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The blue EMX is focused on modelling technology, samples are the trade of the red ESX.

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Nearly a decade on from their initial release, Korg has once again refreshed their enduringly popular Electribe range.

With the hardware groovebox apparently declining over recent years, it's the perfect opportunity for us to take a fresh look at the popular sequencer and see how they shape up in 2010.

What do they have to offer? More importantly, are they still relevant to the producers of today?

Elec-what?

Given that it's been a while let's start with a quick recap to see what the whole Electribe concept is all about. The story begins in 1999, when Korg released the original Electribe A-1 analogue modelling synthesizer and Electribe R-1 rhythm synthesizer.

"Users will enjoy the drive valves can add, but the front panel real estate could have been better employed."

Based around a classic step sequencer layout, the EA-1 and ER-1 were an instant hit. Two more models, the ES-1 rhythm production sampler and EM-1 music production station followed in 2000 and 2001 respectively, introducing sampling features and the excellent 'motion sequencer' automation feature.

The ES-1 and EM-1 each received major updates three years after their introduction and the EMX-1 and ESX-1 really brought the Electribe concept to its logical conclusion as fully featured all-in-one production environments.

Both units offered a single box solution for Dance music production, with drum and synth features, arpeggiator, a good selection of real-time effects and the all-important 'Valve Force' tube gain.

The EMX (blue) focused on Korg's MMT (multiple modelling technology) synthesis approach, whereas the ESX (red) is the sample specialist. New for 2010 are the EMX-1 SD and ESX-1 SD but there's more going on here than just the addition of an SD card slot.

The next sequence

Both Electribes are based around their built-in step sequencer, which allows patterns and loops to be strung together to create songs. Patterns can either be played live and recorded into the sequencer for each part (in which case each of your notes is quantised to the closest step) or entered directly in step time using the 16 buttons along the bottom of the unit.

The vast majority of sequencing options are intuitive, but the synthesis and sampling features of the two devices take a bit more getting used to.

The EMX-1 uses a combination of PCM drum samples and digital wave shapes for sound generation. Basic envelope generator controls and filter options allow the sound to be shaped, but the real power lies in the modulation section in the top-right-hand corner.

Here, an oscillator (LFO all the way up to audio rate, with BPM sync option) can be used to modulate parameters such as pitch, filter cutoff or oscillator settings. It's a relatively simple but highly effective system and the range of sounds on offer is phenomenal.

The ESX-1's sample manipulation options are fairly similar to the EMX-1's synthesis methods but the sound sources are samples rather than waveforms. Instead of the EMX's nine drum parts and five synth parts, the ESX features nine regular sample parts (primarily intended to be used for drum samples), two keyboard parts for playing back melodies, two stretch parts for tempo-synced time-stretch effects and a slice part which allows you to chop a single sample up into a series of steps.