pa50 shaved off some of the
expansion options but delivered the same sonic and Style performance as the Pa80
at a lower price, and went on to be the best-selling Korg keyboard
instrument (worldwide) for years on end! And while the Pa80 was a breakthrough,
it was the introduction of the Pa1XPro and the follow up models – Pa2XPro,
Pa800 and Pa500 that truly placed Korg at the forefront of this
category. Based on the EDS engine driving the M3 and M50, these models added
desirable extras such as TC Helicon vocal processing, score displays of MIDI
files, video output, plus MP3 recording and playback. In late 2008, the Defined
Nuance Control upgrade placed natural articulation in the performer’s hands.
Crossing categories, 2008 also saw the
release of the Pa588, combining a top-of-the-line digital stage piano
with all of the valuable assets of the Pa series – TouchView display, XDS
sequencer, and the amazing RX technology “Style� engine.
In 2011, Korg announced the PA3X, utilizing
the RX (Real eXperience) sound engine with a massive internal ROM, and pianos
borrowed from the acclaimed SV-1, the PA3X proudly assumes the flagship
mantle! Available in 61 keys or 76 keys,
with both velocity and aftertouch, it boasts a beautiful TouchViewTM
display; great for the stage or the studio!
Accolades
Over the years, Korg and its products have
received numerous awards and honors from members of the music industry in
countries around the world. In recent years Korg has won a number of trade show
awards. In 2010, Korg took home two MIPA Awards, for “Best Electronic Drums�
for WAVEDRUM and “Best Live Performance Tool� for KAOSSILATOR Pro. Korg also
received the coveted Winter NAMM “Best in Show� for KRONOS (2011) and pitchclip (2012).
KRONOS has been lauded as “Editors
Choice� by Electronic Musician while
the microKORG XL, monotrons and monotribe have all received “Key Buy�
awards from Keyboard Magazine. When
musicians are looking for innovative products, they turn to Korg.
Here, There, and Everywhere
The far-reaching influence of Korg products
have been seen not only in popular music spanning 50 years, but
also in projects as diverse as Korg’s product line—from recording traditional
Chinese Music for a TV program, to participating in a special presentation at
the famous Smithsonian museum, to aiding a research project involving
interspecies animal communication, and much more!