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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!

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Korg Volca Bass Analog Bass Machine

And now … well, now there’s Volca, three new instruments covering keys, bass and beats – in name and function. The three new instruments are both more value-packed and more capable, complete with (at last) MIDI input ports that let you connect other gear. Volca Keys, Volca Bass, and Volca Beats each focus in on a specific sound design task, while sharing common sequencing and sync features, and tidy bodies with big touch strips. They’re self-contained music instruments;complete with speakers, but also play nicely with each other and other gear.

Three true-analog synthesizers with built-in sequencers to generate the ultimate analog leads, basses, and rhythm.

• Korg Volca Keys – Analogue Loop Synth
• Korg Volca Bass – Analogue Bass Machine
• Korg Volca Beats – Analogue Rhythm Machine

Korg Volca Keys – Analogue Loop Synth. The ideal introductory synthesizer, with a simple – yet powerful – polyphonic analog sound engine and loop sequencer. This 27-key analog lead synth delivers unbelievably powerful sound in a compact body.

The delay is not the same as the one on the earlier Monotrons. The new delay is actually running on the microcontroller, a custom-implemented delay routine squeezed into the Volca’s processor cycles. And it’s irresitable, capable of whipping up spacey ambient dubs from your synth leads.

Sync is a blast – and you can sync up other monothings, too. You can connect minijacks to sync these different instruments, including both Volcas and Korg Monotribe. Now, you can also sync from MIDI in – and then use that to clock something else from the sync port.

Slide touch makes the sequencers more usable. Slide along the touch strip, and you can quickly silence and mute drum parts on the Volca Beats, for instance. You can also use Active Step to add and remove steps on bass and beats, and hop around the sequence on beats with Step Jump for rhythmic effects. It makes the beats and bass really performance-ready.

Volca Beats has added some sound features that keep things fresh. The “grain” parameter adjusts the digital wavetable on the hat, and can make some glitchy, tight sounds. PCM Speed creates some creative effects, as well, for other digital timbres. And the Stutter effect can be tuned to all kinds of different results.

You’ll get deep bass when you want it. With all three, I was impressed in better acoustic environments by the sounds of the bass drums and bass lines.

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The new Korg KingKORG is a 61-key analog modeling synthesizer with Tube Preamp, Vintage Effects, Vocoder, Arpeggiator, CV Control, Oscillators, Filters, and Modulation Controls.

The KingKORG unique feature is the new XMT (eXpanded Modelling Technology) modelling sound engine that simplifies the overall operation of the synth whilst still being able to produce a wide variety of incredible sounding tones. The KingKORG provides pre-set algorithms that contain combinations of familiar oscillator sounds such as sawtooth, square and noise as well as numerous PCM/DWGS algorithms to sculpt unique and personal sounds.

The KingKORG also features a vocoder section with an on-board microphone input, to get those Daft Punk robot voice sounds as well as the creative freedom to use a voice as the basis for new tonal creations. The KingKORG also has Formant Shift to modify the character as well as Formant Hold which freezes a vowel sound to be played back across the keys.

Additionally, Korg has also included powerful and diverse modelling filters based on classic synthesizers from the ‘70s and ‘80s that allow unique sound shaping, as well as a faithful recreation of Korg’s own MS-20 analogue synthesizer. Being analogue modelled, the filters closely mimic behaviour such as self-oscillation and distortion for aggressive leads and basses.

Perhaps, one of the more striking features is the intuitive new panel layout that makes the KingKORG easy to use, with a dedicated display for the oscillator clearly showing the current algorithm. There is also a function for selecting sounds by type such as ANALOG or PCM, and plenty of knobs spaciously laid out that give immediate hands on control of the most important parameters, making production and performance a more tactile experience.

Take to the stage with the performance-designed Korg KingKORG analog modeling synth. Created for live use, this synth delivers easy-to-use controls, amazing tones, and is light weight. The Korg KingKORG synth has all the tools you need to gig like a pro.
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