The ARP Odyssey is back. Again, but this time, it is all grown up.. the Limited Edition, full size ARP Odyssey FS. The full-sized Korg ARP Odyssey FS feature a standard keyboard, a completely analog signal path. There are 3 designs to choose from Rev1, Rev2 or Rev3 – each with all three classic filters included:
Just like the original, Odyssey is a two-oscillator beast featuring saw and pulse waveforms, sync, FM and PWM, plus a noise generator. Two filters are onboard – high-pass and resonant low-pass, the second switchable between models of all three Revisions – and modulation options consist of an LFO, two envelopes, and sample + hold.
Unlike the duophonic hardware, Odyssey can be switched between monophonic, duophonic and polyphonic modes, with up to eight voices of unison. Further departures from physical reality include a 16-step arpeggiator, a bank of six effects; Distortion, Phaser, Chorus/Flanger/Ensemble, EQ, Delay and Reverb, and a pair of X/Y pads for real-time manual manipulation of two parameters each from an extensive list.
Ultimately, it is the sound that counts. Odyssey superb sound, doing a stellar job of recreating those famously edgy oscillators and that razor sharp low-pass filter. goat milk incredibles
Korg debuted the RK-100S synth for the 30th anniversary of the original RK-100. Back in 1984 haircuts were questionable and music was diverse, keyboard players sat behind their hug rigs and could only dream of joining guitarists and bassists at the front of the stage to strut their stuff but, the Korg RK-100 remote keyboard broke the chains of keyboardists, setting them free to perform as they liked.
Housed in a stylish, solid wood body, the battery-powered RK-100S offers a number of additional updates from the original model. Equipped with a full palette of keyboard sounds from the built-in microKORG XL+ engine, it enables users to perform in a wide variety of music genres wherever inspiration may strike. It also functions as a USB/MIDI controller, as well as a vocoder.
There are 200 programs available in the onboard MMT sound generation system, including a broad range of oscillator algorithms such as the characteristic sawtooth and square waves found in analog synthesizers, plus formant waveforms, noise, and classic PCM/DWGS waveforms.
In addition to the 37-note slim keyboard (as featured on the Korg MS-20 Mini), a short ribbon controller on the neck and a long ribbon controller in front of the key bed are included for controlling parameters such as pitch and filter. The long ribbon runs the entire length of the key bed and can also be used to play scales over three octaves. Also included is a built-in Arpeggiator, with six arpeggios available. Notes in the Arpeggiator can be individually switched on/off, for even more rhythmic variation.
The RK-100S comes equipped with a vocoder function that lets players use their voice, via the optional headset mic, to process the sound of the oscillator.
The Korg RK-100S synth runs on six AA batteries or the optional AD adaptor and is available in a choice of three colors: red, white and black. And would be available June 2014,
The Korg MS-20 Mini resemble its predecessor Korg MS-20, originally realeased in 1978. The MS-20 is a fully analogue, dual oscillator monophonic synthesizer with two envelope generators, high and low pass filters, a modulation generator with frequency, high pass filter and low pass filter modulation. Its three octave keyboard came housed in a distinctive upright case featuring a versatile patch bay for extended modulation, CV implementation and external signal processing making it possible to affect any audio source using the famous filters or even allow a guitar to trigger the synth.
But for many, to what extend the MS-20 Mini resemble its predecessor. First and foremost, the components in the original synth are now the best part of 35 years old, something that will affect the overall character of the sound. Apparently, the new synth is a little more extreme sounding and that the filter peak plays with the sound at a slightly different point than the original. If you compare the wave forms of both machines under an oscilloscope then you will find a slight difference but to all intents and purposes Korg have come up with as close a replica, in terms of sound, as anyone is likely to manage.
There are however some noticeable differences. The new synth is a whole 14% smaller in size than its predecessor, and that includes the keyboard. The keys are halfway between the mini keys found on the microKorg series and full size keys, specially designed for MS-20 Mini. There is now MIDI in as well as USB connectivity, and instead of 1/4″ TRS jack inputs. The MS-20 mini uses standard mini jack sized cables (3.5mm) for the patch bay, headphone out and main outputs, which is in line with the overall scaled down design. The endless possibilities offered by the addition of a patch bay will help keep both sound design novices and veterans occupied for years without getting bored. The two oscillators differ slightly as VCO1 scales from 32′ to 4′ whilst VCO2 is slightly higher at between 16′ and 2′. VCO1 gives you the choice of triangle, sawtooth, pulse width square and white noise with adjustable pulse width control. VCO2 gives you sawtooth, square, pulse and ring modulator with an independent pitch tuning control.
The Korg MS-20 Mini is relatively simple to create a gritty sound that does not want to be softened. The MS-20 mini has the ability to keep up with every edgy idea that you can imagine and is a lot of fun to use in the process. A faithful resurrection of the MS-20 , at a good price. Everyone should possess one!
), a short ribbon controller on the neck and a long ribbon controller in front of the key bed are included for controlling parameters such as pitch and filter. The long ribbon runs the entire length of the key bed and can also be used to play scales over three octaves. Also included is a built-in Arpeggiator, with six arpeggios available. Notes in the Arpeggiator can be individually switched on/off, for even more rhythmic variation.
is relatively simple to create a gritty sound that does not want to be softened. The MS-20 mini has the ability to keep up with every edgy idea that you can imagine and is a lot of fun to use in the process. A faithful resurrection of the 
