AFAIK ms2000 and microKorg engine was already in EMX-1. Or at least it was some alternative version, adapted for groovebox needs. However it was quite limited.
In any case a new Electribe is urgently needed. They already have all amazing technology, much improved VA in Microkorg 2 and KingKorg Neo, great modular FM, strong wavetables and samplers in Mod/Op/State engine. Just tweak it to fit the groove box format, maybe remove couple of osc models and mod destinations, don’t repeat the mistakes of Electribe 2 (like 1 effect per track with 1 knob, wtf was that??) and make sequencing less complex than on Wavestate and that would be a hit.
Interesting… I should check EMX. Guess the magic of ms2000 starts in mod matrix and motion seq, despite very distinct sounding filter, waveforms. So if it missed in EMX…
MicroKorg 2 sounds really interesting too, same way as 2000 and mkI but brings more options. On the other side I really did’t liked KingKong character - too clean, almost sterile and hifi, boring…
Let’s hope they will figure something interesting. Electribe based on Microkorg with options and UI in the direction of Roland SH4D (knob per function, p-locks, multitimbral ) can be very fun!
Question for ms2000r users: can you use it without external midi keyboard like a groovebox = program sequences and play them in sync with external clock? If so, can you program sequences for each layer independently? Are sequences only mono or poly? Do you need to sacrifice Mod Lines for note / gate, or you can use 3 mod lines together with note / gate sequences?
I just don’t understand their 4voice strategy … all of them. MS2000 Microkorg, Minilogue… why? It is not so much about chords but more about cutting the release of played notes off aka voice stealing. For the digital synths at least it should be no problem nowadays to use a cpu that supports 6 or 8 voices.
MS2000 & Minilogue technically have poly chain capability to double the voice count if you want to go to 8. As for voice stealing, for some it is absolutely desired to have that cutaway. When I am stacking things on Digitone with multi arp setups it creates some very interesting things that I otherwise would not have envisioned. 4 voices covers most chords - I think this is about locking in a certain style of workflow in this case.
I have to shout out that Korg’s ‘logue synths still have one of the best microtonal/microtuning implementations on any hardware synths (editable on-device; full range of pitch assignable to every key, with the option for 12-note octave-repeating or not; 6 user slots for each of those two options). Getting this feature on the Monologue and Minilogue (OG; via firmware update), along with the excellent, distinctive sounds and intuitive analog UI, at affordable prices, was an incredible help to me years ago, and still is today.
Also very happy to see love for the Monotribe, which was essentially my entry point into hardware synthesis and sequencing. It’s a visionary ultra-minimalist groovebox.
Finally, I really dig the Volca Modular. As limited and weird as it is, I truly appreciate having a pocket-size alternate-universe Buchla Easel… and I’ve gotten some great sounds from it. Plus, it’s so far the only synth I’ve found that fulfills my wish of a tiny keyboard with a microtuning implementation.
I could go on… all these instruments have meant a lot to me, hitting a sweet spot of workmanlike simplicity with some degree of “weirdness”, slightly “out-there-ness”, like I think others have identified in this thread. I expect I’ll always have a lot of fondness for Korg synths.
I like some of the vintage Korgs. The PS-series for example. However, I’ve never owned them.
I’ve only owned relatively modern ones.
Prologue 16
Minilogue XDm
Volca Drum
(and SQ-1 and SQ-64, but they don’t make sound )
My favorite of those though is the Prologue 16. The Minilogue XD comes close, and has a slightly raw-er tone (especially its filter), but overall the sound of the P-16 was more my style. I love big smooth sounding analogs (most of the time).
I may actually be forgetting something here though. I’ve owned so many synths, I may have missed one.
I’ve known plenty of people with MonoPolys, Prophecies, DW-8000s, Radias, various Trinity/Triton things, etc. I did know someone with an Oasis too, but never actually heard it.
I think I still like the vintage PSes and the Prologue best though.
Oh, I also REALLY like the sound of the MiniKorg 700FS. Almost forgot about that. I don’t have one, but a friend of mine does. Sounds incredible.
This is probably the most bland answer but the Triton, it’s insane to me that a lot of those presets made the Neptunes who they are today. It also made me to not feel bad for using presets on anything I use.
Did anyone already mention the microKorg?
(I don’t own one but I’m always looking for a second hand one cheap enough to purchase…and still on the look)
My best friend had a Poly 61 for years.
He’s run it through a Line 6 multi effects pedal.
That sounded like magic to me.
I love how the Poly 61 had this very “electronic” sound, and if you dialed it in you could make ultra creamy sounds that are slightly modulated by the joystick.
I had a few Poly 800’s in hopes to recreate some of that magic, and although I loved the sounds it didn’t quite scratch the itch.
I’d take a Poly Six or a Mono Poly any day in an attempt to get that magic, jyst never pulled the trigger.
I’d love an MS 10, 20 and VC 10 for very different reasons.
That out of control squeal heavy taming electronic circuits sound.
I’m a big fan of the MS20, Polysix, Mono/Poly, and Delta. In terms of newer Korg stuff, love the Volca FM2 and the Volca Bass. Never got along with any of the Minilogue / Monologue series for some reason. Special shout-out to the Monotron Delay. Super fun for the price.
For some reason I always associate Korg with a mid-range crunch and sweetness. They never seem to have the strongest low lows or high highs, but maybe my experience with Korg stuff is limited.
+99 to that. That company’s got balls of steel. They just go out and … make something new. Or bring something back, but not the thing where the easy money is (see: Wavestate).
As a result of this adventurous quality, my Korg favorites are all over the map:
Volca FM, mk1: So crunchy, yet so faithfully Yamaha. There are by the most recent census 27 of us on earth who still want to be able to program a DX7 engine in hardware without complications or omissions, the Volca is that.
X50: Yes, I know I’m the only one. The light but not shitty keyboard action was very important to me when I was trying to find a synth I could play easily after some health issues years ago. It’s also a pretty badass rompler and controller, yet weighs almost nothing. Still my main practice ax, play a little Monk/Mingus/dead European dudes on it every week. I even have the camo X50!
Opsix: Because: sliders and endless nerdy programming weirdness.
Z1: The XY pad, of all the features, is what I truly love. Expressive for sure.
Probably others I’m forgetting. I think I have more Korgs than anything else, but they’re so unassuming I tend to forget how much they get used …
To my ears it sounded bland and lifeless, and «samey». I especially found the sloppy envelopes frustrating.
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