What is it?

Hardware sound modules and software titles aimed at specific genres of music are by no means new – just look back at the evolution of the groovebox from Roland, Yamaha and Korg right up to the latest modules from Akai, Novation and NI to understand how dance music has shaped the music equipment industry.

Companies like Sonicware produce competitively-priced hardware for other specific tastes – ambient, lo-fi, you name it – and sample-packed ROMplers from the likes of, well, everyone, will tailor to any desktop flavour.

Routes specifically for dub and reggae creation are thinner on the ground, although many delay and sub bass synths are capable of producing the necessary deep and mesmerising low-end backbones and repeating effects.

However, no module has worn its aim so proudly as Teenage Engineering’s latest EP-40 Riddim, which not only provides sirens, delays and deep, deep basses, but partners with its own lo-fi effect microphone, the EP-2350 Ting. You get, then, all the low frequencies, all the effects and all the beats you need for reggae, dancehall and dub… and more genres besides.

Riddim and Ting is a compelling package from TE, and the latest in its range of bigger, ‘not so pocket’ operators, large format desktop modules first kicked off with the EP-133 K.O. II sampler, itself a larger version of one of TE’s Pocket Operators.

We’ve already had the first variation on that unit, the slightly bizarre and perhaps too-focussed Medieval EP-1320, a module aimed at time-travelling bards and court jesters – yes, really. But this latest EP combo promises to be a wider-ranging beast, so it should be more of a home run for TE. Let’s get them together, then, but do they feel alright? (Sorry.)

Performance

Think of EP-40 as a groovebox with a synth engine and sampling, and you won’t go far wrong. There are four parts to a Riddim project – Drums, Bass, Melodic and SFX – and you simply hit a project part button on the left-hand side, and audition sounds with the keys or change them by holding the +/- buttons.

There are 400 such sounds, including a ton of percussive hits through the first few banks, with bass and leads from location 400 onwards; as you go higher, you get effects, stabs, fills and loops.

Both the bass and lead sounds utilise Riddim’s on-board ‘Supertone’ subtractive synth engine, which is one of the draws of the machine over previous models in the range, so you get some proper beefy basses and head-tearing leads. Choose a sound you like and then hit the Keys button, and Riddim maps the chosen sound across the keys in a scale for you to play and record.

Within each project part, hitting a key might give you loops (of beats, basslines etc) – most often played on buttons 7, 8 and 9 – and single hits and effects on the rest of the keys. The parts are set up slightly differently, though, so you can, for example, only play one drum loop at any one time, but up to three melodic loops. Either way, this is a great way to get a feel for Riddim and to audition some varied sounds.

Better still, you get nine user-editable projects (although both website and manual state eight) already loaded in, which should be your first port of call. Hit play as soon as you enter the Live State mode, and you can audition a project with loops (new to this model), hits, synth sounds and more, all created by production royalty, including dancehall’s King Jammy, dub pioneers like Mad Professor, and singer/songwriters including Lisa Hyper and Etana.

These are all excellent, if perhaps somewhat ‘obvious’ on occasion, even sounding pretty good on Riddim’s not-so-large and not-so-powerful on-board speaker. Riddim might not be a mobile sound system capable of carrying Notting Hill’s carnival on its own, then, but it’s good enough to use for mobile song creation. You will just have to plug the unit into a proper sound system to enjoy it to the full, but it can certainly deliver; its range is superb and dynamic, the sirens as loud and proud as you could ask for, and all the beats, bass and leads are there for project creation across a variety of genres, not just the obvious ones.

There are plenty of vocal and other sound effects too, although EP-40’s sample mode lets you add more, replacing or adding to the existing presets and utilising Riddim’s 128MB storage (twice that of the original EP-133).

Here you can use the optional (but currently free) EP-2350 Ting microphone, which we’d say is an essential partner, plugging in and allowing you to transform your vocal, or any outside world sound, into something very dubby indeed. Not only can you use it to sample your voice, but also trigger up to four on-board samples and use Riddim’s on-board effects, which can also be selected via the mic.

And the effects section is where it gets just that little bit crazier, as it most certainly should. In these genres, the effects are as important as the initial sounds, and how your delays intertwine and evolve with the beats and bass are really where the magic happens, so much so that original producers would sprinkle effects from Space Echos and other delays in to result in mesmerising reggae tracks that would take on a life of their own.

With Riddim, you can select these different effects, either by triggering different effect sounds – sirens, squeals and plenty more – or by putting any sound through the on-board effects (7 main plus 12 punch-in) and controlling its level with the single fader on the left. Again, this is great fun for adding live effects on the fly, highlighting Riddim’s fantastic performance chops.

Verdict

It’s not all fabulous news – we did struggle with the operating system at first, as the learning curve is a little steep if you are a non-EP/OP/OPZ user. Proper old school producers might also baulk at the ease of song creation and the slick results – a criticism you can level at almost any piece of genre-specific music technology. Yes, this is perhaps a sanitised dub and reggae module, but feel free to filth up the results to make them more ‘authentic’ should you wish.

Overall, though, using Riddim and Ting is a very enjoyable experience. Unlike Medieval, this is a more flexible package that delivers everything it should in ways that only TE can. The operating system is easy once you get over that initial hurdle, and we found that you should perhaps simply enjoy the many rather marvellous and colourful icons around the screen as a light show rather than use them as guidance.

If dancehall, reggae and dub aren’t necessarily your ‘ting’, then Riddim also acts as a bridge to those worlds for newcomers, and you can very easily find yourself fitting its workflow, effects, beats, and some very solid low end into whatever genres you produce.

Surprisingly for Teenage Engineering, the price is reasonable, although there is some rather overpriced merch should you wish to splash out – we’ll take the £29 socks. EP-40 sounds great, and the EP-2350 mic is a stroke of genius, although that also makes it an essential addition in our books, so grab it free while you can to enjoy a fantastic partnership. As someone might have once said, this is the sound… of sirens.

Hands-on demos

teenage engineering

Alternatives

Specifications

What is it?

Swedish hardware manufacturer Teenage Engineering has made a name for itself in recent years with its innovative electronic instruments, iconic design style, and occasionally, a touch of controversy. Their latest offering into the sampler market, the EP-1320 Medieval fits all of the above, billed as “the ultimate, and only, medieval beat machine”.

The EP-1320 Medieval is essentially an updated edition of 2023’s EP-133 K.O. II sampler. As we've already reviewed this device, we won’t rehash too many of the similarities between the models, instead focusing on what new features this ancient-inspired instrument has to offer.

At first glance, the EP-1320 looks and feels great – sharing the same form factor, controls and connectivity as the K.O. II, but with an updated colour scheme and artwork. The build quality is sturdy and robust, yet thin, lightweight, and portable. Portability is a key factor here, as the unit can be battery-powered, with the built-in speaker and microphone allowing for easy use without any extra hardware or cabling. For an additional cost, Teenage Engineering even offers a quilted carry bag, so you can really look the part at the local village fayre.

Performance

When playing around with any new piece of hardware, there is always a learning curve to be had to understand the device’s idiosyncrasies and hidden features. The EP-1320’s naming conventions for the controls takes this to new levels of indecipherability, leaving users unsure whether to reach for an instruction manual or a Latin dictionary.

Despite sharing many of the same functions as its predecessor, familiar controls such as ‘volume’, ‘play’, and ‘FX’ have now been replaced by ‘magnitudo’, ‘fabula’, and ‘pocus’. This choice of faux-Latin labelling is not the most user-friendly idea that Teenage Engineering has come up with, however, it certainly adds another layer of mystery and intrigue to the device, creating a sense of deciphering an ancient artefact from a bygone time. An easy workaround to this issue is to simply consult the manual.

Alongside the printed graphics on the instrument’s shell, the EP-1320 also features an array of icons on the LED screen, intended to be visual cues to represent level metering and the status of the device’s various functions. Again, these prove to be equally as confusing as they are amusing.

The EP-1320 Medieval comes with 128MB memory, double that of its older cousin. However, a precious 96MB of this is used up by the stock sounds that cannot be deleted, leaving only a meagre 32MB for user samples. With the original K.O. II’s 64MB of memory already feeling somewhat limited compared to other similar products, this lack of space certainly comes across as a downgrade for users who are wanting to record and edit their own samples. That being said, it seems quite clear that this device is designed to occupy a more specialist, niche area of the market, offering a well-curated selection of sounds that are designed to work cohesively together.

The preinstalled sounds are an eclectic mix of horns, flutes, bowed and plucked strings, Gregorian chants, drums and percussion, as well as a wide array of medieval inspired foley sounds such as horses, clashing swords, cackling witches and rowdy peasants. The samples are high quality, and with the device’s 12 mono/six stereo voice polyphony, it’s easy to create rich textures very quickly. The EP-1320 comes with nine demo tracks, ranging from grandiose medieval fanfares, to clanging 21st century techno stompers, which can be remixed through the unit’s onboard punch-in effects.

The updated effects on the EP-1320 consist of a dungeon echo, torture chamber reverb, distortion, bardic ensemble, filter, compressor, and a dimension expander – which can all be assigned to individual pads, the main mix, or to a live input. Despite having different tonal qualities to the effects on the K.O. II, it’s impossible to say whether one version sounds objectively better than the other, and in the end it comes down to personal preference.

Verdict

All in all, there’s no doubting that the EP-1320 Medieval is heaps of fun, and it’s always great to see innovation within a market that can sometimes appear to be running out of original ideas. It looks great, it feels great and, if you’re into that sort of thing, it sounds great as well.

However, for users looking to sample their own sounds, it’s clear that the EP-133 K.O. II is still the knockout champ, offering double the user memory at the same price point. But for the dungeonsynth aficionado, D&D roleplayer, or Bardcore-ious, the EP-1320 Medieval is surely the holy grail.

Hands-on demos

teenage engineering

Alternatives

Specifications

NAMM 2025: Korg has revived its beloved Kronos workstation, unveiling an updated model that promises to be faster and more flexible then previous incarnations, as well as being packed with fresh sounds.

The new Kronos arrives with a reengineered system architecture that will, according to Korg, result in 60% faster start up time. The central touch screen interface has been redesigned too, promising to be faster, more responsive and more intuitive in use.

Under-the-hood, however, the overall design is very similar to that of previous incarnations. The sounds themselves are provided via nine independent sound engines, each of which is essentially its own self-contained synthesizer.

These include piano, organ and EP emulations, along with virtual analogue synths based on Korg classics, PCM sampling synthesis, FM, physical modelling and more. The Kronos also features Korg’s Drum Tracks engine, which can be used to generate accompanying rhythm parts.

This latest Kronos is backwards compatible with previous versions and contains the full existing library of sounds, giving users access to over 300 full libraries. The new Kronos expands on these classic sounds too though, adding 256 additional programs including a new Italian Grand Piano, a new vintage tine electric piano and expanded range of FM-based piano sounds.

The Kronos is also expandable, with a 62GB SSD allowing for user sampling – using the Open Sampling System – and sound library expansion. The keyboard also features 16 audio and 16 MIDI tracks for sequencing and recording, as well as extensive Set List capabilities.

Reading between the lines of this talk of backwards compatibility and classic sounds, however, lies the fact that this new Korg Kronos looks suspiciously like the old Kronos. In fact, the OS itself is listed as Kronos System Version 3.2, indicating it's likely only a minor update to the 3.1.3 OS last seen in the discontinued models.

This may not be a drawback – the original sounds were popular for a reason – but when we last saw them the synth UIs were beginning to show their age, and we’ll be interested to see how the sounds and usability stack up to modern rivals in the likes of Arturia’s AstroLab.

Chronology

The original Kronos arrived in 2011. An updated Kronos X model followed in 2012, which was then superseded by the Kronos 2 in 2014. Korg released various OS updates and new sounds across the course of the decade, before finally discontinuing the Kronos in 2022.

While the popularity of workstation keyboards has peaked and dipped over the years, the concept has had something of a resurgence recently, with the likes of Roland’s Fantom range, Yamaha’s Montage and Akai’s MPC Keys all putting a modernised spin on the format.

The Kronos proved to be one of the most popular workstations of the 2010s, seen on-stage or in the studios with a broad range of artists from Chick Corea to Mark Ronson, Vangelis, The Roots, and even underground experimenter Actress.

Hardware wise, the new Kronos boasts a powder-coated metal body with black wooden side panels. It comes in 61, 73 and 88 key iterations, the first with a Natural Touch semi-weighted keyboard, the larger two with RH3 hammer-action keys (which, again, appear to be the same as older versions).

Prices are set to start at £2649, but we’re still awaiting full price and release date information. Visit Korg for more.

Roland Juno-D7: What is it?

The Roland Juno name has a complicated history, once a range of cheaper analogue polysynth alternatives to Roland’s more expensive Jupiters, with the original Juno-6, 60 and 106 becoming sought after by vintage purists.

However, more recent Junos have veered sharply away from these originals’ specs. Earlier this century the name returned; in Roland’s eyes it still meant ‘entry-level’ and not ‘vintage classic’, so was slapped on cut-down Fantoms and wavetable synths including a 2004 effort which was confusingly called Juno-D, as is the latest Juno on test here.

2022’s Roland Juno-X was a fantastic nod back to the original synths, though, but this latest 2024 Juno-D – available as a 61-note and 76-note ‘synth-action' D6 and D7, and an 88-note weighted hammer-action D8 – is a nod back to that entry-level philosophy. Don’t expect vintage analogue then (unless you dig deep and digitally), but do expect a lot of features wedged into its lightweight design, and a lot of bang for buck.

Roland Juno-D7: Performance and verdict

Juno-D is one of those keyboards aimed at players and performers, the likes of which really are packed to the rafters with sounds, sequencing, playing options and (if you want it) more depth. Mostly, though, it's about simply playing from a mighty 3,800 ZEN-Core sounds (easily selectable by category) and 95 drum kits, all of which which can be played as individual single tones, or layered patches (commonly as two parts).

Multipart ‘scenes’ can also be set up where up to seven tone parts plus percussion can be created with editable parameters like keyboard ranges and velocity curves, plus more obvious tweakable (via sliders) volumes for each part. Handily, these can act like multitimbral setups by changing each part's MIDI receive channel. Another plus is that all tones in the Juno-D can also be sent to or loaded in from Roland’s ZEN-Core desktop software.

The sounds at the core of Juno-D are just the start though, as you get many other features including a decent sequencer – not exactly fulsome with a maximum of just 64 steps and few quantise options, but it is very (very) easy to use. There are also lots of effects (93 each of multi and insert), chord memories, rhythm patterns and arpeggiation. A Phrase Pad area wraps the more instant of these up into one section, with four simple buttons and eight pads to select beat segments, sequences and an overview of scene mixes.

There’s even a fair bit of synthesis power under the hood should you wish to dig, but you will have to wade through pages of, albeit fairly simple, menus, made easier to navigate by the super, large screen. Hands-on controls to change parameters are limited though – you get four rotaries to change obvious filter parameters (plus secondary assignments on hand for EQ and more). With many other sonic parameters rather buried, this isn’t a synth for easy synth tweaking on anything more than a basic level; it's more a keyboard for surfing many a sound and playing or accompanying.

And really Juno-D is all about accessing these quality sounds fast and setting up live multiparts and sequences. It loads them in with no fuss or delay and it sounds as good as you undoubtedly expect – realistic when needed, although not as layered and nuanced as a many-gigabyte software instrument might be.

Synths and pads are good with some multipart setups complex and evolving. Even those set up for modern (ish) genres like drum & bass aren't as embarrassing as these might have been back in the early 2000s! These scenes obviously lend themselves to parts for individual song performances during a gig – simply dial, sequence or play – and while this keyboard does much more, and could be mistakenly seen as a jack of many trades, its strengths as a performance and player’s machine should not be underestimated.

Juno-D is doing a lot, then, covering many performance functions that a gigging player needs and in a very portable keyboard – it’s solid, but at 6.8kg (15lbs) the D7 is lightweight enough to take from venue to venue (and the D6 only weighs 5.8kg). It is a good, if slightly unexciting entry in Roland’s keyboard lineup, then, a great performer with synth aspirations if you like, and while it is aimed at (and a very decent option for) beginners to the workstation ethos, it is also a solid choice for a variety of other tasks if you want to dive in. But its biggest attraction is the price as it delivers a lot of high-end workstation power – and much from the pricier Roland Fantom range – in a more cost-effective, lightweight, albeit cut-down package.

MusicRadar verdict: A great synth workstation for those new to the genre, with some hidden extras for more experienced players, and all at a very keen price. Just don't expect a 1980s’ Juno.

Roland Juno-D7: Hands-on demos

RolandChannel

Loopop

Merriam Music

Khordmaster

Roland Juno-D7: Specifications

• KEY FEATURES: Keyboard: 71 Velocity-sensitive keys; polyphony: 128 voices; parts: 7 tones plus percussion; engine: ZEN-Core includes 3,800 presets and 95 drum kits which are expandable via Roland EXZ; 128 Scenes (multiple parts) plus 128 user; effects: 93 multi and insert effects, 6 drum compressors, master EQ, chorus and reverb (use an EQ or multi-effect per part); mic input for vocoder with noise gate, compressor and reverb effects; sequencer: real or step time, 8 tracks, 64 steps; rhythm pattern, arpeggiator and chord memory functions; display: liquid crystal colour (480 x 272 pixels); connections: USB (audio interface at 24 Bit / 96 kHz), 3 x 6.3 mm main and headphone outs, 2 x 6.3 mm pedal and footswitch, MIDI in and out, mic in XLR/TRS combo socket, stereo 3.5 mm line input, USB-A (for storage devices) and USB-C (for computer); power supply: via USB-C port and external PSU (included).
• DIMENSIONS: 1217 x 324 x 94mm.
• WEIGHT: 6.8kg.
• CONTACT: Roland

Roland’s 2024 synth range is sprawling and can be a little confusing. Between the Aira and Boutique ranges, Fantoms, Junos, Jupiters and JDs, the iconic instrument brand has a multitude of hardware keyboards and modules to choose from, with a fair amount of crossover between models when it comes to the sounds and features on offer. 

That picture has just gotten a touch more complicated with the introduction of another new version of an existing keyboard line – the Juno-D. The original Juno-D arrived in the mid-’00s, offering an affordable keyboard-workstation equipped for various styles of aspiring and gigging musicians. The range has evolved over the years, with the last instalments being the Juno-DS range launched in 2015.

Available in three variations, these updated Juno-D models are versatile-looking synth keyboards that borrow numerous features from the top-end Fantom keyboards, albeit at a more accessible price point. Roland describes the range as “streamlined keyboards with powerful features for gigging musicians and budding music creators.”

The Juno-D keyboards are all powered by Roland’s Zen-Core engine, the sample-and-synthesis system behind many of the company’s recent instruments. This gives each instrument access to over 3800 sounds, including staple synth tones, pianos, organs, orchestral sounds, percussion and a variety of classic sounds from Roland’s heritage gear. Sample import also allows users to create and play custom patches.

The Zen-Core ecosystem also allows users to expand the sounds of their hardware instrument via Roland Cloud. By creating an account, Juno-D users can access a selection of free expansion packs as well as purchase themed packs that can be uploaded to the hardware.

The Juno-Ds are lightweight and easy-to-use instruments pitched at aspiring players, small bands and gigging musicians. To that end, the instruments offer a broad range of hands-on controls and can be powered via either a mains input or a USB-C battery pack. The instruments’ USB-C input can also be used to play songs or backing tracks from a smartphone, flash drive or computer. The keyboards also include an integrated audio/MIDI interface.

The instruments come equipped with a versatile selection of playing options and tools. The sound engine is multitimbral and the keyboards can be assigned split and dual modes, or what Roland calls a Super Layer, which allows the user to stack and detune multiple instances of a sound. There’s also a multi-track sequencer, arpeggiator and chord mode, plus a system of favourites for quickly accessing sounds.

As well as playing the keyboard sounds themselves, the Juno-Ds feature a mic input that allows users to process their voice with a range of effects, including EQ, compression, auto-pitch and a vocoder.

The three models in the range only differ based on their keyboards, which the range inherits from the top-end Fantom keyboards. The 61-note Juno-D6 and 76-note Juno-D7 are equipped with synth-action keyboards. The Juno-D8 has an 88-note weighted-action keyboard with hammer action.

While much of the sound content here will feel familiar to anybody that’s kept up with Roland’s multiple variations on the Zen-Core keyboard theme, it must be said that these particular configurations look undeniably handy for players working in small bands or playing regular solo gigs.

Roland Juno-D6, Juno-D7, and Juno-D8 are available now priced at $899, $1,149, and $1,299. Find out more at the Roland website.

Released in November 2023, the $199 EX upgrade for Roland’s Fantom added a handy collection of sound expansions and workflow enhancements to the company’s flagship workstation synth, but was only available as an add-on for existing owners. That’s now changed, as it’s just been announced that new purchasers can now buy the full Fantom EX experience as a complete package.

This means that, as well as all the great stuff that’s included in the standard Fantom, you also get Roland’s Analog Circuit Behavior (ACB) engine baked in. This powers the Jupiter-8, SH-101 and JX-3P synth expansions that come as standard, and the n/zyme, JD-800, Juno-106, Jupiter-8, JX-8P and SH-101 Model Expansions.

Piano fans, meanwhile, can revel (Ravel?) in the additions of the German Concert V-Piano Expansion 01 and the SuperNATURAL Acoustic Piano 3 Expansion.

Roland assures us that the Fantom EX hardware has more than enough grunt to run these expansions and power the expanded roster of effects. There are new “studio-grade” reverbs, for example, along with updated master FX and an analogue filter.

Otherwise, it’s very much the Fantom that we know and love, so you get plenty of controls, a touchscreen, multiple sequencing and recording options, and easy compatibility with a wide range of DAWs. There’s plenty of audio and MIDI connectivity, too.

The Fantom EX comes 61- 76- and 88-note versions, known as Fantom EX 6, 7 and 8 respectively. These are priced at $3,200, $3,700, $4,200. The smaller models have a semi-weighted keyboard, while the larger one has a hammer action. 

Find out more on the Roland website.

They say the devil has the best tunes, but Kickstarter has the best gear to make them. The latest launch on the platform looks to be one of the most exciting, as Lambda Synthetics' PolyPulse could well be the performance tool electronic music producers have been waiting for. 

Kickstarter has been throwing some weird and wonderful devices into our news feed over recent weeks, none more intriguing than the Lambda Synthetics' PolyPulse. Three years in the making, this performance workstation features five tracks of beats and melodies which can be sequenced, morphed and played on the fly to create some of the most mesmeric sounds you'll hear this side of your local modular meet-up. 

Each track features four effects and an algorithmic sequencer with four synth engines – FM, physical modelling, subtractive and additive – plus an analogue drum kit and sampler to generate everything you need for your tunes and beats.

The sequencer here differs from most, according to Lambda, in that it doesn't have limitations like the number of steps and time signatures. Instead each track can have different lengths and pattern styles resulting in melodies that shift and evolve.

Other stats on PolyPulse include up to eight notes of polyphony per track (up to 16 in total) and four inputs for sampling, while the 16 encoders will have you manipulating various parameters for even more dynamic performances. 

The highlights, though, look like the five touchpads. With these you can morph between sounds and effects for even more movement. Sounds are stored in the corner of each pad and can be morphed between live.

The highlights, though, look like being the five touchpads. With these you can morph between sounds and effects for even more movement. Sounds are stored in the corner of each pad and can be morphed between live.

Ward Slager developed the PolyPulse and says, "I started designing PolyPulse about three years ago, and last May I showed a prototype at Superbooth. We are now at the point where we are starting to do the final design touches and with your help we'd like to start producing PolyPulse."

PolyPulse is expected to cost €1,999/$2,099. Find more information and back the project on Kickstarter.  

Kurzweil K2700: What is it?

Not many companies hold the reputation of Kurzweil; it has made high-end keyboards and modules since 1983, thanks to its founding fathers, Stevie Wonder and Ray Kurzweil. The brand has always held a sonic identity, with pianistic requirements, musicians and performers at the very heart of its design.

The K2000 Workstation, which could be considered the K2700’s great grandparent, was released in 1991. It was an immediate hit, thanks to its innovative Variable Architecture Synthesis Technology, known as VAST to friends. This synth engine remains aboard the K2700, but now increased to an enviable polyphony of 256 voices. This is not the only synth engine in town though, with the welcome return of the KB3 ToneReal engine handling classic organ and Hammond patches. Meanwhile, the sampled content has also been increased substantially, with 4.5GB of factory samples included, and another 3.5GB of user allocation, should you want to load your own pre-edited samples. 

There’s a nice, large display located centrally on the K2700, but regrettably not a touchscreen, reverting to the familiar buttons underneath menus, that adapt to reflect your direction of OS travel.

There’s also a Virtual Analog engine with powerful anti-aliasing oscillators, emulating classic VCOs from subtractive classics, and a true six-operator FM synth engine, for recreating Yamaha DX-style patches. It also goes further, by allowing samples to be used as operators. The inclusion of FM is unexpected, as DX-style sounds seem to fade in and out of popularity rapidly, but there’s undeniable capacity for exploration.

Kurzweil K2700: Performance and verdict

With so much synth and sampling technology at source, how does this break down? Before we answer that, it’s important to discuss the K2700’s place in the production food chain. 

We’re all used to switching on a synth for the first time, and being obliterated by a complicated patch, with more identity than your mix can handle. Because of the K2700’s slant toward the professional arena, it doesn’t do this, but what it does do is provide a plentiful supply of categorised patches. Moreover, from a player’s perspective, access and control of these patches is quick and easy, in part thanks to a scroll wheel and previous/next buttons standing close to the display, but also thanks to 16 category buttons, which move you straight to the sound category you require. With plenty of user patch provision, and the ability to create multis, it’s an 88-note workhorse.

It all begins with pianos; there’s a ton of variety, but in some cases, it feels like the lily has been gilded. Don’t get us wrong, many inclusions portray a wonderful sense of depth, with an overall brightness that will settle beautifully in a mix. But some examples are pure solo, with mid-register bumps in frequency content, that may well need some EQing to sit in your mix, unless you’re going completely solo with your piano. The good news is, if something doesn’t fit your bill, there will be something else that will, and you can always tweak the sonic characteristics, under the hood. 

Moving to the electric pianos, the collection is vast, including Rhodes, Wurlys, CP-80s and extending into the FM realm. In all cases, the EP patches benefit from the impressive effects section, which demonstrates capacities from basic phasers to full-on tube crunches. Arguably, some of these go so far you’re unlikely to locate a home for them any time soon, but one person’s DI Rhodes, is the next person’s amped and miked cabinet, with a small stone phaser.

In the Organ category, the KB3 ToneReal awakens, with an über-realistic collection of Hammonds and affiliated styles of organ. It’s here that the nine controller faders provide direct drawbar control, as you play. Superb in sound, with exemplary levels of live control.

Some of the more rewarding sounds are found with the synth and pad sections, with the latter providing a very rich tapestry of content. In all instances, the synthetic patches supply immediacy, through access to elements such as the filter, again via the assignable faders. 

Moving back to the acoustic domain, there’s a lot of acoustic string content, with the ensemble orientated patches being the most successful by far, especially when blended with instruments such as piano. The wind and brass fair less well, with the latter being notoriously difficult to pull off in sampled form. Place alongside other instrumentation though, and the brass will offer a passing resemblance, but use solo and the mask will drop fairly quickly. 

The K2700 has a huge task on its hands; it makes no bones about being a workstation, with some very substantial live performance tools to hand. It’s fully equipped with the capacity to record and produce up to 16 tracks internally, with an onboard USB interface, for connecting mics, lines and guitars. Operating as a tracking sequencer is pleasant enough, but it will feel tortuous if you are used to a DAW environment. It raises the question, why not just connect the K2700 to your DAW via USB, for both MIDI and audio?

As a performance controller, armed with a formidably extensive set of sounds, it’s a pro-level act that serves brilliantly. It’s quite heavy as a gigging keyboard, but that’s the price for 88-notes of fully-weighted action, and while your back might not thank you, your hands most definitely will, from the moment you start playing. 

MusicRadar verdict: A performance tool that continues to impress, through unrivalled real-time control and multiple tone generation systems.

Kurzweil K2700: The web says

"It’s a gorgeous polysynth with immense sound‑design possibilities. If you’re a fan of the Kurzweil sound, you have to check it out."
Sound On Sound

Kurzweil K2700: Hands-on demos

Kurzweil Music Systems

Andertons Synths, Keys and Tech

PianoManChuck

Sweetwater

Kurzweil K2700: Specifications

• 256 note polyphony
• 88-note, fully-weighted Italian keybed
• Ribbon controller and fully assignable faders, pots and buttons
• Onboard synth and sample-based engines, with 3.5GB of user RAM allocation
• 2 x Stereo outputs, with onboard USB audio interface, MIDI via USB & 5-pin connector
• DIMENSIONS: 1295 x 393 x 139mm. 
• WEIGHT: 24kg.
• CONTACT: Kurzweil 

To no one’s great surprise, Yamaha has launched the Montage M, a new flagship workstation synth. Like its predecessor, the Montage, this looks to be aimed at the ‘serious’ gigging musician, and combines multiple sound-generating technologies into one keyboard. 

The highlight for many will be the new AN-X engine, an attempt by Yamaha to capture the warm sound and feeling of real analogue synths. This (sort of) takes its name from the AN1x, a fondly-remembered Yamaha VA synth from the late ‘90s, and offers three oscillators with a choice of five waveforms (two saws, triangle, square and sine), a noise generator, two filters with a choice of ten filter types, ring modulation, pulse width modulation, a waveshaper and more.

If you want your synth to sound a little more ‘vintage’, you can dial in some voltage drift or make use of the ‘ageing’ functions.

Despite this new analogue-esque engine, like the previous Montage, The Montage M is very much an ‘all-rounder’, and other types of sounds are covered off by improved versions of Yamaha’s pre-existing AWM2 and eight-operator FM-X engines. The end result is up to 400 notes of polyphony.

As you’d expect, Montage M offers USB audio and MIDI connectivity, and Yamaha tells us that a ‘Softsynth’ plugin that enables you to navigate the instrument from your DAW will be released in 2024.

There are three versions of the Montage M: the 61-note M6 and 76-note M7 are designed for ‘synthesists’ and ‘keyboardists’ respectively, while the enhanced 88-note M8x promises to give pianists what they need. The action is ‘weighed’ rather than ‘hammer’, as far as we can tell, and you get polyphonic aftertouch for enhanced expressive control.

Indeed, Yamaha claims that it’s “reviving the expressiveness of the legendary CS-80 and DX-1,” both of which had polyphonic aftertouch keyboards.

Other spec sheet highlights include 9.97GB of preset WaveROM, 16 libraries (with 640 performances per library), 3.8GB of user flash memory and a VCM rotary speaker emulation.

The Montage M is available for pre-order now. Prices are set at $3,500/£3,219 for the M6, $4,000/£3,629 for the M7 and $4,500/£4.049 for the M8x. Find out more on the Yamaha Synth website.

It looks like we’re getting closer to the launch of the new version of Yamaha’s Montage, the workstation synth that the company discontinued earlier this year. A new keyboard was always on the roadmap, and now we’re getting our first chance to see not only what it looks like, but also hear it in action.

Yamaha Synth has uploaded a selection of images to its website, and their file names suggest that the new instrument will be called the Montage M. There’s what looks like a sizeable touchscreen, and the Montage’s very handy SuperKnob macro controller appears to be making a return, too.

The big question, of course, is what’s going on under the hood. We’d expect Yamaha's AWM2 waveform-based subtractive synthesis and FM-X engines to be retained, but there’s also speculation that an engine based on the company’s AN1x synth could be landing.

A late ‘90s classic, this was a retro-inspired virtual analogue keyboard that built up a loyal fanbase. Rumours of its return were sparked back in 2022 when Yamaha applied to trademark the AN-X name in relation to  “electronic musical keyboards, electronic pianos and music synthesizers.”

We’ve seen no sign of the name since, so an appearance inside the Montage M is certainly possible, and maybe even likely. There are certainly some big analogue-esque sounds among the impressive audio demos, adding audible fuel to the fire.

The good news is that more information is said to be coming soon - we’ll bring it to you as soon as we have it.

Korg i3 review: What is it?

You might have already heard of the Korg i3. The original was a sophisticated, 61-key keyboard workstation that came out in 1993, so the current model - introduced in 2020 - is not the first Korg keyboard to bear the name. Billed as Korg’s easiest-to-use workstation ever, this newer incumbent bristles with design cues that stir up echoes of Korg’s pioneering M1 workstation from 1988. 

Matte black body? Check. Translucent illuminated buttons? Check. We even have a four-way performance joystick, replacing the standard pitch bend and modulation wheels found on the majority of other keyboards. Alternatively, if you prefer a more ’90s Korg’ look, the i3 is also available in a very Triton-esque silver finish. 

Under the hood, the i3 contains many of the features and sounds of the EK-50 Entertainment Keyboard, expanding on its feature set but swapping the EK-50’s built-in speakers for an onboard 16-track sequencer.

The i3’s 790 onboard sounds are provided by Korg’s EDS-X (Enhanced Definition Synthesis - eXpanded) engine, an evolution of the EDS-i chip found in the EK-50L. Of the 270 onboard styles, there are several EDM styles unique to the i3 that are not found in the EK series, so the overall first impression of the i3 is that it seems to be aimed at a slightly younger demographic than its cheaper stablemate.

Korg i3 review: Performance and Verdict

Upon unboxing the i3, I was surprised to find that, despite the honeycomb-style pattern on the ends of the casing, there are no speakers onboard, which does somewhat beg the question, who is this keyboard actually for? The lack of speakers seems a hefty sacrifice merely to qualify as a workstation rather than an arranger keyboard. At only 4kg, it does make the i3 a very lightweight and portable instrument though, so much so that it can run off 6 x AA batteries for several hours, so it’s a bit disappointing that you’ll need to make use of those line outputs or use headphones to get any sound out of it. 

As we’ve come to expect from Korg, the i3’s build quality is great. The vaguely boat-like contours of the casing lend the unit a clean, modern look and the joystick is, unsurprisingly from the name, a joy to use. The fascia has the same rubbery, matte black finish as the EK-50L that, while complementing the looks, does seem to attract cat hairs and dust like nothing else on earth. The 61-key keyboard has a relatively lightweight synth action that’s very easy to play and gets the job done with no fuss.

The i3’s interface seems to have been distilled from Korg’s pricier Pa range of premium arrangers, with a brightly-lit, white LCD display neatly conveying useful information such as the current tempo, chord, style and soundset. The jog wheel used to select sounds and styles is a bit small and has no indentations for you to get a good purchase, merely a shallow, chamfered edge around the circumference with no dimple for your finger to sit in. If you get tired of spinning this, you can navigate the list with the adjacent plus/minus buttons, and there are also two category buttons below with which you can skip to the next or previous category of voice or style, speeding things up considerably.

Into the soundset

In something of an evolution of Korg’s erstwhile Combi nomenclature, the i3’s preset currency is the soundset. Soundsets offer the ability to layer four voices together - one lower/split voice and three upper voices - and there are 200 of them provided as presets to get you going. The standard of the preset voices is very high, and the soundset architecture lends enough flexibility to create almost limitless massive combinations of sounds. 

Meanwhile, each auto-accompaniment style has up to eight parts that can all be turned on or off and balanced individually, so even though there’s no actual style editor on board, there’s plenty of scope for tailoring the backing band’s performance. 

The programming and arrangement of the styles themselves is sophisticated and well-executed. Similar to the Pa series, each style includes 4 variations, plus an intro, ending, count-in, break and fill, to customise and punctuate your arrangement.

The i3 has a couple more of the usual arranger keyboard tricks up its sleeve. For instance, there’s a dedicated grand piano button that resets the instrument to its default acoustic piano sound at any point. With the Smart Chord feature, rather than playing chord shapes on the left-hand side of the keyboard, you can trigger chords from the eight allocated chord buttons, each of which will generate a chord suitable for the current style.

A handy Set List function gives you ten banks of five slots equal to fifty registration memory slots for storing combinations of soundsets and style settings for your song performances. The first three banks of these are populated with preset registrations, with the rest reserved for you to save your own favourites, although annoyingly, there doesn’t seem to be a way to name the songs in the list.

Adjacent to the volume control, two EQ controls (one for treble, one for bass) are handy to have when playing in a variety of environments, but I reckon these controls could have been made more use of as real-time performance controls for, say, the filter or the effects. Overall EQ is surely a ‘set-and-leave’ parameter more suitable for sequestering in the settings menu, rather than occupying such a prime performance position on the front panel.

Sequence of events

Aside from the expanded sound engine, what really sets the i3 apart from its EK-50 cousin is its 16-track, 999-song capacity real-time sequencer. The inference is that this enables the i3 to be used as a standalone solution for creating songs. Unfortunately, in practice, the sequencer isn’t the fully-fledged music production tool you might be led to believe. 

MIDI recordings are made directly into the i3’s internal memory as user songs, but there’s no quantize function, no event list, and the sequencer can’t be step-programmed. Instead, when you record a song as a performance via the MIDI recorder, each of the auto-accompaniment parts gets recorded onto its own pre-allocated track. You can then select these tracks to be overwritten, overdubbed onto or played with a different voice, but there’s no way to quantize anything or delve into the tracks on a note-by-note basis to correct errors.

On the audio side of things, no built-in audio interface means that you can’t send audio from the i3 directly to your computer. However, as long as you have a USB stick connected to the USB to Device port, you can record performances as audio (as well as any audio coming into the i3’s audio input) directly to the USB stick.

Beyond the addition of effects, you can’t really edit the sounds, although you can swap out any voices you don’t like within the arrangement parts for an alternative from the exhaustive menu of onboard voices. It’s important to note that the i3 is not a synthesizer, so beyond combining voices into soundsets, there’s no deep editing to be had - even the 90’s i3 had some control over filter cutoff and modulation, which are absent here, making the current i3 primarily a box of very charming presets.

Final verdict

If your idea of an arranger keyboard is one with speakers that you can just turn on and play without connecting to anything, the i3 probably won’t be for you. In fact, I found it a bit puzzling trying to establish who exactly might be in the market for one.

For beginners and hobbyists, it’s easy and fun to play, but if you have an idea in your head of where you want to get to with a song, it’s hard work to get anywhere close to it with the i3. For songwriters and composers, the MIDI performance recorder works well as a sketchpad for figuring out how chord progressions might work in a band arrangement setting, but I certainly wouldn’t aim to finish a track without exporting to a DAW - it simply doesn’t have the onboard editing tools for this task.

Performers will enjoy the sheer variety, quality and quantity of sounds available, together with the ability to combine these into soundsets and set lists, but lack of real-time controls holds the i3 back in this regard. Home studio owners will appreciate its ability to be used as the centrepiece of a MIDI setup, but as a controller, it doesn’t really offer anything over a much cheaper, purpose-designed controller equipped with encoders and sliders for real-time control.

Considering that the main thing that qualifies the i3 as a workstation is its sequencer, it’s not really a functional enough tool to warrant the distinction. It’s like this keyboard gives with one hand and takes away with the other - you have a great-sounding, portable arranger keyboard with sophisticated styles but no speakers. You have a 16-track sequencer, hobbled by limited editing capabilities and no quantize function. You have almost 800 tones, but you can’t edit any of them. You can store 50 song settings in the set list, but can’t name them.

For me, the i3 spreads itself a little too thinly across a range of target markets, attempting to satisfy all demographics but falling short in some way in almost all of them. 

The Korg i3 is a great-sounding keyboard with sophisticated styles, sadly held back by some peculiar shortcomings.

Korg i3 review: Hands-on demos

Jeremy See

Woody’s Piano Shack

Korg i3 review: Specifications

• Dimensions (W x D x H, mm): 1,037 x 296 x 80 
• Weight: 4㎏
• Keys: 61 full-size, velocity-sensitive with three levels of touch response
• Polyphony: 64 
• Number of Tones: 790
• Number of Rhythms / Styles: 270
• Other features: Auto accompaniment, 16-track sequencer, pitch bend/modulation joystick
• Speakers: None
• Power Supply: 12V DC / 6 x AA Batteries
• Connectivity: 3.5mm headphones jack, 6.3mm sustain pedal input, 6.3mm unbalanced line outputs, 3.5mm audio input, 5-pin DIN MIDI OUT, USB to Host, USB to Device
• Contact: Korg

Akai MPC Key 61: What is it?

Akai released its MPC Live hardware sampler/synth back in 2017 – complete with 7” touch display, 16 MPC-style pads, instruments, and battery power, and in 2020, the MPC Live II added onboard speakers. 

The MPC range – the Live I and II, MPC X, MPC Studio, MPC Touch, and MPC One, interacts with Akai’s MPC 2 production software. Akai has embedded the same software and functionality in different forms, which makes sense from a development point of view – in fact, they share the same manual. Now, 2022 introduces the MPC Key 61.

Like all MPCs, the Key 61 is a sampler using the provided instruments or building custom instruments based on sample key groups. It can play sequenced patterns and complete songs. The keys, pads, and other controls add a tactile element.

The box contains the MPC Key 61, a mains power cable, a USB cable, a printed quick start guide, and software download and registration info. 

It’s considerably larger than other MPCs and you’ll need a case or bag. Like any workstation these days, the 7” touch display is at the heart of the user interface. Physical controls include pitch and mod wheels, a touch strip, 16 pads (hey, it’s an MPC), five knobs and an assortment of buttons, including pleasantly chunky transport controls. 

The rear panel features, from left to right, expression, foot switch, and sustain pedal inputs, MIDI Thru/Out/In DIN connectors, eight cv/gate outputs for connecting analogue gear, two mic/line inputs with gain controls and 48v switches, four 1/4” outputs, 1/4” headphones out, two USB-2 ports, one USB-3 port, ethernet network connection and mains power button.

The semi-weighted keyboard is equally comfortable for playing synth parts or more traditional piano-style performances, and the pads are the classic reliable MPC style. 

The MPC Key 61 includes several new instruments from AIR Music Technology. The Fabric Collection is one instrument that’s been organised into separate plugins to conserve system resources – so it appears as Fabric (with fewer voices), Fabric XL (the full-on flagship version), Fabric Piano, and Fabric Electric Piano. 

Fabric is a monster sound source, especially good for modern-sounding productions, with synths, pads, basses, and leads, even guitars. Also new is OPx-4 which narrows the focus somewhat, with a four-operator FM synthesis engine, creating blatantly digital sounds, with a modulation matrix, and built-in effects; we love the sound of FM synthesis, and this is a fine example – and we enjoyed using the touch screen to adjust envelopes. 

The remaining new instruments break out of the ‘electronic music’ mould – Stage Piano, Stage EP, Organ, and Studio Strings, which sound great, ranging from solo instruments to full ensembles, with plenty of options for expressive playing. 

Strings can be difficult instruments to get sounding ‘natural’ but these ones are outstanding. These are the kind of sounds that’ll make the MPC Key 61 interesting to all types of players. 

Also present are the standard MPC instruments and of course, bearing in mind that we’re dealing with an MPC product, there are many sample-based drum expansions, ready to play off those pads. 

Keep trying the mod wheel, touch strip, X-Y pad, and Q link knobs as you browse, most presets have some kind of interaction preconfigured. 

Akai MPC Key 61: Performance and verdict

We connected a dynamic mic to input 1, and set a level on the physical gain control – there are also separate 48v switches on each input, should you prefer condenser mics (we would’ve liked two more audio inputs, although third-party USB audio and MIDI interfaces can be connected, so you can get up to 32 channels of audio in/out, although you still max out at eight audio tracks per project – we tried this successfully with a Behringer UMC1820 interface). 

Audio inputs can go direct to an audio track, for DAW-style recording, or to the Sampler, or to the Looper. Up to four insert effects can be applied to any track of pad. These are categorised by type, for example, Delay/Reverb, Dynamics, and Modulation. 

New effects include Flavor (for vinyl-style sound degradation), Limiter, and the Vocal Suite, which includes pitch correction, doubling, and harmony effects – we had a lot of fun with these – gravitating to the blatantly excessive at first, but then settling down and appreciating them as useful processing tools. 

There’s also an Amp Sim, and we tried it with electric bass and electric guitar. We have our favourite modelling solutions, but the MPC Key 61 carried it off well, with bass amps going from clean DI style to grungy retro tube amps and cabs, and guitar amps going from squeaky clean to crunchy rock and beyond (although not really much in the way of high gain metal styles).

The MPC Key 61 places the instruments up front, but rest assured, the sampling and beat-making are still there, as with all MPC devices. Samples can be imported, or recorded straight in, as we mentioned earlier. 

They can be edited, cropped, and played from the MPC pads, or from the keys, and they can be used to build a keygroup – a playable instrument constructed from layering samples, instruments, and effects together, and saved as a single preset. 

We are big fans of using keygroups to build a library of unique sounds and they combine well with the provided instrument library for those who are phobic of using ‘factory’ sounds exclusively. 

Sequences are the building blocks of MPC arrangements. MIDI notes and automation can be added via recording from the keys or pads, drawn into the grid using the display, or entered with the step sequencer (great for drums in particular), or even the event list editor.

Sequences can be copied, renamed, and edited, then chained together to make an arrangement. They can also be ‘flattened’ into one new song-length MIDI clip that contains everything, which feels a bit more like viewing a DAW timeline.

The MPC allows up to 128 MIDI tracks and eight audio tracks per project. Even if you have a 32-channel USB interface connected, the maximum simultaneous recording is eight tracks. After you’ve created a number of songs, they can be organised together into a setlist, so they’re more accessible during gigs. 

The MPC includes Ableton Link support, allowing wireless sync with compatible hardware devices or software. We had no issues syncing with Ableton Live and Korg Gadget, running together nice and tight. For big gigs where a wireless connection might not be the best choice, the ethernet port can be called into play, as Link works over that as well.

The MPC Key 61 could go its whole life as a standalone instrument, but it includes a licence for the MPC 2 DAW software, available for macOS and Windows. This is essentially a software version of what the MPC does, albeit with the advantages of a larger display, and greater processing resources.

This integration enables the exchange of projects between the hardware and the computer, and even to other MPCs. For users who are already tied to their favourite DAWs, all is not lost because the MPC 2 install also includes a plugin, so it can be accessed within Ableton Live or Logic or other DAWs. 

Workstation keyboards used to rule the roost, and there’s still a number out there from the big players – see our sidebar. Akai brings its sampling expertise, the pads, the accessibility and the interface experience from the previous MPC models. It’s probably more user-friendly than its rivals, where their undoubted power is reflected in their complexity, and it’s also much more affordable. 

The truth is that with the wealth of onboard content, and the sampling, you could create any type of music with this. Could you do a whole album with the MPC Key 61? Definitely. Could you do a whole live show? Yes. The Akai MPC Key 61 is a do-everything box

MusicRadar verdict: A logical progression for the MPC series – a missing link for many users craving a keyboard. Powerful, easy to use, and sounds excellent.

Akai MPC Key 61: The web says

"The MPC Key isn’t just an MPC with a keyboard, it’s a completely new species of production workstation."
Sound On Sound

"Make no mistake, though, the MPC Key 61 is a proper studio and stage centrepiece, and should be serious competition for Roland’s Fantom and Korg’s Kronos."
MusicTech

"it would make no sense at all to buy an MPC Key if you aren’t going to be using it to sample and sequence stuff. It’s an MPC, after all."
Gearnews

Akai MPC Key 61: Hands-on demos

Akai Pro

Loopop

Darrick Keels

Chimera State

Akai MPC Key 61: Specifications

• 61 semi-weighted keys with aftertouch
• 6 MPC style velocity-sensitive pads
• Wireless connectivity via Bluetooth and WiFi
• 7” colour touch display
• MIDI, CV/Gate, ethernet, and USB I/O
• New software instruments
• Onboard sampling and sequencing capabilities
• Onboard audio effects from Akai and AIR Music Technology
• CONTACT: Akai Pro

Its status as an arranger keyboard might not make it the coolest kid on the synth block, but Korg’s new Pa5X looks like a serious bit of kit. The new flagship in the company’s arranger range, this promises a high-quality sound engine, a colour-coded interface and a slick workflow that’s designed for both the studio and the stage.

The most eye-catching feature of the Pa5X is its eight-inch tiltable display, which serves as the main control panel. The colours used are matched to those in the LED-programmable buttons, aiding navigation.

You can also use the screen to show lyrics, chords or a score, while a built-in HDMI port enables you to hook up an external display.

Sound-wise, the Pa5X goes beyond its predecessor - the Pa4X - by including the EDS-XP (Enhanced Definition Synthesis - Expanded) engine. This offers 24 oscillators and 160 notes of polyphony, along with round-robin drum and percussion performance and smooth transitions between sounds.

The presets run the gamut from acoustic and electric pianos to synths and a new drawbar organ. There’s also a built-in sampler.

Beyond the touchscreen, realtime control is taken care of by nine buttons and nine sliders, all of which are assignable. The many other faders, switches, joystick and ribbon controller can also be configured to your liking, ensuring that you can add precise expression control as you play.

This being an arranger keyboard, you get numerous chord recognition and playback options, which can be tweaked according to your skill level. There’s also automatic harmonisation and a chord sequencer.

We’ve already mentioned the smooth sound switching, but you can also move seamlessly between different styles and songs, ensuring an uninterrupted performance. Dual crossfading players, meanwhile, make it easy to mix between styles, MIDI files or MP3s.

Styles can also be edited, and there’s a MIDI sequencer for song recording. Songs and styles can be saved in a SongBook, and these can be sequenced into set lists.

Other features include “professional quality” effects (ten insert FX, three master FX and a finalizer for each of the two players) and the guitar and mic inputs also have their own dedicated effect processors. The vocal effects come courtesy of Shift Audio - you can use them to create instant four-part harmonies or dial in automatic pitching.

Further connectivity options include MIDI, USB, minijack in and balanced outs. There are three pedal inputs, too.

The Pa5X will be available in 61-, 76- and 88-note configurations priced at $4,700/$3,700, $4,900/£3,999 and $5,300/£4,299 respectively. Find out more on the Korg website.

GEAR 2021: Roland has launched the Verselab MV-1, which is billed as an all-in-one song production studio. This enables you to create complete tracks without the need to involve a computer, and promises a fast and simple workflow.

The MV-1 could almost be described as a workstation without a keyboard, albeit with a modern twist. Vocals can be recorded via the built-in mic or by plugging a mic into the XLR input (there’s a phantom power option), and vocal effects include Auto-Pitch, Harmonizer and Doubler.

• NAMM 2021 is cancelled, but we'll be covering all the big January gear announcements right here on MusicRadar.

For playing, recording and programming drum and instrument parts, there’s a 4x4 bank of 16 pads and a TR-REC step sequencer. More than 3,000 Zen Core sounds are onboard - with the option to add more via Roland Cloud - so you’ve covered for drums, basslines, melodic parts and more.

There’s also MIDI I/O so, presumably, you’ll also be able to plug in a MIDI keyboard if you wish. Other connectivity options include Stereo 1/4-inch I/O, dual headphones jacks and an SD card slot.

Options to ease the songwriting process include templates, pattern generators and a guided workflow, while mixing and mastering effects are included so that you can give your tracks a pro finish. That said, integration with Roland’s Zenbeats app is also on the way, so you’ll be able to continue to work on your projects there if you wish.

The Verselab MV-1 can be mains- or battery-powered and will be available this month priced at $700. Find out more on the Roland website.

Korg's hugely popular, portable synth workstation, the Krome EX, is now available in a brand new shiny copper finish.

The special edition 61-key synthesizer sports the new panel design, but if previous Krome users were hoping for some new features, we're afraid you'll be bitterly disappointed. 

This change in hue will run in limited numbers, however, so if you're thinking of pulling the trigger on those purchase pistols you'd better hurry as this copper finish is only available in limited numbers.

How limited those numbers actually are we're not sure, but you'll be able to get hold of one by the end of August 2020 at a price of £1049.

Krome EX CU features

• 896 Programs and 512 Preload Combinations
• Intuitive TouchViewTM interface
• 16-track sequencer with Auto Song Setup
• RPPR (Realtime Pattern/Play Recording) feature.
• 2,500 Drum sounds with fine-tune control over resonance
• Drum Tracks deliver realistic grooves
• Dual polyphonic arpeggiators
• USB and SD Storage

If you’ve been to an electronic music gig in the past ten years, there’s every chance it was performed on a handful of portable, battery-powered boxes atop a folding table. A clear reaction to the ubiquitous onstage laptop, tabletop synths, grooveboxes and samplers are the tools of choice for the so-called ‘DAW-less’ musician. From battered and beaten Electribes to the lusty OP-1, desktop devices offer oodles of music-making power, and can easily be shoved into a backpack for the bike ride home.

Arguably, such devices evolved from the all-in-one sampling drum machines lurking in the corners of many a studio in the mid-1980s. Instruments such as the Linn 9000 and Sequential Studio 440 were intended as beatmaking workstations, but these machines were not only breathtakingly expensive, but unsuitable for travel.

The first truly portable groovebox came in 1990. Dubbed the QY10, it cost under three hundred quid and came from mega-music-machine builder Yamaha.

By today’s standards, the QY10 seems almost quaint. However, a close inspection shows that it had many features that have become popular with today’s electronic musicians. First, it’s tiny. Advertised as roughly the same size as a VHS tape (remember those?), it weighed little more than the six AA batteries from which it was powered. Offering audio outputs on a stereo 3.5mm jack and full-size MIDI I/O, it was dubbed a “walkstation” – a term which, thankfully, failed to catch on.

The top panel offered 46 cheery buttons that would be familiar to today’s gadget-happy muses. These included transport controls, cursor buttons, and 13 note-entry buttons handily arranged into a standard keyboard octave – not unlike those on, say, Elektron’s Analog Four synthesiser.

The interface was topped off by a two-line LCD display that was, alas, not backlit, making onstage use a difficult prospect. Not that Yamaha intended the QY10 for the stage. Indeed, the QY10 was meant as a portable sketchpad on which one could whip up simple 8-part arrangements on the go using the various (uneditable) onboard sounds. 

With 28 voices of polyphony, it was just about feasible, too, even if the quality of the onboard sounds were decidedly mixed, and always that little bit too vanilla to generate too much excitement. Sure, there were a smattering of 808-style hits, a pretty good clavinet patch and a couple of meaty synth basses, but most of the QY10’s 31 factory multisamples (two of which were comprised of 13 drum sounds arranged into kits) were suitable merely as placeholders until a suitable MIDI workstation could be attached to it.

As a MIDI sequencer, the QY10 could still be considered as a cheap and cheerful box for a musician to have around. Eight tracks were available, with four dedicated to patterns, either factory or user-made.

Interestingly, Novation made its first big splash with the MM10, a MIDI keyboard designed to control the QY10, complete with a little slot into which the QY10 could be neatly and securely slotted.

Today, the QY10 is best viewed as more of a historical entry, rather than as a desirable bit of vintage kit. 

Three great plugin alternatives

Korg Gadget 2

Today, there are loads of hardware gizmos that look like they could be direct descendants of the QY10, though it’s harder to name a software heir – unless, that is, we take the portability of iOS devices into account. If so, Korg’s music production app is a shoe-in – particularly if we were to plug in one of Korg’s ‘nano’ keyboard controllers.

Sonic Cat Ravity

We haul this ancient Windows chestnut out every time we discuss a Yamaha ROMPler, and the QY10 – as limited as its sonic palette may be – is no exception. Intentional or not, Sonic Cat’s mini-ROMpler sounds very much like one of Yamaha’s AWM-powered machines. Pair it with a basic sampler and you’ve got yourself a QY10 on steroids.

Reason Studios Reason Compact

The intent of Reason Compact for iOS is in line with that of the QY10: to act as a musical sketchpad on the go, with the ability to transfer any mini masterpieces it inspires over to a more capable system for further polishing.

There is no more maligned and misunderstood category of keyboards than arrangers. It is certainly a cultural divide: In Europe, the UK, and across the Arab world, an arranger keyboard is the professional performance instrument, used with pride and to great effect. Here in the U.S., the category is mostly looked down upon, and the sight of onboard speakers or a button labelled Ballroom often sets off jokes and sneers. 

This is a real shame, as the category has grown significantly since the early days of ’80s-era Casio and Yamaha portables. Today’s top-end arrangers offer stunning accompaniment and very advanced voice architectures, and they offer the player more sophisticated sound nuances than their workstation counterparts. So we’re staging a clash of the titans, the top offerings from Korg and Yamaha, to see what they offer the gigging musician.

• The best MIDI keyboards for beginner and pro musicians
• Best synthesizers: keyboards, module and semi-modular synths
• Best pianos: acoustic and digital pianos for beginners and pros
• Best acoustic pianos: budget to premium instruments for home and studio
• Get them started with the best keyboards for beginners

Yamaha Tyros5 vs Korg Pa4X

First, let me share some perspective. The core customer for these products is a performing musician who plays solo, or perhaps in a duo. They are the typical one-man-band types and require an instrument that can play most of the parts for them; support their singing with onboard effects, vocal harmony, and lyric display; and provide both MIDI and/or audio song playback. They are more concerned with playing their songs and putting on a good show than sound editing and technical complexity. So these products are designed with that in mind.

Here in the U.S., many gigging musicians play in similar circumstances. If you play solo in a bar or restaurant, as a duo with a singer or horn player, or three pieces without a drummer, you should be checking these instruments out. Their drum accompaniment will give you more flexibility and musical realism than a stand-alone drum machine or the unvarying drum patterns your workstation offers.

When supporting a singer, I use the drums and play left-hand bass. At times I will turn on the accompaniment so I can take a solo using a non-keyboard sound or get more realistic guitar strumming, or for rock-and dance-oriented tunes. A little goes a long way; I often mute some parts so the “band” is not so overpowering. It provides more variety than a whole night of just voice and solo piano, and it’s not as “canned” as using backing tracks since I can still vary song structures and interact with the other musicians. Do I bring it to my full-band gigs and jazz dates? Nope, I have other gear, but my arranger is the right choice for a lot of work I do.

Do you write songs? An arranger is the perfect tool for working out ideas when you are focused on melody, words, chords, and basic song structure. You can take advantage of their full “band-in-waiting” to hear your ideas right away, and make fast changes to a chord or musical style/feel without having to completely re-record MIDI parts in a DAW. Think of it this way: There is a time when you are focused on writing the song itself, and an arranger excels at that (as opposed to a sequencer, which presents you with empty tracks you have to create yourself). Do I have your attention now? Onward.

The interface

On first look, an arranger is intimidating with its crowded front panel. The Korg Pa4X has 115 buttons, ten sliders, and six knobs, whereas the Yamaha Tyros5 has 165 buttons, nine sliders, and three knobs. Whew! But they are organized into logical sections and you’ll soon find your way around. The basic sections include sound selection, style selection, style variation and drum controls, mixing, sound and layer recall for right-hand playing, trigger pads, sequencer transport controls, mic input, and vocal harmony.

The 61-key Tyros5 is the larger unit at 44.8" wide and 17.7" deep. It has a large tilting panel for its 7.5" TFT colour display, with 12 surrounding buttons for making selections within the display. The 61-key Pa4X is more compact at 38.6" wide and 14.6" deep. It has a tiltable 7" TFT capacitive colour touch display. An immediate difference is that the Tyros5 has no modes: It is always ready for you to play sounds, use the accompaniment, and playback songs (see Figure 1). This makes the screen layout a bit crowded to my eyes, with Song Play and Vocal Harmony taking up space that I don’t always need to see. That said, the fonts are larger and their black-on-white layout was easier to read than the Pa4X. Below the screen are eight sliders and up and down buttons used to adjust onscreen parameters and access related functions.

The Pa4X has dedicated modes for Sound, Style Play, Sequencer and Song Play, with each mode displaying the most important things for more ready access (see Figure 2). Working with a touchscreen becomes intuitive over time, and Korg makes good use of tabs at the bottom of the screen to choose the parameters you want to see. This all translates to the Pa4X having more immediate access to needed things; the Tyros5 requires you to press more buttons and go into menus to find things.

The Tyros5 uses Yamaha’s FSX organ touch keyboard with Aftertouch. It feels great and strikes a reasonable balance for playing piano sounds as well as organ and synth. Pitch Bend and Mod Wheels, two articulation switches, one assignable slider, and three assignable pedal inputs (two switches and one sweep) provide expressive control. The Pa4X uses the same Fatar TP/8Sk keyboard as its predecessor (the Pa3X) with a solid, responsive feel and Aftertouch. It has a bit more spring-back resistance as compared to the Yamaha, but was equally expressive to play. Controllers include Korg’s familiar 4-way joystick, three assignable switches, a ribbon controller, nine assignable sliders, and two pedal inputs (one is dedicated to damper, the other is assignable). Both products support optional pedalboards to add more foot-controlled functionality.

Yamaha Tyros5 sounds

The Tyros5 has over 1,200 sounds (not including the XG sound set), which Yamaha calls Voices. Voices are made up of up to 8 Elements, which are sample-based keymaps that can be layered, split, switched etc.

The Piano Voices offer a nice range of presets. The new ConcertGrand, based on their CFIIIS piano, is 4-way stereo with a damper resonance effect. I can’t find any sign of fancier things like release samples, a separate hammer element etc., so it is not as detailed as the Korg. But it is a clean, expressive piano sure to cut through the mix. The electric pianos category offers a fair selection and the VCM effects are simply stunning, including one of the best phasers I have heard in a keyboard. They offer only one flavor of Rhodes: Most Voices sound like 4-way switching with tasteful use of key-off samples. A few DX variants, a nice Wurly, Clav and a CP-80 round out the category. Want more? You can get an expansion pack (Vintage Keyboards) that adds two more Rhodes models (‘75 MKI and ’78, basically a MKII), another Clav choice (with mutes sampled), a brighter Wurly, and more. This costs more, of course, and requires the purchase of a Flash ROM board as well.

Organs present a wide variety of sampled/rompler types. Many of the tonewheel timbres are nice “targets” with plenty of attitude, but the samples have captured Rotary Speaker and a high amount of leakage, adding some low-frequency noise to each note, which is compounded as you play more notes. Playing in a band or over the accompaniment will mask some of this, but it is very pronounced when playing the sound by itself. On the positive side, there is a wide range of combo, theatre and chapel organs, with a new interface for controlling these sounds called Organ World (see Figure 3). Vintage brings up the familiar nine drawbars, which can be controlled from the front panel sliders. A Rotary/Tremolo switch is onscreen, and the Tyros5 offers a number of Rotary Effect algorithms, including dual rotary and Distortion+Rotary choices. A second page offers control over volume, Response (which controls both the attack and the release of the sound), Vibrato Speed, and Attack, which we know as percussion. It offers three footage choices (4, 2 2/3 and 2), which can be mixed, with adjustable length. It’s nice, but not very authentic. You can choose between “proper” first-note only triggering or polyphonic. Lastly, you can store 8 presets for instant recall, and store/load more groups of them by using the Registration function.

Home organ offers eight tabs of Flute tones at 16', 8', 5 1/3', 4', 2 2/3', 2', 1 3/5', and 1'. Euro Organ offers the same sizes with the addition of 1 1/3'. Both have the same Volume and Attack and Preset type pages. Concert presents a wonderful pipe organ with eight presets that sound absolutely wonderful!

Yamaha has a number of names and technologies associated with sounds. These include Sweet!, wind and brass instruments with sampled natural vibrato; Cool!, electronic instruments sampled through their power amp and speaker components rather than direct; Live!, a stereo sampled instrument along with the natural ambience of the space it was recorded in; Super Articulation1, Yamaha’s first-generation of gesture-based response (often this will involve differences in staccato and legato playing, as well as your dynamics); and Super Articulation2, which was new to the Tyros3 but goes much further in the 5. Two switches can be used to bring in gestures on the attack of the note by pressing the switch before you play. You can affect the release of a note by pressing the switch while holding a note. Playing legato notes of a certain interval range can also produce slides, glisses, and effects.

The Strings are uniformly excellent and make good use of the Articulation switches. Brass and woodwinds are outstanding: I got lost playing the S Art saxes, Muted Trumpet and Jazz Flute; using the switches and legato notes to produce beautifully expressive phrases. Acoustic and Electric guitars were really well done, beyond the usual expectations of a keyboard. Lots of high quality scat vocals are to be found, along with plenty of synth sounds, leads and pads, basses and drums.

To tweak a Voice you get Touch Sens. Depth and offset, Mod Wheel routings, Filter Cutoff, Resonance, Attack, Decay, Release, and Vibrato depth, speed and delay. No deeper editing is possible on the unit. You can use software called Yamaha Expansion Manager to edit Voices (except for any of the Super Articulation types), but even then aspects were missing, like Element velocity switch points or the ability to change the waveforms. This is important to consider.

Ensemble Voices are a new function that intelligently splits up voices so they each fill a part of the chord being played. I quickly dialed up an old school R&B horn section, and the trumpet always played the highest note, the sax the middle, and a trombone on the bottom. I tried a pseudo-TOP section, with trumpet on top, two tenors in the middle and a barking bari on the bottom—perfection. This also works great for string quartets or blends of orchestral woodwinds. I liked playing chord support with some brass and woodwinds while soloing on a flute as if I had a floating split point; I could move around freely not worrying where one sound ended and the next began. This is a game-changing technology and it will be hard to go back to my usual instruments after having played it.

Korg Pa4X sounds

Sporting over 1,800 sounds, the Korg Pa sound engine is extendable, offering up to 24 oscillators that can be layered, key split, velocity split and much more. The Concert Grand uses them all in a stereo 6-layer sound, including key-off samples, resonance, leakage (single sample of cavity noise), hammer noise, and pedal on/off effects. It is wonderfully detailed and expressive, and you can customize it to your taste thanks to full editability. There seems to be three different acoustic pianos plus an upright, and the beloved/dreaded M1 piano.

The EP’s are a mixed bag. There are some excellent Rhodes (up to 7-way switched, key on and off samples) with four flavors represented; the required DX recreations; wonderful 6-way and 2-way Wurlies; 3-way Clavs; and a 2-way CP-80. It’s a wider, more detailed palette of these essential keyboard sounds than the Tyros offers.

Organs, as with the Tyros5, often have the Leslie sampled into the sound, but these don’t have the low frequency issue I raised earlier. Only a few sounds have real rotary speaker control, and they are marked with Y+. With others, you must play a new note/chord after moving the joystick before you hear the changed speed, because they are switching sample sets. Organs with a V in the name are velocity-switched slow-then-fast rotary sounds. Yuck.

Happily, there is a drawbar mode which does a good job of modeling the tonewheel organ, with proper drawbar foldback, variable leakage, key click on and off, and the choice of whether percussion only sounds on the first note of a legato group or all. Effects provide the Chorus/Vibrato circuit and the Rotary Speaker. The Chorus/Vibrato adds too much brightness and hiss, over-exaggerating the behavior of this section, with no way to tame it.

The Pa4X has wonderful woodwinds and reeds. Korg calls their articulation technology DNC (Dynamic Nuance Control), and like the Tyros5 it provides realistic staccato versus legato phrasing, offers slur ups and fall-offs using the switches, and longer glissandos when an interval of a minor seventh or more is played. Solo Brass are equally nice, with DNC providing glisses, fall-off and doits. Legato notes over a major third play a very convincing slide up or down. Strings and Voices are well done, and the Guitar offerings are considerably improved and expanded compared to the Pa3X. The drum kits are outstanding, many with 8-way switched samples and some have variable natural room ambience.

Auto-accompaniment

Styles read your left-hand chords and produce full band accompaniment. Variations move from sparse to busier, and you can use drum fills and the Break to add more variety to your backing. Intros lead into the song, with anything from simple count-ins to fancy harmonic progressions. Endings finish your tune-up, again with very simple one-two bar patterns or more complex phrases. There are provisions for playing non-root based chords (C/G for example), and scanning your right hand while playing manual bass lines, or both hands for more pianistic playing. Both models offer three Intros, four Variations, a Break, and three Ending buttons.

Tyros5 Style Play: The over 500 Styles are very musical and genres are well covered. The Guitars are realistic across country and rock genres, and I rarely felt like the higher variations were over-produced. Some Styles use real audio drum parts that sound great and can be varied in tempo across a reasonable range. I wish Yamaha didn’t include percussion in the same audio track, so you had your choice of including it or not. Maybe in the Tyros 6.

A few highlights: Pressing the current Variation button or a different one calls up an associated drum fill, hence no dedicated buttons. I like how Synchro Start can work once and then turn off, giving me more freedom when ending a song manually. Synchro Stop can be set to a time window: I was very comfortable setting it to a sixteenth note, so all my normal chord triggering played fine, and only when I hit and quickly released a chord would the accompaniment stop. As compared to the Korg, I did not like the settings like Tempo Lock and Manual Bass were placed in the Function Menu within the Style Setting section, making it hard to know if they are on.

Korg Style Play: The Pa4X has over 500 Styles and they are really well done. Live drums, very natural guitar parts and more help the Rock, Blues, and Funk to be very convincing and fun to play. The Pa4X has more functions for re-voicing a Style than the Tyros5, like alternate drum maps for each variation, multiple Kick and Snare choices, and easy sound tweaking for each “player in the band”, including the drum kits. I also like the onscreen Play/Mute button for cutting the band down to just bass and drums. The Pa4X has four Fill buttons. I prefer this: Pressing a Variation also triggers a Fill like the Tyros5, so I get the same behaviour plus more.

Effects

Both instruments offer effects systems that serve the live keyboard sounds and the accompaniment parts. The Pa4X has ten effects blocks: the three Keyboard Tracks have one Insert Effect and two Master Effects, and the accompaniment has four Insert Effects and three Master Effects. Plenty of tools to mix your production, although some users are complaining about the limited Insert Effects for the right hand sounds.

The Tyros5 offers global Master Reverb and Chorus which is shared by all parts, and nine DSP blocks. One block is reserved for the mic input, and up to five can be used as inserts for the right hand or song playback. The accompaniment has up to three Inserts, and one of those can be configured as a third Master Effect for more flexibility.

The Tyros5 has a Master Compressor on the main output, whereas the Pa4X has licensed Waves MAXX mastering effects, which are stunningly good. Both offer vocal harmony; Korg has licensed TC Electronics TC Helicon technology.

Style creation

Both keyboards have very capable Style Recording/Editing features: I’ll give one cool shout-out for each. The Tyros5 has a Groove function to change the feel of a Style, allowing you to subtly swing, straighten, or change a groove from 16 to 8 beat, or to a shuffle. Dynamics changes the accented beat to emphasize it, or drop out beats to create a wide range of styles/feels from the same rhythm (Reggae offbeats, drop the second beat, and more). It can work on the whole style or any “player” in the band.

The Pa4X has a Guitar Mode that is an engine, similar to Applied Acoustics Systems Strum, for producing natural guitar strumming, picking, mutes, and chokes (see Figure 4). It takes your simple chord input and re-voices it as a guitarist would with choices of neck position, voicing, and use of a capo among other things. The results are very life-like.

More helpers

Both products can save sound sets for your righthand playing. The Tyros5 calls them One Touch Settings, while the Pa4X calls them Keyboard Sets. Each saves three parts for the Upper and one for the Lower. Dedicated front-panel buttons are used to select a part, with Part On/Off buttons so you can blend them. The Korg Pa4X can easily set the key range of each sound, so you can create splits, and even velocity splits: I could find no way to do this on the Tyros5.

Four pads are available for triggering one-shot sounds/effects or looped phrases. The Tyros5 can play MIDI data or audio, whereas the Pa4X is mostly MIDI, unless you create a new sound using the integrated sampler. Banks of these sounds, like the right-hand sound sets, can be saved and recalled.

Song libraries

Both keyboards can create libraries of Songs, so you can call up the right Styles, sounds, and settings for your gigs. Yamaha calls theirs Music Finder and it is a searchable database that stores the song title, tempo, time signature, a chosen Style (with its associated Multi Pad and OTS settings), with the desired Style controls preselected. Keywords can be added to aid in searching and entries can be marked as Favorites. Korg has a Songbook, which is similar, but goes deeper since you can customize the Style more, changing sounds and effects, and creating custom Keyboard Sets, Pads, and controller assignments specifically for that Song.

Yamaha has a powerful tool called Registrations that can take a complete snapshot of the current state of the instrument, or just a few of the settings. But they aren’t connected to the Music Finder in any way. So, Overall, the Korg system is deeper and more complete, but mastering the Yamaha Registration can be very powerful.

Songwriting

Both instruments allow you to record your accompaniment-based playing in real-time or via step entry. In real-time, any front-panel button push you make is also recorded, so fills, variation changes and such can be captured. Afterwards you can go into Step Edit mode and try out different chords, chord qualities, change Variations and so on.

One big difference in the products is that the Tyros5 can only record a Style change during a real-time “pass”, with no editing possible. The Korg Pa4X can easily insert or delete them, so it allows more experimentation and variety.

Verdict

There is much more these instruments do than I can cover here. Be sure to go online and read up on their dual Song Players, lyric and score display functions, as well as the sampling and audio recording features. Both sound amazing, feel great, and have a wealth of features.

The Tyros5 is markedly more expensive, and that has to figure into your decision-making. But be sure to check out Yamaha’s extensive online eco-system at yamahamusicsoft.com.

Korg has nowhere near the same level of support and add-on files for the Pa4X. But if you like to get under the hood, even a little bit, the Pa4X is going to appeal to you: No doubt it is the more flexible of the two units.

Korg Pa4X

Pros: Detailed, expressive sounds with full editing. Waves and TC-licensed effects. Powerful backing sequencer. Excellent manual.

Cons: Limited additional Styles and Sounds. Only records MP3 audio.

Yamaha Tyros 5

Pros: Pristine sound. Breakthrough Ensemble function. Superb support for additional Styles, Voices, and Songs. Powerful Registration functionality.

Cons: Expensive. Marginal amount of sound editing.

Bottom line
These are the best-of-the-best arrangers and they sound stunning. My highest compliment would be that I often thought I was listening to an audio recording, not “canned” Style playback. Offering a wealth of features, there is no clear winner based on sound and function. You need to try them yourself to see which unit grabs you the most.

KORG PA4X
$3,999.99 street (76-key);
$3,799.99 street (61-key)
EC-5 pedalboard: $79.99 street
paAS speaker system $499.00
street
korg.com

YAMAHA TYROS 5
$6,799 list (76-key); $6499 list (61-key)
MFC 10 foot controller: $349.95 List
TRS-MS05 speaker system:
$379.00 List
FL512M 512M flash memory
expansion: 512M $199.00 List FL1024M 1 GByte flash memory
expansion: $399.00 List
usa.yamaha.com

Since the idea of the all-in-one synth/production workstation came into its own decades ago, Roland has cranked out all sorts of formidable, great sounding instruments used for composition, recording and performance by musicians in just about every genre. 

The Fantom series has been around in a few different incarnations for quite a few years now, and has become a staple in many project and professional studios as well as being an integral part of countless live rigs. Their new FA series is a departure from older Fantom designs, yet the “FA” part of the name alludes that at least some of the lineage has been preserved. That new technological and sonic goodness can be found in Roland’s latest workstation offering? Let’s take it for a drive.

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Panel tour

At 12.6 pounds, our FA-06 review unit is maybe the lightest full-function workstation we’ve come across. Its keyboard is an unweighted 61-key synth action with velocity sensitivity, but (like many other more affordable keyboards these days) no aftertouch. The action is surprisingly solid and responsive, but may not be the best choice if you’re planning on playing a lot of piano. If you’re in that category, Roland does makes a weighted 88-key version, the FA-08. Editor Stephen Fortner spent some time with the FA-08 at NAMM and said of its action, “It’s fast for a weighted keyboard, and feels like it would be non-fatiguing on a four-set gig where both piano and organ/synth type playing is required.”

On the surface, the FA’s interface appears more spartan than most of Roland’s previous workstations, but don’t be fooled—there’s a ton of power under the hood if you really dig in. Access to deeper editing functions can be achieved by holding down the Shift key and pushing another button, including the soft keys under the display to navigate the menus, many of which sport very cool and informative graphics. The main program section sports a large colour LCD, which is navigated using parent/peer buttons to its right side, with values changed using a large edit dial or increment/decrement buttons. There are ten category selection buttons under the display, six of which (2–7) do dual duty as soft keys in many of the editing modes. While using all the buttons to navigate the display isn’t complicated, it sometimes can take more than a few button presses to get around, and the FA would certainly be a lot easier to navigate if it had a touchscreen but that, of course, would increase the price.

To the left of the display, six Sound Modify knobs handle four rows of commonly tweaked settings via a Select button that changes their assignment (more below), and an additional row of Keyboard Mode buttons cover transposition, octave shift, and quick split and dual modes. Plus the Split and Dual buttons simultaneously, and you activate what Roland calls a Studio Set, wherein any combination of the 16 available parts that are set to the same channel can be played simultaneously from the keys. The DAW Control button allows the FA’s to act as a control surface for Logic Pro, Sonar, and Cubase), which in conjunction with its USB Audio/MIDI interface capabilities, could make it suitable as the nerve centre of your studio. Roland’s D-Beam is also on board, with individual buttons that toggle it between dedicated volume control, a handful of assignable parameters, and a fun Solo Synth mode that generates noise bursts reminiscent of Keith Emerson roaming the stage with his ribbon controller.

On the other side of the display, another small array of buttons engage the arpeggio and chord memory (which can be used at the same time), and select the rhythm pattern control screen, with a small numeric display that indicates the current arpeggio/rhythm tempo, kudos to Roland for providing both a dedicated tempo knob and a tap tempo button here. The remainder of the right side is taken up by the sequencer transport controls, and the backlit pads that provide access to the phrase sampler as well as being able to handle other tasks such as muting and soloing sequencer tracks and doing numeric keypad-like data entry.

404: found

The right side of the FA-06 and FA-08 is populated with what’s essentially a Roland SP-404SX phrase sampler. Four banks of 16 sounds each are available for instant playback, with no load time. You can roll your own samples using the onboard sounds or external audio inputs, or import AIFF, WAV, or MP3 files from your computer. Mono or stereo, one-shot or tightly looped, full-featured high-resolution sample editing is easy on the big display. The downside? The pads aren’t velocity-sensitive, so while they’re suitable for triggering loops and samples, they’re less so for playing in your own drum grooves.

Sound engine

Under the hood is a 128-note polyphonic synth engine with full 16-channel multitimbral capability. The onboard sound library is culled directly from Roland’s flagship Integra-7 module and made up of the complete sound set of the XV-5080, all of the “SuperNatural” synth sounds, and a carefully chosen assortment of the SuperNatural acoustic and drum sounds, all organised into over 2,000 Tones (Roland’s term for a single-sound patch). A Preview button lets you hear a phrase played with each Tone that indicates the way the programmer intended the sound to be used. This can be really interesting to check out, especially after you’ve explored a sound on your own for a while.

PCM-based programs can use up to four partials, and SuperNatural synth sounds allow up to three oscillators per voice. Single-cycle waveforms feature a couple of different variations, and the sawtooth wave has Roland’s signature “Super Saw” detune option on tap. A choice of two filters, two-pole (12dB per octave) and four-pole (24dB per octave) are available, each with multiple lowpass, highpass, and bandpass options. ADSR envelopes for the Filter and Amp sections (Pitch has a simple attack-decay envelope) and two LFOs round out the modulators.

The Tones are broken down into 20 categories, which can be accessed using the row of ten buttons under the display. Each of these house two categories (e.g., “A. Piano” and “E. Piano” share a button, as do Bass and Synth bass, Strings and Orchestra, Synth and Pad, and so on), and the first category is the default when the button is pushed. Organ sounds include “SuperNatural” patches with individual drawbar control (via the screen and/or Sound Modify knobs) and a very respectable Leslie simulation, after the fashion of Roland’s VK and VR series keyboards.

As previously mentioned, the FA-06 organises its Tones into Studio Sets, which can be comprised of up to 16 parts made up of onboard Tones or external sounds. These can be split and layered across the keys in any combination, and each of the 16 parts can be set to any MIDI channel, so it’s possible to play as many as you want at one time. The FA-06 does support Favourites: Ten banks of ten Favourite sounds each can be stored for easy recall using the Category buttons. Tones, Splits, Duals or entire Studio Sets can be saved as Favourites.

Sound modifiers and effects

These six knobs can do all sorts of things, depending on the setting of the Select button, which toggles them between four different rows. The first row sets the knobs to control Cutoff, Resonance, Attack (amp), Release (amp), Pan, and Level for each sound. The second sets each knob to cut or boost different EQ bands. The third row is assignable. The fourth row is all about effects. The first knob adds compression, the second knob modifies the overall EQ curve of the instrument, turning left boosts the mids (better for playing in a band) while turning it right boosts the lows and highs (more desirable in solo applications). Knobs 3 and 4 handle system chorus and reverb amounts. Knob 5 selects which Total Effect (TFX) is used, while knob 5 controls a preset parameter of the current TFX.

Speaking of effects, each of the parts in a Studio set can have it’s own multi-effect (MFX), chosen from a list of 67 effects (44 individual and 23 combinations such as Overdrive into Chorus or Distortion into Delay). Vocoder functionality is also available if a mic is plugged into the rear panel. Six Comp+EQ effects are onboard for levelling and tweaking drum sounds to taste. In addition, there are global Chorus and Reverb effects, a Master EQ and total effects (TFX), which include things like DJFX and BPM Loopers, Bit Crush, Slicer, Vinyl Sim and Radio Tuning, and process the entire signal (including all other effects). There’s even a dedicated input reverb that can be used while routing an external signal through the FA-06 when tracking or performing.

Sequencer

Looking at the front panel, it doesn’t appear that the sequencer is terribly flexible . . . but in fact, it’s very much so. The onboard 16-track sequencer offers real-time non-stop looping (with the ability to switch tracks while recording), linear and step-time recording options, track selection via the sampler pads, and full-featured editing—right down to the ability to see events graphically or in an edit list (called Microscope). A mixer page provides convenient access to pan, volume, reverb and chorus send, as well as mute and solo functions. The killer app here, though, is that sequences can be rendered to an inserted SD memory card not just as stereo mixes or Standard MIDI data (though these options are available, as is the case on many workstations and arranger keyboards), but as full-bandwidth individual tracks in WAV format. This lets you bang out sketches or cues using the FA’s keyboard, knobs, and sampler pads, and then bring all the tracks into your DAW for multitrack mixing and processing, without having to re-record audio or find appropriate soft synths for MIDI tracks to drive.

In use

While my deep inner synth geek does enjoy poking around under the hood, most of the time I get with keyboard instruments is spent playing them. I think that’s the heart and soul of what makes an instrument great—whether the sounds in it excite, intrigue, and stimulate. A nice keybed feel and an intuitive interface layout are helpful, of course, but if the sounds are there, most keyboard players will overlook just about any other shortcoming. In that respect, the FA-06 truly does shine, so much so that it’s hard to call out standout programs without churning out a really long list. It’s an exceptional sounding instrument in just about every category, and many of the sounds really do get extra life from the largely velocity-induced nuances of the SuperNatural programming.

Extra kudos are extended for essentially always being in Studio Set mode. It’s a lot of fun to be able to play some of the giant stacked and textured sounds, many of which may not be ideal for a particular track, but provide inspiration and a clear path to modifying a Studio Set to taste easily. The fact that Roland only made 64 presets and left 512 blank slots for Studio Sets is a good indicator that’s what they intended.

Once it becomes clear that holding the Shift button is the key to unlocking pretty much any section of the FA, it becomes a breeze to move around, with sharp graphics and sub-menus that show up in conjunction with the soft buttons indicating a very well laid out and logical workflow. It should also be pointed out that—unlike some other currently available workstations—realtime edits such as tweaking the cutoff and resonance knobs do not produce any audible stair-stepping effects.

The instrument does support “patch remain” (being able to change to another program while sustaining the previous sound without notes cutting off), but only under certain circumstances. You can change from program to program without having the previous program cut off in Single mode, but if the effects change from one program to another,you hear an audible burp—and more often than not, the effects do change. This, however, can be avoided in Sequencer or Studio Set mode. In either case, you can scroll up or back to a different part seamlessly. Even the sustain pedal can be used, sustaining the held sound and not affecting the new sound at all until the previous sound is released. “Patch remain” is not supported when switching Studio Sets, though—the previous sound is cut off entirely.

FA Connectivity

The rear panel houses the SDHC card slot, which comes pre-loaded with a 4GB card and can be used to export sequencer tracks as audio (more on this later). A pair of balanced 1/4" outputs are supplemented by a third balanced out (marked Sub Out), which can be used to send a click track or individual part that you don’t want in the main mix outs. The Sub Out is unaffected by the main volume slider. An 1/8" input allows monitoring of a stereo playback device, and an unbalanced 1/4" in can route a guitar, bass, or mic through the FA for monitoring, sampling, or direct routing to a DAW via USB. A dedicated Hold jack is provided for a sustain pedal, and two other jacks can be configured to operate with either a switch or a continuous pedal. A USB2 port allows direct connection to a computer, while a second USB port is available for hooking up a thumb drive for updating the instrument’s operating system or adding a WiFi dongle for enabling iPad control.

Verdict

While more and more keyboard players are doing the bulk of their recording and mixing on their computers or iOS devices, the need to be able to quickly grab and arrange an idea the moment inspiration hits means that there will always be a place on the market for synth workstations. The FA series takes the best of a bunch of Roland’s engines and libraries, rolls them together with a new ergonomic interface, and wraps it up in a solidly built, attractive package that’s even easy to transport. If you’re mainly recording using a DAW, it can even become an integral part of that workflow with the touch of a button. The FA is clearly one of Roland’s finest workstations to date, and is worth serious consideration by anyone looking to pick up a state-of-the-art all-in-one instrument.

Pros: Excellent sounds in every category. Informative, easy-to-read display with bright, crisp graphics. User interface is not intimidating for novices. Compatible with Roland Axial library. Included 4GB SD card. Deep onboard sequencer can render multitrack audio stems for further work in your DAW.

Cons: Display is not a touchscreen. Sampler pads aren’t velocity sensitive. Keys don’t sense aftertouch. External power supply.

Bottom line: A ton of power and sonic flexibility packed into an affordable, easy to operate, lightweight instrument.

FA-06: $1,399 list | $1,199 street

FA-08: $2,099 list | $1,899 street

www.rolandus.com

What is it?

The latest version of Roland’s Fantom synth workstation has a brand-new, more direct interface, new sound engines and lots of connectivity/integration to bring things up-to-date. We’re looking at the 88-note Fantom-8 here, but you can also buy the Fantom-7 and Fantom-6, which have 76 and 61 keys respectively.

The new Fantom ‘platform’ uses Roland’s latest Zen-Core tech (basically a powerful new unified engine that contains PCM, V-Piano modelling and VA waves, in this instance), with processing headroom for future engine upgrades and additions.

The way the Fantom operates now revolves around ‘Scenes’. A Scene is much like the old Live Set (256 are available, more would be nice!) and is basically a container or snapshot of everything on the front panel.

One Scene can be made up of up to 16 Zones (each Zone contains controller and MIDI info, plus key ranges for controlling the native engines and external MIDI gear). Each Zone then contains a Tone (a Tone can contain up to four partials/oscillators). Each partial (oscillator) within a Tone can contain a completely different sound engine, including the modelled V-Piano engine, PCM (samples), VA modelling (up to nine wave types including Juno, SuperSaw, PCM-Sync or Noise). So there’s a lot on offer. 

PCM banks A and B contain 963 and 257 samples respectively, giving a total of 1,220 raw partial waves to build on across the four partials available within a Tone. To bring things further up-to-date, you’ll also find new Tones from the AX-Edge keytar, alongside classics from the Integra-7 and XV-5080, though there are none of the lovely Supernatural Acoustic Tones onboard (yet). 

Regarding hands-on control, there’s the standard issue Roland mod/bender, several assignable switches, two wheels (like the JD-XA) plus eight faders with LED level and LED ring dials for each of the 16 Zones (8 x 2 banks), plus one fader for USB audio streaming level from your DAW.

There are six high-resolution clickable knobs for editing under the screen (linked to six key performance parameters). Then you also get direct oscillator, filter, envelope and effect controls right on the front panel, which take you directly to the main areas of a sound you’d most likely want to edit on the fly. Roland has done a great job keeping things simple but effective, especially considering the power under the hood. 

In addition, there are 16 TR8-style step buttons for step-sequencing, which also take you directly to 16 instrument categories (to speed up editing and performing) and a rhythm track which allows you to chain drum patterns/sync them to the sequencer and then easily switch between each section/pattern onscreen. Finally, you have 16 pads (four banks) and these can be used for triggering notes, samples, audio, MIDI (internal/external), sequences and more besides.  

Performance and verdict

The Fantom-8 has a high-quality, great-feeling wooden PHA-50 keybed (like the RD-2000) but with aftertouch. All the new Fantoms feel and look the part and are built solidly throughout, with a metal front panel and under-key lip, plastic for the rear, sides and controllers panel and what appears to be a particle board base.

Switches feel positive, knobs and dials are smooth and high resolution, panel lighting is great for navigating and viewing stored values of knobs, and the new large colour touchscreen is the snappiest I’ve used in a workstation.

In fact, Roland has come up with the most intuitive workstation UI/UX design we’ve laid hands on to date; you can get at everything directly from the front panel yet, even when you dig deep, the Fantom never gets overwhelming (as the Yamaha Montage/Kronos can at times), plus all the lettering onscreen is of a size that can actually be read comfortably! 

The new Fantom has a wide, warm, precise sound (with a tilt to the brighter/high-mid character) but with a punchy low end. With all the engines, deep-step LFOs and comprehensive modulation facilities, control matrix, Structures, VA filters and dual-IFX per-Zone (plus chorus and reverb), it feels engaging.

The stereo multimode analogue filter/drive (a workstation first) adds welcome character, and the V-synth-style Motional Pad (on screen) morphs seamlessly between four sounds. 

Downsides? Well, the Fantom would benefit from a dedicated V-Electric Piano engine with the same detailed control and full polyphony/note tuning as the excellent V-Piano engine. It also misses a dedicated VK-tonewheel organ engine (and those Zone faders are crying to be auto-mapped drawbars)!

Full ACB analogue-modelling engines (as in the System-8/Cloud) would also be welcome inclusions, along with linear audio tracks/user multisampling, and currently, Scene saving wasn’t saving all our tweaks.

However, these are early days for the new Fantom platform; Roland has laid the solid groundwork, which we’re sure will be expanded and improved soon. A solid return indeed! 

MusicRadar verdict: A versatile powerhouse with bags of connectivity. We’re looking forward to seeing how the Fantom ‘platform’ expands in the future.

The web says

"This is the workstation that the keyboard world needed. With so many people going the MIDI controller route, this is a breath of fresh air for the community." Keyboard Kraze

Hands-on demos

Guitar Center

Sweetwater

GAK

Andertons

Specifications

• Keyboard: 88 Keys (PHA-50 Wood and Plastic Hybrid Structure, with Escapement and Ebony/Ivory Feel, channel aftertouch)
• Sound Generator: ZEN-Core, V-Piano Technology
• Parts: 16 Zones (Internal + External)
• Scenes: 128 Scenes x 4 Bank
• Tones: Over 3,500 Tones, over 90 Drum kits
• Multi-Effects: 16 systems, 90 types
• Part EQ: 16 systems
• Drum Part COMP: 6 systems
• Insertion Effect: 2 System, 90 Types
• Chorus: 8 types
• Reverb: 6 types
• Master Compressor
• Master EQ
• Mic Input Reverb: 6 types
• Analog Filter STEREO; Type: LPF1/LPF2/LPF3/HPF/BPF/Bypass, Drive, Amp

Sequencer

• MIDI Tracks: 16 (Internal/External)
• Group: 16
• Pattern: 8 (per each Track)
• Pattern Length 32 measures
• Recording Method: Realtime recording, Step recording, TR-REC

Sampler

• Format: 16-bit linear, 44.1/48kHz, WAV/AIFF import supported
• Maximum Polyphony: 8
• Number of samples: 16 Pads x 4 Banks

Other

• Rhythm Pattern, Arpeggiator, Chord Memory
• Controllers: Pitch Bend/Modulation Lever, Assignable Switch x 2 (S1/S2), Control Knob x 8, Slider x 8, USB Audio Slider, Wheel x 2, Function Knob x 6, Sound Modified Knob x 11, 4 x 4 Pad
• Display: Graphic Type, 7", Wide VGA (800 x 480 dots), backlit LCD (Color/Touch screen)
• Connectors: Headphones Jack: Stereo 1/4-inch phone type; MAIN OUT Jacks (L/MONO, R) (1/4-inch phone type); MAIN OUT Jacks (L, R) (XLR type); SUB OUT1 Jacks (L, R) (1/4-inch phone type); SUB OUT2 Jacks (L, R) (1/4-inch phone type); ANALOG OUTPUT Jacks(1,2)(1/4-inch phone type); Mic/Line Input Jacks: (1,2) (1/4 inch phone type/XLR type); 2 x CV OUT, 2x GATE OUT; FOOT PEDAL Jacks (HOLD, CTRL1,CTRL2,CTRL3); MIDI connectors (IN, OUT1, OUT2/THRU); USB MEMORY Port; USB COMPUTER Port (AUDIO/MIDI); 3 x External Device Port
• Width: 1,432 mm
• Depth: 439 mm
• Height: 153 mm
• Weigh 27.7 kg6

With so many synthesizers on the market, finding the right one isn’t easy. Different models have different capabilities, and appeal to different kinds of user. However, there’s also a synth that can do everything: Roland’s FANTOM.

Designed for electronic music production, performance, sound design and more, the latest version of the FANTOM is a cutting-edge all-rounder that will quickly become your go-to instrument. Central to this is the new modeless design; you don’t need to worry about defining how you want to work, as all features are available whenever you need them.

And then, of course, there are the sounds. You get all the electronic, acoustic and hybrid tones that you’ll need. Roland’s stunningly authentic V-Piano technology is included, and you can add more sounds as you need them.

Power is nothing without control, of course, and FANTOM gives it to you in spades. This starts with the keyboard, which is Roland’s best ever, and continues with an intuitive selection of knobs and sliders that’ll encourage you to get hands-on. Oh, and did we mention that there’s a touchscreen colour interface, too?

When it comes to recording, you’re spoilt for choice. There are RGB pads for beatmakers, alongside a classic TR-REC-style pattern sequencer that takes inspiration from Roland’s famous drum machines. You can, of course, record in real-time, too, while there’s a piano roll for editing and a grid for recording and launching clips.

The FANTOM works great on its own, then, but it can also sit at the heart of a wider setup. Hook it up to a computer and you can use the touchscreen and other controls to take charge of the likes of Apple’s Logic Pro DAW and MainStage performance software, and thanks to the dual CV/Gate outputs, modular and analogue synths are invited to the party, too.

So, whether you’re songwriting, gigging or just need a great-sounding synth, FANTOM is there for you. It comes in three sizes - FANTOM 6 (61-key), 7 (76-key) and 8 (88-key) - and is available now. Find out more on the Roland website.

Korg has announced what it’s calling a “supercharged” version of its Kross 2 workstation keyboard, the Kross2-88 MB. This 88-note model comes with new sounds and has a rubberised matte black finish.

An enhanced acoustic piano heads up the new sound expansion, which also includes new EPs, drum kits and synths, and brings the total number of included presets to more than 1,000. 27 drum track patterns have also been added to this model.

The Kross2-88 MB features Korg’s NH4 ‘natural weighted hammer action’ keybed, which is designed to feel both realistic and comfortable. It also helps to keep the instrument’s overall weight down, aiding portability.

You’ll be able to buy the Kross2-88 MB from October for $1,180. Find out more on the Korg website.

The Field Kit is best thought of as an electroacoustic music toolbox, where everyday objects can be used to create, or manipulate, sound. 

The unit itself comes in the form of a metal panel (in the usual Koma livery) laden with sockets, sliders and knobs embedded in a plywood case. Even before you get plugging, this is a thing of beauty - the ultimate in geek chic aesthetic.  

A kit version (with all the nasty SMT components pre-installed) is available (and will save you 50 euros), and a Eurorack panel is available for those wanting to expand their modular rig. Besides the Output Section, which is hardwired to the internal mixer, the Field Kit is split into 7 functional blocks. 

Occupying the centre of the unit is the aforementioned four-channel mixer. Each channel features a gain stage followed by a passive tilt EQ, Aux send and mix level fader. Master and Aux outputs have their own level knobs, with an additional Speaker out (for driving 8-ohm loads) that can derive its signal from channels 1, 3 or both together. 

The EQ is centred on a frequency of 600Hz, though, like many aspects of the circuitry, can be tweaked with a few (small) component changes.  

The manual includes a wealth of knowledge on making these changes, alongside many others, and at over 100 pages has a wealth of information on using, or abusing, your Field Kit.   

Next up is the Radio, which covers AM, FM and SW bands. No antennas are included, but these can be fashioned from something as simple as a small loop of wire, and hooked-up via a small three-way header. The Search knob normally acts as a manual tuning control, though you’ll also find an input to alter the radio frequency under CV control (whereupon the Search knob acts as a CV attenuator). This is great for exploring unpredictable radio-glitch effects, but there numerous other possibilities. 

More familiar territory can be found back in the LFO and Envelope Follower sections. The LFO works over three selectable ranges - from super-slow to audio rates - and with square, triangle or combination waveforms. The Envelope Follower derives a slowly moving DC voltage from a fast moving AC source. There’s also a (positive voltage) Gate output, triggered once the input is higher than 1V. 

LFO rate ranges and envelope follower response speed can be shifted permanently by changing internal capacitor values. Things take a more unusual turn with the DC Interface, which can be used drive motors, buzzers, solenoids and many other devices. CV control is of course included. 

The Signal Interface then takes care of things on the input side, with the ability to manipulate and convert switch signals to pulses and turn sensor signals to CV (with adjustable gain and offset). The optional Expansion Pack is an ideal way to get things going, as it includes contact springs, mics, cables, a speaker, solenoid, and a few other useful bits. 

If you ever wanted to try building a spring reverb, mic up a cutlery draw, or create a musical automaton, then the Field Kit is for you.

Back in 2011 we were one of the first reviewers to get our hands on Korg’s Kronos. 

Six years later, the second generation Kronos is now doing the business for many gigging and touring musicians. Back in 2011, the workstation concept was still going strong, but with many touring professionals and producers moving to software-based setups, (Mainstage, Cubase, Ableton etc), the workstation concept has lost some traction, with Yamaha Roland dropping their flagship workstations.

This leaves Kronos remaining as the chief workstation contender in 2017. The Kronos range includes the 61-note model with synth action (one of the nicest synth actions around), the 73-note weighted version, the 88-note weighted version (which is the subject of this review), and the recently added Kronos LS-88 which features a lighter-touch 88-note keyboard for those that require a lighter full-length keyboard without the weighted feel. 

The review model’s 88-note RH-3 graded weighted keybed (with velocity and aftertouch) feels well balanced and gives a very authentic piano playing experience when paired with the EP-1 or SGX-2 engines, and the keybed feels much-improved over the last RH3 version we tested.

All models feature the same nine engines, each of which deals with a specific type of instrument/engine, and all the familiar Korg operational modes are onboard too, such as Combi (multi), Program (single), Sampling and Sequencing. Then of course there’s the powerful FX engine with up to 12 insert effects per-program, with two master effects and two ‘total’ effects too. 

There are 185 effect types including delays, compressors, EQs, envelopes, choruses, phasers, panners, delays, reverbs, decimators, cabinet models and a vocoder. The newest engine included as part of the 3.1.0 OS is SGX-2; a premium acoustic piano engine which now includes a splendid ‘Berlin’ grand piano alongside the already well-respected Japanese and German grands; this engine has also been further enhanced with the addition of modelled sympathetic resonance (the sound of case/string resonance) along with soft pedal ‘una corda’ samples too. These important features greatly enhance the authenticity of the already excellent SGX engine.

Next there’s the superb EP-1 engine, which deals with various Rhodes and Wurlitzer EPs. These all sound very authentic, and for

personalising your sound, you can tweak details including note attack noise, harmonics, damper release and hammer tip width. The HD-1 PCM engine is a sample-based engine featuring a two-oscillator system that draws from the 1500+ onboard multisamples and the 1300+ drum samples at its heart. 

This is your main staple sound engine, providing a wide range of high quality samples for general studio and live duties, plus Wavestation-derived ‘wavesequencing’ for constantly evolving soundscapes. The AL-1 engine is the go-to engine for authentic analogue emulations and features everything you need to build classic poly or mono analogue sounds and more besides. Once again, the sound quality is excellent and alias-free, and this engine also has its own step sequencer too.

The CX-3 engine emulates classic tonewheel organs and their rotary cabinets, and whilst the presets lead you to believe that perhaps this isn’t the most authentic organ modeling engine around, once you dig deeper into the settings, you can get some very authentic Hammond sounds, especially when employing the panel sliders as drawbars (note you’ll probably want the 61-note or LS models if organ playing is your thing).

Following on, the STR-1 engine uses 16 modelled string types (including acoustic guitar, clavinet and harpsichord) coupling them with modelled pickups and the ability to use sampled oscillators too. It’s great for making realistic electric or acoustic stringed instruments, but it can also go way beyond this.

MOD-7 is a super-powerful FM engine (VPM in Korg-speak) which can also handily import DX7 patches. Like all FM engines, it’s pretty complex (so best approached via one of the many Mod-7 presets initially) but once you’re feeling braver, initialise a patch and get stuck in; the results are great and will have you selling your old Yamaha FM machines pronto!

The final two engines (MS20EX and PolysixEX) are based on the MS-20 and Polysix. and both sound great - nicely authentic and very

tweakable. Anyone with the real deals, (or Korg’s Legacy Collection software) will feel immediately at home. Also, now that you can drag values across the screen, editing on these engines (and on the Kronos in general) is much more enjoyable.

Existing Kronos or Kronos X owners will also be happy with the new OS, which is freely downloadable (although the new soundbanks need purchasing). Quick keysplitting and layering is a great new addition, along with many signature presets and famous sounds (including one of the most authentic Herbie Hancock Chameleon basses we’ve heard). 

Then there’s the enhanced Setlist feature for quickly selecting sounds. Hardware-wise, there’s a new rear mesh grille, and the new wooden ends add a touch of class. Everything is reassuringly solid too, as you’d expect at this price point. Downsides are few, but we’d still love to see the Odyssey engine and perhaps some bits from Gadget included. Regardless, if you want a workstation, Kronos still reigns supreme!

Korg has unveiled the Kronos LS, a new version of its flagship workstation that features an all-new 88-note light touch keyboard.

This promises the power of Kronos in a lighter package, with the LS weighing in at less than 40lbs (that’s 14lbs lighter than the Kronos 2 88). In comparison with existing light-touch keyboards, we’re told that the velocity on this one is easier to control, especially when playing complex chords and tricky phrases.

The Kronos LS ships with OS 3.1, which offers new Quick Layer/Split functions, and also has a new look. Expect to see it in stores in the summer priced at £2999; you can find out more on the Korg website.

Keeley's Workstation line of multi-effects pedals has us intrigued - so much so that we featured several in our round-up of NAMM 2016's best effects pedals - and the Monterey is the latest to join the range.

Offering three types of modulation (rotary, uni-vibe and harmonic wah), as well as octave up/down and fuzz, the Monterey shoots for Hendrixian blues and rock tones, as you can hear in the vibe-y demo video above.

Rate, depth and volume control the modulation effects - adjustable via an external expression pedal - while the fuzz side uses vintage 1960s Fairchild transistors for a wide range of smooth fuzz textures. You can switch the order of the effects internally, too.

The Monterey is handmade, true bypass and available now for $299.

The year is 1988, and the electronic music industry is at a turning point. Knob-laden analogue synthesisers have faded into memory, and the sample-based wavetable synthesis so beautifully presented by PPG is about to be whitewashed for the masses in the form of the soon-to-be-ubiquitous ROMpler. Roland's entry for 1987, the D-50, combined sampled attack transients with sustained synthesised waveforms, and slathered the lot in a gauzy haze of reverb. It was a mighty success, with the instrument seeming to be on perpetual back-order.

But the D-50 was only the start. Korg, too, had dabbled in sample-based synthesis back in 1985 with their DW-6000 and DW-8000 units, both of which contained a handful of single-cycle sampled waveforms that were pumped through filters, envelopes and even - on the flagship model - a built-in digital delay. With the D-50 selling like hot cakes, it was only natural that Korg would up the ante by tapping once again into sample playback technology.

The result was the M1, which did nearly everything the D-50 did and more, with class, sophistication and refinement. Where the D-50 relied on sampled attacks and novel loops, the M1 offered up a then-burly 4MB of meticulously multisampled real-world instruments that actually made it sound like you were playing the real thing. Like the D-50, the M1 also boasted a full range of effects - and even multieffects - that could be used by its two built-in processors.

There were two inclusions that were crucial to the astonishing success of the M1. The first was a complete and sophisticated eight-track sequencer (the M1 was eight-part multitimbral) that allowed users to cobble together complete arrangements via a familiar pattern/song paradigm. It was friendly and powerful, that power being reinforced by the inclusion of some excellent sampled drum sounds. The M1 was, truly, a musician's workstation.

Users looking to create their own sounds could combine a pair of oscillators (no sync or cross-modulation, alas) and shuttle them through a non-resonant filter, modulating them with envelopes, LFO, keyboard, pedal and joystick. This simple pathway allowed the original samples to shine through.

Those who didn't want to do too much back-end tweaking could avail themselves of a veritable industry of support that grew up around the M1. Third-party patches and add-ons were common currency even into the 1990s. By that time, the M1 had become the biggest-selling synth ever produced, that popularity made evident by its instantly recognisable sounds popping up on radio and TV, and in the cinema. The M1's Pole, Magic Organ and Universe patches have become (perhaps overly) familiar, and its slap bass will resonate forever thanks to Jonathan Wolff's Seinfeld theme. And then there's that iconic piano sound - still popular today with dance music producers.

Today, the M1 continues to sell in virtual form from Korg themselves. However, its spirit also lives on in every hardware workstation and software ROMpler on the market.

Three great M1 emulations

Korg Legacy Collection M1

Containing all the sounds of the M1 and all 19 of Korg's optional add-on cards, the Legacy Collection M1 provides more than 2700 preset sounds in all. Coming in standalone, VST, AU and RTAS formats, it also adds filter resonance. The effects are ramped up, too, with dual dedicated effects processors available for all eight multitimbral parts.

FULL REVIEW: Korg Legacy Collection Digital Edition

Korg iM1

A different beast to the desktop version, Korg's iM1 for iPad offers the additional after-market cards as in-app purchases (for a total of over 3300 sounds), but adds a keen KAOSS pad controller in addition to filter resonance and beefed up effects. The touchy-feely interface answers any and all complaints about the original's lack of physical controls.

FULL REVIEW: Korg iM1

Sonic Cat Luxonix Ravity

A conscious attempt to offer a virtual equivalent to the M1 and all of the hardware ROMplers that followed it, the Windows-only Ravity and its big brother, Purity, provide a collection of bread and butter sounds, along with neat electronic timbres and percussion in a trim, easy-to-use package. It's a bit dated, but still useful. Just like the M1, then!

READ MORE: Sonic Cat Luxonix Ravity

While Korg, along with many other companies, has done some great things at the affordable end of the synth market, it's somehow comforting to know that it's still making super-powerful, money-no-object keyboards, too. We're talking specifically about the new Kronos, an updated version of the company's monster workstation.

Said to embody "over 50 years of artistic vision and production expertise," this redesigned Kronos is billed as "the most versatile synthesizer ever made". Supporting this claim are nine engines - including an enhanced grand piano - that can produce a massive variety of sounds, some of which come directly from artists or emulate those heard in famous songs.

Kronos has a new look, too (note the wood side panels) and the TouchView display now enables you to touch and drag, giving you more detailed control. Settings for songs and sets can be organised in the advanced Set List mode, and there are sequencing and sampling options, too.

Although the Kronos has a number of hands-on controls, it can also accommodate external MIDI controllers - plug in a Korg controller with pads on it, for example, and they'll automatically be mapped to the Kronos's virtual chord pad function.

Although this is a new product - it'll ship in December in 61-, 73- and 88-note configurations - Korg has let it be known that many of the new features will be available to existing Kronos owners via an OS update.

You can find out more on the Korg website. Pricing details are still to be confirmed.

M-Audio released Trigger Finger around a decade ago, and it was one of the first MIDI control surfaces to ditch a keyboard in favour of pads, rotaries and sliders. These could be configured to send MIDI control information to hardware or software; but the landscape of music production has changed enormously in that time.

M-Audio's range of keyboard controllers are reflective of these changes, now packed with more tactile controls than ever before. All of which means that an overhaul of Trigger Finger is long overdue. The great news is that it's now here in the form of Trigger Finger Pro, which bears so little relation to its predecessor that it deserves to be considered almost as a new product.

Take a Trigger tour

Trigger Finger Pro (TFP) is a hardware/ software hybrid that uses a square, silver and black control surface to act as a trigger and control front-end to a range of software titles to which its purchase provides access. At the heart of TFP is a sequencer to which lanes of sounds can be added that, in turn, can be triggered from the control surface's pads and manipulated from its onboard sliders and dials.

To stress - this hybrid relationship is essential; TFP features no audio outputs and doesn't store its sounds internally. So whilst, over MIDI, it can trigger external gear and, via USB, it's designed for integration within a DAW to work with software instruments, it's not a standalone production workstation.

For those twin purposes, the rear panel has both a five-pin MIDI Out port and a USB connection socket, with a power button next to the DC power inlet. As TFP is buss-powered, you may not need the latter connector and there's no power supply in the box. However, you will need one if you want to use the surface as a controller for external MIDI gear without a computer.

The upper panel is where the action happens. It's dominated by a large backlit LCD screen at the top and an MPC style pad matrix on the right-hand side where 16 pads can be triggered in groups of four banks, giving you access to 64 sounds (or parameters) to be triggered at once. Brilliantly, these pads are both velocity and aftertouch sensitive. The pad banks are back-lit with different colours so scrolling through them - and keeping track of which bank you're playing - is easy.

There is a further series of buttons running along the bottom edge of the control surface too and this provides access to the sequencer. In classic 909 style, when a sequence is running, lights show you where you are in a pattern, whilst hitting one of these pads to add a new note event to a sequence illuminates its light 'solidly'. As a sequence moves from one bar to the next, so the lights keep track, all of which means that programming patterns here is super-intuitive.

Under the fingers

A TFP preset represents the highest stage of a collection of active sounds, so programming a sequence is most easily done by picking one of these. Its associated sounds are then mapped to the pads and programming a sequence involves clicking a pad to make it the active element, before tapping on the sequencer's pads to place an event in the place where you want it. You can either record in step-time in this way, or trigger pads on the fly in Record mode.

Once you've got a sequence running, you can adjust a range of parameters for it. A Swing value sets a global offset whilst editing velocity presents each step with its own strength value, ready for you to adjust the default step-time input value of 127 for a lower number of your choice.

Conversely, if you're recording in real time but don't want velocity to play a role in your real- time tappings, you can enable the Fixed button, to ensure that all events are created with the same value. Meanwhile a Roll function can be enabled to allow you to create rapid-repeat playback of any pad you hit - a great way to create anything from snare fills to glitched-up stutters of any sound you trigger.

There are pad Solo and Mute buttons too, either enabling you to drop parts out temporarily, or focus on the sounds of just one, with the pads allowing you to include or exclude any sounds from your sequence with a single press. So, if you want to hear your loop without the kick and snare at the same time, just hit Mute whilst triggering both those pads; they'll stay silent until you tap them again to reintroduce them.

The four rotary controls, sliders and buttons also work on a bank-based system which is independent from the pad banks. The Arsenal software allows you to pick a parameter for each physical control from a comprehensive list, or to Learn an assignment over MIDI, which is great if you're using TFP with your own plug-ins.

Using the Control Bank button, you can cycle through the four banks, effectively providing 16 sliders and buttons to be used in real time. As with the pads, the buttons glow in different back-lit colours to show which one is active at any time.

Trigger Finger Pro is a triumph. It ships with so much software content that you'll need weeks to exhaust the sound sets and, in the meantime, you can perfect your sequencing skills. The hardware makes programming and tweaking a joy and, with the backlit colours for pads and Control parameters, you'll quickly learn how to keep on top of your settings. A classic is reborn.

Every week keyboard nerds discuss the supposed upcoming demise of the workstation concept but you only have to look at how many workstations are currently in production to ascertain that the genre is still healthy. The FA name first appeared in 2002 with the Fantom FA-76 workstation and now it's back but with all traces of the Fantom word erased. We hear that legal issues over ownership required its removal. Yes, even mis-spelled with an 'F'...

So the new FA series, a set of boards that comprise the 06 and 08 models, which share the exact same functionality but with 61-note synth action and 88-note weighted keybed options respectively.

The FA-08 (reviewed here) is still nicely portable for an 88-note weighted board and the whole package weighs in at just 36lbs which is manageable for one person, though this is without a flightcase. It boots from cold in just eight seconds and the overall look is clean and utilitarian (if a little '90s looking) with a mixture of tough textured plastic for the body and shiny black perspex for the control surfaces.

The buttons/cursors have a solid feel, whilst the onboard dials (used for parameter tweaking) feel good but slightly less rugged and exhibit a little wobble.

Ergonomically, the front panel is simple and flows well but, with no touchscreen, there's a heavy reliance on the jog wheel and cursors for most editing tasks. However, the Shift button is a godsend on the FA as it shortcuts you to key editing parameters without having to scroll through loads of pages.

Thankfully, the wheel and cursors are within easy reach of the keyboard, so you can have both hands on deck and turn the jog wheel by reaching out with one finger, though it would have been nice to have the 'sound modify' dials within closer reach too.

Screen test

The colour screen lies at the heart of the FA-08 and it certainly has the wow factor initially, though, as it has to convey a lot of information in certain modes (especially when editing sequences), it sometimes feels a little cramped and some of the smaller fonts can be hard to read.

It's still way better than the screen on the Jupiter-50 and the Yamaha MOXF but the Korg Krome's larger full-colour touchscreen is still the best in class.

As noted earlier, the FA-08 has an 88-note weighted keybed. The keys are a comfy size and are nicely textured, though it takes a bit of time to get used to this particular 'Ivory G' action, as it demands a good bit of initial pressure to get the keys moving.

In addition, the key return is sluggish and spongy which impacts when trying to play fast riffs/ parts on organ, clav or synth leads, so you'll likely need to adapt your technique a little, though changing the velocity curve to 'light' helps.

Our advice is, if you mainly play synth type parts, then grab the 06 instead, though some pianists love heavier actions and the 08 might be ideal. Unfortunately, there's no aftertouch on either FA model except via control pedal, (which kind of defeats the object!) and we think the £457 price difference between the 06 and 08 is a little steep, though of course the street price will be less.

Programming sounds on the FA is pretty intuitive and, though the interface/edit screens are simpler than on the new Jupiter's and Integra, it doesn't feel like too much has been lost. In many ways, the FA-08's more direct interface trumps its more expensive siblings and, especially, the new 'sound modifying' dials and 6x4 parameter matrix (which can access up to 24 different parameters on the fly) speed things up considerably.

Importantly, all the dials operate smoothly with good resolution (unlike the stepped controls on the MOXF) so smooth parameter changes are possible. Within the four rows of dials, three of the rows are hardwired to factory set parameters (filter controls, envelopes, FX, EQ etc) and one row can be assigned to user chosen parameters (including DAW control).

Under the screen there are ten dual-category instrument select buttons and you can set up favourites (10 banks x 9) for quick recall during live shows or when recording. Further to this, splits and dual layer sounds are only a button press away.

Seriously deep

The basic sound structure is the same as the Integra 7, so you'll find Tones (which are like Voices on Yamahas and Programs on Korgs) and Studio Sets (which are like Mixing Mode/ Performance Mode/Multis on Yamahas and Combis on Korgs). A Tone can be based on Supernatural Synth, Supernatural Drum, Supernatural Acoustic or PCM waves (partials) and up to 16 Tones can be layered within a Studio Set for huge stacked sounds.

Each Tone can have its own multi-effect and arpeggiator, plus each Studio Set of Tones has access to separate compression, chorus, reverb and EQ (per part), all controllable from the sound modifying dials.

As with the Integra 7, the only slight downside is that polyphony is limited to 128 notes, so if you go crazy layering several multi-partial Tones expect a little voice stealing, though you can use 'voice reserve' to ensure that your main sound is exempt from voice stealing. Still, there's plenty of power here to make massive orchestral, acoustic or synth layers - the FA is a seriously deep synth.

To further extend the FA's sound palette, you can also download sounds for free from Roland's Axial website. There are two virtual SRX slots available onboard into which you can load newly downloaded SRX sounds and all the sounds reside on an SD card (up to 32GB in size, 4GB card included as standard) so sounds can be swapped in and out easily and dragged and dropped from your computer via USB.

Whilst we are talking about computers, the DAW Control button enables you to quickly map the front panel dials, transport controls and sample pads to your DAW of choice using the built-in DAW templates (all major DAWs are included). There's currently no editor available but the FA is very easy to edit as a self-contained unit, though it would be nice to be able to edit the sequencer from your computer in particular.

Sonically, the FA sounds very similar to the Integra 7, which is no surprise as the FA is essentially an Integra 7 but with fewer sounds onboard (around 2,000 on the FA vs 6,000 on the I7), fewer virtual expansion slots, no 'motional surround' and fewer outputs.

The Supernatural acoustic pianos and electric pianos are classy (and it's great that you can tweak string/key off resonance, hammer noise and more) plus the electric basses, strings, woodwinds and acoustic guitars are up there with the I7 and Jupiter-50/80 (ie excellent)!

The Supernatural synth engine is very powerful and punchy and, though it lacks all the modelled filter types from the new Jupiter's, with just a little programming you can dial in most classic/contemporary sounds with little effort, including searing analogue leads, 'supersaw' trance patches, huge basses, warm and inviting polysynth comp sounds, sound FX and more.

Let's not forget that there's a whole Supernatural/ PCM drum section too and the synth PCM wave section contains a 'best of' selection from Roland's classic boxes/ boards of yesteryear (such as the D-50, XV-5080 and TR-808/909).

The only small letdown is that the tonewheel organ model still lacks a dedicated chorus/vibrato unit and, although the drawbars appear on screen, it's criminal that they don't map to the sound modifying dials, which would really bring the organ sounds to life. We hope this can be rectified in an update, as it's not much fun scrolling through and tweaking drawbars with buttons and the jog wheel!

A real contender

Regardless, our money is on the FA-06 becoming the most popular FA model, especially when you consider its power and portability and that it features Roland's flagship Integra 7 sounds. The fact that it doubles as a USB Audio/MIDI interface with sequencer and sampler is a huge bonus, plus it's priced very reasonably too.

We're also glad that Roland are using an SD card for sound storage as you'll never run out of space for sounds/samples (just buy a new card) and the sound expansions via the website ensure it will stay sonically relevant far into the future.

The biggest letdown is that you can't use sounds that you've sampled as partials/oscillators in your Tones (the MOXF can do this) but this aside, the FA series covers most bases admirably. Above all, it's deep enough to keep even hardcore programmers occupied, yet it remains intuitive and sounds great.

NAMM 2014: Korg has unveiled its new taktile range of keyboard controllers and synthesizers.

The range will come in two lines: taktile, which comprises straight MIDI controllers, and Triton taktile, which adds a range of built-in sounds taken from Korg's Triton workstations. Both lines will come in 25- and 49-key varieties.

All taktile units feature semi-weighted keyboards, velocity-sensitive pads, faders and a variety of DAW-friendly buttons and transport controls. Each also features a central XY touchpad that can be assigned to control various software parameters, or be used instead of a mouse.

As controllers, the taktile range offers out-of-the-box support for the latest versions of Logic, Live, Cubase, GarageBand and more.

In addition to the controller functionality, the Triton taktile range comes loaded with 512 Triton sounds, which have been "specially tuned" for the unit. The Triton taktiles can also connect to a computer via USB and function as an external sound module.

Check out the press release below for full details. Prices are £199/£279 for the 25-note/49-note taktile controllers and £279/£259 for the 25-note/49-note Triton taktile keyboards.

Korg taktile range press release

Play your way.

A controller bursting with inspiration - the new KORG taktile

TRITON, unbound

A controller with the built-in sounds of the legendary workstation - the new TRITON taktile

Highlights

• A full array of DAW presets and basic functionality; simply connect and start playing
• All 512 program sounds of the TRITON, the best-selling KORG music workstation (*1)
• X/Y touch pad lets you create musical phrases within any plugin instantly - with the touch of a single finger
• Use the velocity-sensitive backlit trigger pads to easily enter chords or single notes
• Semi-weighted keyboard with a great playing feel
• X/Y touch pad can also be used as a track pad; ribbon selector offers left and right click
• A compact and lightweight synthesizer that you can take anywhere (*1)
• Stylish and ergonomic design
• A generous array of bundled software provides amazing value

(*1) TRITON taktile only

taktile and TRITON taktile feature a stylish design that projects a sense of presence, together with the same great-feeling semi-weighted keyboard that's used on synthesizers and music workstations such as the KingKORG and KROME.

It's loaded with functions that make it fun to play and use, such as a touch pad inherited from the Kaossilator that lets you play melodies using just a single finger, trigger pads that let you generate chords in the key and scale of your choice and an arpeggiator that includes rhythm patterns. Of course, the taktile and TRITON taktile also delivers the functionality that you expect from a MIDI controller.

It provides all of the basic controllers such as sliders and switches, and makes setup easy so you can start producing music right away. Convenience is not the only attraction of the taktile and TRITON taktile; it's a MIDI controller that's full of features that will stimulate your creativity.

In addition, the TRITON taktile adds 512 sounds from the TRITON, KORG's best-selling music workstation loved by top-ranking musicians around the world. From your desktop to live stage performances, it's a USB MIDI controller that you can use in any situation.

A full array of DAW presets and basic functionality; simply connect, and start playing

The taktile and TRITON taktile are designed for simplicity; connect it to your computer via a single USB cable and the power turns on. It supports the major DAW/sequencer software (*2), and its easy setup lets you start creating music right away. Controllers can be freely assigned, making the taktile a USB/MIDI controller that will meet all demands, from controlling a mixer to editing your software synthesizers.

Supported software:

Cubase 7, Live 9, Garage Band 10, Logic Pro X, Pro Tools 10, SONAR X2, Digital Performer 8, and any other application that supports MIDI input

The sounds of Korg's best-selling TRITON music workstation (TRITON taktile)

With total sales of more than 300,000 units for the series, KORG's TRITON music workstation is legendary. The 512 program sounds built into the TRITON are included, specially tuned for the taktile (*). You can register 16 of your favorite sounds for immediate recall at the touch of a switch. The sounds range from standards such as electric piano and organ to synth leads for soloing and elegant pads, making this a treasury of sounds that will stimulate your inspiration as a player.

You can also control the TRITON taktile from your computer via USB MIDI as an external sound module to enhance your existing music production setup.

(*) This is a preset sound module with adjusted sounds based on the TRITON's PCM waveforms, and only some parameters can be edited.

Turn your software synthesizer into a Kaossilator, so you can create musical phrases easily!

The touch pad located in the center of the taktile and TRITON taktile feature the Touch Scale function that was so popular on the KORG Kaossilator. Simply stroke the touch pad to generate melodies in the key and scale that you specify; you'll be able to use easy and intuitive gestures to perform musical phrases without needing advanced musical knowledge or keyboard performance skills. There's also an arpeggiator function with fifty different rhythm patterns, so you can play your software synthesizers with a single finger just as though you were using a Kaossilator.

Use the trigger pads to easily enter chords

The trigger pads placed in the right of the panel have two banks, A and B, and are also velocity-sensitive. Since the dynamics of your performance will be faithfully conveyed, your drum and percussion input will have a sense of life. The Chord Scale function automatically generates chords according to the key and scale that you specify. By using this in conjunction with the arpeggiator and the Touch Scale function of the touch pad, you'll find yourself finishing entire songs in no time at all. You can also assign chords that you yourself play, opening up endless possibilities that are limited only by your imagination.

Semi-weighted keyboard with a great playing feel

The semi-weighted keyboard featured on the KROME and KingKORG music workstations and synthesizers that are used by players around the world is also featured on the taktile and TRITON taktile. No compromises have been made in the playing feel for either the 49-key or 25-key model. You can use these keyboards not just to enter notes on your desktop music production setup, but also for real-time performance.

Touch pad that can also be used as a mouse

The touch pad can also be used as a USB track pad, with gestures such as two-fingered vertical scrolling and tapping to click. Your productivity will be boosted since there's no need to interrupt your musical workflow.

A compact and lightweight synthesizer that you can take anywhere (TRITON taktile)

Turn on the power and start playing immediately. Since you can power-on the TRITON taktile and start playing immediately without having to wait through a lengthy start-up. This is a convenient way to hear your ideas using the internal sound module or to do a bit of practicing or playing when the feeling strikes you. Even when the TRITON taktile is not connected to your computer, you can use it stand-alone with an AC adapter or with mobile batteries (separately sold: USB 2.0 compliant DC5V 550 mA or higher). As a single-unit compact and lightweight synthesizer, it doesn't have to stay on your desk; it can be a trusty partner that goes with you everywhere, whether it's the studio or on the stage.

Stylish and usable design

The taktile and TRITON taktile are designed in a stylish matte finish black that you'll never tire of. With a high-contrast OEL (Organic Electroluminescent) full dot-matrix display, it's easy to check the settings on the device itself. There are two different types of LEDs available for the two trigger pad banks, A and B, providing both visual appeal and functionality. Attention has also been paid to fine details, for instance, the connectors are grouped together on the right panel so the rear panel will present a clean appearance.

A generous array of bundled software provides amazing value

The numerous bundled license/discount coupons mean that you'll be enjoying popular music software from the day you bring the taktile and TRITON taktile home. In addition to the Korg M1 Le software, these include titles that you'll enjoy using with the taktile and TRITON taktile, such as EZDrummer Lite, Ultra Analog Session, Strum Acoustic Session, Lounge Lizard Session, and Ableton Live discount coupon, and Reason Limited DAW software.

The licensed software can be downloaded from the dedicated site korg web site http://www.korg.com/ and http://www.korg-license-center.com/

The entry-level workstation market is growing fast, helped in the main by budget conscious players who are clamouring for versatile features and decent bread-and-butter sounds at affordable price points. To satisfy this important sector, Yamaha currently has the MX range, Roland has the JUNO series and now Korg has its new KROSS range, which currently includes an 88-note weighted and a 61-note synth-action model, which we're testing for this review.

Looking good

KROSS 61 is ridiculously portable (9.5lbs) and can run on the included wall-wart or batteries (giving around four hours running time). The black on red colour scheme looks striking and the case shape is pleasing on the eye, there's a nice blue LED mounted in the rear logo, plus the glossy control panel gives the whole package a classy finish.

We would have no qualms about throwing the KROSS 61 into the car (in a gigbag or case) and gigging hard with it, and all the switches/dials feel solid. Obviously, it's not going to be as tough as a board with a metal chassis/case but it's nonetheless sturdily built.

No entry-level Korg workstation would be complete without a carry handle (the X50 had two) and the KROSS 61 has a centrally mounted rear handle for carrying it around like an electronic handbag! It can also be carried on your back in the Korg KROSS travel bag.

Know the limits

The synth-action keybed is fine for the price-point but it isn't as responsive as we'd like - the keys have a long-ish downstroke before sounds trigger and there's only velocity transmission and no aftertouch.

It's a shame that the bigger synth makers have been shunning aftertouch recently, especially when you've got cheaper boards like the Arturia Minibrute and Novation Bass Station 2 including it. Also, to bring out the best in the piano/EP sounds, we would highly recommend connecting a weighted controller, or instead plump for the weighted KROSS 88.

It's also a shame the KROSS has so few real-time controllers. This severely limits its ability as a dynamic live board and as a MIDI controller and makes editing fiddly too. All editing has to be done with the cursors/data entry dial and involves lots of menu diving/button pressing. In this respect, the KROSS is a downgrade from the X50, PS60 and MicroStation, all of which included real-time dials.

Also, the screen gets cluttered at times, though the one included on the KROSS is definitely much better than the tiny screens included on the X50 and PS60. Alternatively, you can use the excellent free KROSS DAW editor for programming. Note that for smooth edits during live performance, you are limited to using the pitch/mod wheels, SW1/2 buttons, or the foot controls, though the 'Tone' page puts the most used parameters (filter cutoff, resonance, envelopes etc) on one page at least.

What's onboard?

However! Where the KROSS really scores is with its extremely powerful synth engine and sounds. There's a huge amount onboard for the money (double the amount of wave memory compared to the X50) and the KROSS offers plenty of what the Krome offers for a couple of hundred quid less.

There's a powerful audio recorder that records direct to SD card, a jack audio input for plugging in instruments, for using the Vocoder or for recording vocals into the audio recorder (though a combo XLR/Jack input would have been better), a versatile 16-track real-time/step sequencer with quantise, a dedicated drum sequencer with swing/accent, plus direct front panel 'XOX' style step programming, and two polyphonic arpeggiators (two in Combi mode, one in program mode) that can be used for auto-backings or for more complex performances.

You'll also find pretty much everything you could want in terms of parameters to edit including several LFOs, EGs and filter types with flexible routing, through to poly/mono modes, AMS mixers for cross-modulation and easy splitting/layering with four-way velocity switching.

KROSS 61 is a great bet as a solo or second-tier board for gigging pop/ rock/electronic styles and as an easy to use/set up board for solo performers/ vocalists that want to use WAV/MIDI backings. It's also great for those starting out that want something simple on the surface but that can grow with the user as deeper editing is required, though again, things become a lot easier once you load up the editor and get away from the screen/cursors.

We can see it being popular with function band keyboardists needing a single no-nonsense board that delivers a solid set of staple sounds and effects in a portable 'sling-it-under- your-arm' package.

Sound it out

The 16-part multi-timbral EDS-i sound engine (also seen in the MicroStation) sounds impressive on the whole. It's warm, bright and wide and it's certainly an improvement over the Triton engine used in the X50.

We also think it has the edge over Yamaha's MX range sonically, whilst bottling the character of Korg's more expensive boards. The only caveat is that the sample compression brings with it slightly more artifacts on certain samples, and the filters do step a little when swept at high resonance settings (the Yamaha MX and Juno-Di also suffer from this).

This aside, the KROSS has some really beautiful pianos, playable EPs, good but grainy strings, snappy Clavs, some useable (but not-so-authentic!) organ emulations, inspiring warm synth pads, funky poly sounds, punchy brass and nice acoustic guitars. The effects are good too and enhance the presets nicely, plus there's also a good range of synth bass and leads and the drum sounds are surprisingly good.

The KROSS really packs it in for the money and we dig it a lot. It's certainly a good investment and has a way more powerful synth engine than its rivals. It's just a shame Korg left out those real-time dials, extra outs and aftertouch.

While most of the mobile music-making community is currently focused on Apple's iOS products, Detune has decided to do something different by releasing the Korg M01D, a recreation of the classic M1 workstation for Nintendo's 3DS.

Available in Japan since 2010 but now offered in Europe and North and South America as a download, this is an 8-part multitimbral synth that includes not just all the sounds from the M1 (including its classic piano) but also selected sounds from the 01/w and a selection of all-new presets that have been created for M01D. This gives you a total of 342 sounds; polyphony is 24 voices.

Songs can be created using the step sequencer. This supports 8 tracks of 64 steps per scene, and you can use up to 99 scenes. There are sound browser, mixer and keyboard screens, while you can spice up your productions with reverb and delay effects.

Note input is via the 3DS's stylus, though you can also use the KAOSS mode for easy note, chord and drum part entry. Song data can be exchanged with other M01D users either wirelessly or via the internet.

The Korg M01D is available exclusively via the Nintendo eShop. It costs £19.99/$34/€24.99.

Find out more below or on the Detune website.

Detune Korg M01D official information

The KORG M01D is a music workstation based on the KORG M1 the world's first widely known music workstation. The M1 was released in 1988 by KORG Inc., one of the most famous and leading electronic musical instrument companies. The KORG M01D reproduces the M1's unforgettable digital sounds of the 80s such as the "M1 piano", still heard on many songs today.

With 24 voice-polyphony, over 300 sounds and an easy to operate sequencer, the KORG M01D helps you play and create your music at any place, and at any time, in a palm-size package!

Furthermore, the KORG M01D maximizes the range of music making possibilities with the excellent functionality of the Nintendo 3DS dual screens and performs sensuous note input with the sound control mode of the touch screen. This brings the "fun" experience beyond the music workstation, for everyone from beginners to professionals.

The song data and MIDI data can be saved to an SD card so the KORG M01D can be used as a sketchpad. You can preserve all of your musical ideas which can be later converted to your DAW system for more serious music production. In addition, anyone can exchange song data using Nintendo 3DS Wi-Fi via the Internet.

Sold in Japan since August 2010 as a package, the KORG M01 has been highly acclaimed by creators and performers who love gadget musical instruments. Now with this download version, the KORG M01D is available worldwide.

Korg M01D specifications

• 8 part multi-timbral synthesizer with 342 sounds (max 24 voices)
• Includes all of the original sounds from the KORG M1, selected sounds from the KORG 01/w and some all new sounds developed for the M01
• Master effects: Reverb and Delay
• 8 track/max 64 step sequencer for 1 scene/ up to 99 scenes
• Sound browser, Mixer, Keyboard
• Easy input "KAOSS" mode for notes, chords and drums using the touch screen
• Exchange song data with other Nintendo 3DS using Nintendo local wireless communication and via the Internet
• 3D viewing of M01D on the 3D Screen

Steinberg's high-powered HALion 5 VST/AU sampler continues to pile on improvements where the generally underrated HALion 4 left off.

A MIDI Player module is now built in to play back MIDI files, and the phrase-generating FlexPhraser module (ported from Yamaha's Motif keyboard series) now has a super-fun 'user mode' for developing fresh, inspiring musical ideas.

Version 5 adds nine effects, a new sample slicing mode and over 1000 new sounds via eight new instrument interfaces. These are really just user-friendly front end "macros" that put the most relevant of HALion's controls for the sounds they deal with immediately to hand.

Essentially, they're the equivalent to Kontakt's KSP scripted interfaces, except that with HALion, you can't make your own (yet).

On top of the world

The new World Instruments module accesses 50-odd instruments in the Ethnic category, further split into Latin, European, African and Asian sub-categories, through a hippified interface featuring an Oriental Scale mode, which basically flattens selected notes by a quarter-tone.

Like all the new instruments, this one certainly speeds up workflow, and its presets are amongst the best sounding we've ever heard from a sampler/ROMpler, although we can't help but wish there were more detailed scale and tuning options on board. It would be nice to be able to call up a simple 24-note octave, for example.

The World Percussions set impressed us just as much, boasting 32 patches' worth of professional percussion loops and one-shots from around the world, with enough controls on the interface to enable tweaking of all essential timing- and tuning-related parameters.

Still on a rhythmic tip, the new B-Box interface connects with the Beats sub-category and takes advantage of the new Drum Player MIDI module - essentially a step sequencer for crafting funky beats, not too dissimilar to Beat Designer, found in Steinberg's well-known Cubase DAW.

Analogue memories

Making the virtual analogue synthesis engine introduced in HALion 4 much easier to handle, HALion 5 adds the Voltage and Trium instruments. Again, these are just macro interfaces with which to edit or program synth patches using the existing under-the-hood engine in a faster, more intuitive way than the previous modular setup offered.

Sonically and feature-wise, both resemble Steinberg's Retrologue, except that Trium boasts three oscillators and Voltage doesn't have oscillator unison, multimode filters or ring modulation. Trium also offers considerably more sub-oscillator waveforms, filter types and distortion modes than Retrologue, and both Trium and Voltage have their own arpeggiators, whereas Retrologue doesn't.

That puts Trium at the top of Steinberg's virtual analogue synth tree - and yes, it definitely sounds good enough to compete with most of the other virtual analogue synths on the market.

If you're a fan of really retro sounds, HALion 5 also includes the HALiotron instrument, which emulates that tape-based classic the Mellotron. It includes seven basic sounds: a choir, two clarinets, brass, bassoon, strings and our personal favourite, flute - famously used on The Beatles' Strawberry Fields.

The new effects in HALion 5 comprise VST Amp, Wah Wah, Tape Saturator, Octaver, Ring Modulator and Envelope Shaper - all adapted from their Cubase counterparts - plus AutoFilter, Step Flanger and Vintage Ensemble. These all make great additions to HALion's already impressive repertoire of effects.

Grain of truth

HALion 5's other big addition is a pair of new Zone types: Grain and Organ. Organ is covered in Model C, but Grain gives HALion users a whole new way of manipulating samples, based on the granular synthesis engine found in Steinberg's Padshop product line.

This is one seriously cool addition to HALion's sound- shaping arsenal that increases its reach into the future with the ability to turn abstract samples into fascinating ambient textures and post- modern pads. Highlights include up to eight grain streams and the ability to add independent random fluctuations to the grain position, duration, pitch and pan position.

What makes it all the more fun is its front end macro instrument, Auron, which, while not quite as powerful as Padshop, makes getting into the exciting world of granular synthesis an absolute doddle. The resulting sounds are otherworldly and intriguingly organic. Of course, if you're already a Padshop Pro user, Auron won't be such an attractive feature, but its position within the broader HALion 5 engine makes it easy to blend with other sounds, which is a definite plus.

HALion 5 represents another big stride forward for Steinberg's sampling workstation, and the emphasis remains firmly on workflow and quality sounds. Whether you're primarily looking to process loops and samples you've found or created yourself, or you're after a hot and highly customisable ROMpler-style library to power any kind of production, HALion 5 is up to the challenge and unlikely to disappoint.

Announced last week, HALion 5 and HALion Sonic 2 are the new versions of Steinberg's sampler and plugin workstation respectively.

Both come with eight new instruments and nine new effects, while HALion 5 also benefits from a new granular synthesis engine, a tonewheel organ simulation, a slicing mode that enables you to adjust audio material to fit any track, and two new MIDI modules (MIDI player and Drum Player).

HALion 5 costs €349, while HALion Sonic 2 is €249. Downloadable updates and upgrades are available through the Steinberg Online Shop.

You can find out more about both products in the videos and spec lists below.

HALion 5: getting started

HALion Sonic 2: getting started

HALion 5: introducing the new features

HALion Sonic 2 and HALion 5: introducing Trium, Voltage, Auron and the new arpeggiator

HALion Sonic 2 and HALion 5: introducing B-Box

HALion Sonic 2 and HALion 5: introducing Model C and Haliotron

HALion Sonic 2 and HALion 5: introducing world instruments and percussion

HALion Sonic 2 and HALion 5: introducing the new effects

HALion 5 features at a glance

• State-of-the-art sampler and sound creation system tailored to the demands of professionals
• Up to 192 kHz, 32 stereo outputs and 6-channel surround support
• Powerful multi-timbral audio engine with disk-streaming sample playback, tone-wheel organ simulator and high-end virtual analog and granular synthesis
• Outstanding library including over 2,500 synthesized sounds and breathtakingly authentic acoustic instruments
• Flexible user interface with multi-monitor support allows you to customize and save your own windows and screen sets
• AudioWarp provides cutting-edge time-stretching and pitch-shifting functionality
• Full VST Expression 2 support for smart articulation editing in Cubase
• FlexPhraser module drives beats, arpeggios and complex tonal phrases
• MegaTrig for easy programming of playing styles and articulations
• Wide range of high-end audio effects, including REVerence convolution reverb, VST Amp simulation and many more
• Cross-platform compatibility: Windows (VST 3, VST 2.4) and OS X (VST 3, AU) plug-in support, including standalone

HALion Sonic 2 features at a glance

• Easy-to-use yet powerful premier music production workstation for synthesized sounds and breathtaking recreation of acoustic instruments
• Outstanding library including over 2,500 instrument sounds created by top sound experts at Steinberg and Yamaha
• Powerful multi-timbral audio engine with disk-streaming sample playback and high-end virtual analog and granular synthesis
• Unique morphing filters seamlessly blend between up to 4 of 24 filter types
• FlexPhraser for dynamically driving beats, arpeggios and complex tonal phrases
• Wide range of high-end audio effects, including REVerence convolution reverb, VST Amp simulation and many more
• MediaBay sound management system for immediate access to the libraries
• Stage optimized workflows with dedicated player view, rapid building of keyboard splits or layers, and switching of entire multi-setups with a single command
• Full VST Expression 2 support for smart articulation editing in Cubase
• Cross-platform compatibility: Windows (VST 3, VST 2.4) and OS X (VST 3, AU) plug-in support, including standalone

Electro Suite runs within the powerful, included UVI Workstation engine (plug-in and standalone) and offers a set of five electro-orientated ROMplers.

This comprises a hybrid wavetable/analogue monosynth with step-sequencer, a two-oscillator polysynth, a drum machine (with afew analogue modelling synth elements), aloop player and a sweep generator.

The 4.5GB of samples behind the engine are up to USB's usual high standard: polished, beefy and genre-correct. Each instrument has its own custom interface, and everything is well-laid out.

The highlights for us are DrumShaper - particularly the kick drum section, which gives independent editing control over the attack, body and tail - and SweepMachine, which really is a one-stop shop for fully editable sweeps and risers.

The synths both sound awesome, too, and the only element we wouldn't particularly miss is the Mission Control construction kit loop player, which doesn't serve any real production purpose.

Following its excellent Argon monosynth and Xenon groove workstation, iceGear's Cassini is an analogue-style polysynth for iPhone that manages to pack a serious amount of programmability into its multiscreen interface.

Three oscillators and a sub-oscillator form the foundation of Cassini's sound. FM, oscillator sync and ring modulation can all be applied, and each oscillator's Shape control enables a degree of waveshaping, the exact effect of which is dependent on the currently selected waveform (PWM for the pulse wave, clipping for the sine, etc).

A good start, then, and the two filters (blendable between serial and parallel operation) keep things moving in the right direction. They offer a solid selection of modes: low-pass, band-pass and high-pass, the low-pass coming in 6, 12, 18 and 24dB/octave varieties.

Modulation-wise, a total of nine DAHDSR envelopes and six LFOs control various oscillator and filter parameters, including level, waveshape and pitch; and LFO frequency and shape can also be envelope-modulated.

The LFOs are particularly impressive, boasting a good array of waveshapes as well as a 16-step sequencer, an accent function and phase control. The envelopes are no slouches either, with Delay and Hold stages, plus velocity and keytrack modulation of the Attack and Decay/Release stages.

A quartet of assignable knobs on the Main page gives instant access to four parameters of your choice from across the entire synth.

Two extremely capable delays - one with delay time modulation, the other with a modulatable resonant filter - a powerful arpeggiator and a 3-band EQ put the icing on an already delicious cake. Beyond the synth itself, the de rigeur iOS music app functions are all present and correct: WAV recording and export via iTunes, plus AudioCopy and CoreMIDI support.

Like Argon before it, Cassini sounds great - gutsy, expressive and rich - and it's equally adept at basses, pads, leads and FX.

This 26GB Kontakt 4-powered virtual instrument includes 17 workstation-style categories, with over 1200 patches covering everything from beats, drums, bass and guitars to strings, synths, vocals and brass.

The interface includes up to five tabbed pages: effects, step (ie, automated) effects, amplitude envelope, legato and microtuning. It's here that you'll also find the arpeggiator.

At times, RiG feels totally on the money, and both the step effects and the sliced patches (loops, drums and percussion) with per-slice options for volume, pitch, reverse, attack, decay, cutoff and resonance allow quick creative control.

However, sometimes it really misses the mark, such as with the 56 orchestral hit patches, each featuring one sample mapped across the full key range - that's fine for a specific old-school vibe, but we missed some decent multi-samples.

Since Korg defined the workstation concept with the M1 in 1988, it has given us several great workstation lines, including the, T-series, O1W, Trinity, Triton, Oasys and M3 and M50.

The Oasys launched in 2005 (though a concept previewed in '94) and was, until now, the pinnacle of Korg's workstation achievements.

The new Kronos is more or less an expanded Oasys, with all of its original sound engines onboard, plus some new ones. Though the Kronos' screen is smaller, there's no CD drive, no ring LEDs round the dials and fewer outputs, there are many welcome additions, expanding on the Oasys' already impressive architecture.

The Kronos comes in three versions - a 61-note synth action keyboard and 73-note and 88-note weighted versions using the RH3 keybed from the SV1.

For this review, we're using the 61-note version, which feels surprisingly nice to play with its squared-off piano-like keys and sufficiently deep key travel for piano playing. It would also be nice if Korg made a Kronos with a semi-weighted waterfall keybed such as the Nord Electro 3.

Looks-wise it's classy yet understated, with a brushed black metal panel and glossy plastic end caps with white panel labelling. However, we fear the shiny black end caps will scratch easily and look shabby after a few gigs. Rubberised plastic would have been much more practical.

The dials and sliders feel sturdy but they do have a bit of sideward play.

Layout

The panel layout is familiar territory to anyone who's used a Korg workstation before and it's easy to navigate using the screen and the 10 sliders, vector synth joystick, pitch/mod joystick, ribbon, dials and buttons, though the left of the front panel does feel slightly cluttered.

Korg calls this area the 'control surface', and most dials or sliders/ joysticks can be assigned to control any parameter.

The sliders act differently depending on the selected mode and in Combi mode (where you can assign up to 16 programs to parts and do splits and layers) the sliders can control the level of parts, or in the CX3 organ mode they become drawbars.

The same goes for the dials, which can be assigned to control filtering, panning, as effects sends, or for EQ and more, whereas the switches can be part mutes or Karma controls.

We do hope that Korg can implements an OS update soon, so that when you turn or move any of the controllers, the display immediately reflects this, as currently it's hard to work out how the front panel is actually relating to the sound you are working on, unless you manually navigate to the control surface page.

The colour touchscreen is large enough, though sometimes too much is crammed in and it's a shame it can't be angled. We also wish that all the graphics would auto-zoom when touched and that you could move sliders on the screen with a finger instead of having to use the value slider or wheel, which can get a bit tedious.

Also, why no mouse input (like the Roland Fantom-G) and external display output? It would be great if the Kronos could display exactly what's on its screen on an external monitor and if items could beselected, edited and moved DAW-style, especially when sequencing.

However, there is an upcoming VST/ AU plug-in editor, which we hope will help to offset this.

Big news is that the Kronos has a 30GB solid-state drive (SSD), allowing super-fast access to the large samples/ libraries onboard. This is a first for a keyboard and makes the flash memory in the competing Motif XF already seem quite outdated.

The caveat here is that the boot time is a very sluggish two minutes and 11 seconds, so pray that the power doesn't go off during a gig or session!

There are nine sound engines onboard. First up is the SGX-1 piano engine, which is the front end used to access all of the samples for the German (Steinway) and Japanese (Yamaha) grands. These pianos use a healthy 4.7GB and 4GB of samples respectively with no looping.

There's adjustable damper, pedal noise, note release and lid position, plus player/ audience aspect adjustability and 32 different piano models. You can also set up various tunings, including stretch and your own user scales, which is a real bonus.

The pianos sound fantastic - rich, musical and realistic and the level of control on offer allows you to easily get the desired sound. It's also nice to see the piano lid open on screen as you move the lid position parameter!

Electric dreams

EP-1 is Korg's new electric piano engine, using samples at its heart, along with MDS (Multi-dimensional Synthesis) to split the samples up into key components.

There are models of the Rhodes Mk1, 2 and 5 (our favourite) plus a Dyno-My-Piano version (harder tips) and a Wurlitzer 200. Like the SG1x engine, there is much in the way of adjustability including note attack noise, damper release and hammer tip width, plus control over the harmonics.

We love the accurate graphic representations of the original front panels, too.

These are the best EP emulations we've heard in a workstation (some of the best, period) and they really are uncannily like the real thing. This is coming from real staunch Rhodes players/enthusiasts!

The addition of the great-sounding effects from the SV1 (phasers, choruses, Vox wah and compressor to name a few) really adds a lot and throws you right back to the '70s, while the amp and speaker models sound brilliant, even down to some über-realistic amp drive. So, we really hope the EP-1 becomes the SV2!

The CX3 engine is Korg's Hammond emulator and once more sounds very convincing. Though the CX3 presets aren't the best, once you get tweaking you can obtain a very authentic Hammond sound.

On-screen drawbars (controlled by the panel sliders) make for an involved and realistic playing experience, while you can really tweak the rotary cabinet model to taste, with control over every aspect of the sound.

The modelling

The three analogue modelling synth engines also hit the spot. Firstly we A/B'd our real MS-20 with the Kronos'

MS-20EX and the resemblance is uncanny, particularly the raw oscillator sound and the way the filters respond/ overdrive, but there is much more scope than the original with the Kronos' expanded patch bay and onboard effects.

You can also run two MS-20EX's side by side within a program and flip them into poly mode, too. We managed to get 16 mono MS-20EX's running at once in a Combi with the Kronos' Voice CPU just hitting the 60% usage mark and it's entirely possible to get a 40-note poly MS-20EX running, though you will likely max the CPU!

During the time we've had the Kronos, we haven't run into any significant polyphony issues and although some note stealing is inevitable with super-complex patches, you really can run a whole lot of stuff.

PolySixEX, like the MS-20EX sounds much like the real thing, with an authentic look and a warm, thick sound and the chorus, ensemble effects and simple arpeggiator are great.

The AL-1 analogue modelling engine is the one to choose if you don't wish to add the inherent MS-20 or PolySix character to your sound - it has a punchy sound of its own.

This engine is hugely versatile and everything you'd want parameter-wise is included, from several LFOs and wave types, to AMS (alternate modulation sources), drive controls, filter types (including the usual LPF, HPF BP and multimode) and a step sequencer for adding time evolving effects to the sound.

It sounds analogue, with solid oscillators and juicy filters with no aliasing. The MOD-7 engine is a very powerful engine, allowing you to patch together sampled PCM waves (preset and user) with VPM (FM) synthesis and it's great for making sound effects or classic FM sounds.

The range of modulation routes available and parameters on offer are simply staggering. Also note that you can import DX7 patches into the MOD-7 engine via SysEx, so essentially you've got a super-pimped DX7 under your fingers!

STR-1 uses 16 modelled string types (including acoustic guitar, clavinet and harpsichord) coupling them with modelled pickups, plus the ability to use sampled oscillators, too.

It's great for making realistic sounding electric or acoustic stringed instruments but can also go way beyond this when coupled with the Kronos' effects system and modulation routings. Once again, a super powerful sound design tool that also sounds great.

Star board

The final engine onboard is HD-1, which is a two-oscillator system that uses the 1,505 onboard multi- samples and the 1,388 drum samples at its heart.

Highlights include some beautifully wide and intimate string samples, lovely organic woodwinds, some very nice drum kits and percussion plus all the high quality bread and butter sounds you'll ever need for any musical situation.

We could go on, but the true scope of the Kronos is beyond what we can fit here.

We hope that Korg support the Kronos with new sound engines, expansions and OS updates in the future to continue to advance and enhance a brilliant system.

There is no doubt that this is the new benchmark for both sounds and features - it's the new keyboard to beat. Yamaha, Roland and Kurzweil take note!

The Motif has been a big name in the workstation world since its launch in 2001 and it's good to see Yamaha has not forgotten the workstation concept just yet. However much has changed in the studio world and unlike the first Motif, computer integration is shaping the way workstations are now built.

USB is now standard for data transfer (and to communicate with the included Cubase and free editing software), plus now there's a FireWire card option, allowing you to record up to 16 tracks of audio directly into your DAW from the XF - turning the XF into a suitable audio interface.

We have to say that the XF is, without a doubt, one of the best looking keyboards Yamaha has made in a long time and it looks and feels classy throughout. The only slight concern is that it's easy to leave greasy fingerprints on the black front panel, but a good microfibre cloth soon sorts that.

The model for this review is the Motif XF6, which includes a five-octave synth-action keyboard. This is well-balanced light-touch action, which is equally at home for piano and synth sounds. Weight-wise for gigging, the XF6 is just about on the right side of portable.

Ulterior Motif

The front panel is laid out in familiar Yamaha style and anyone that has owned previous Yamaha boards will feel at home. Sure, the XF is a powerhouse under the hood but for once, it's surprisingly easy to navigate.

The colour screen takes centre stage and though it's not a touch screen, (which is a shame) it conveys a lot of information in a pretty elegant way, though it does take a while to get used to the way the menus are laid out in relation to the function keys below.

All things considered, the interface is probably the best we've encountered on a Yamaha workstation to date.

Sound-wise, the XF has a lot of patches and the wave memory has been upped to 741MB from 355MB (giving 3,977 waves to work with). Many voices are the same as outgoing XS models though there are plenty of new sounds, including 128 voices and eight new drum kits.

We've always been fans of Yamaha's sounds and the XF contains just about everything you could wish for, for any style of music. What's most impressive is the level of expressiveness that can be coaxed from its sounds.

Using the performance sliders in conjunction with the expanded articulation feature, (plus the dials, wheels, ribbon, aftertouch and pedals) allows you to control pretty much any parameter you can think of directly.

While we don't find the acoustic piano, organ and clav presets to be the most authentic around, they are nonetheless expressive, inspiring and playable and getting stuck in to sound tweaking is a pleasurable and ultimately rewarding process.

In terms of sound shaping, there are 18 filter types onboard (these sound great and for once on a digital workstation are smooth and without stepping artifacts) plus amp pitch and filter envelopes, EQ, lashings of high quality effects, modelled amps and a decent vocoder (though as ever, too many of the presets are swamped in huge reverb).

One annoyance here is that if you switch off the insert and system effects from the front panel buttons, they don't reset to 'on' for the next patch. Maybe this can be sorted in a software update?

Sequencing, Sampling and Arpeggiators

The Sequencer onboard the XF is powerful and fairly simple to use via the large colour screen - it's a great scratchpad and ideas tool.

There are two modes to work with, the first is 'Song' mode, which allows linear recording while the second mode 'Pattern' mode, allows you to build your track in sections or loops then chain them together.

There's extensive event editing too (plus quantise and more) and the sequencer has a nice feel to it too with decent resolution.

One minor gripe is that in quite a few of the edit windows you have to stop the sequencer, which can interrupt the flow a little. This aside, the sequencer is powerful enough to compose whole tracks and you can also drop samples, though no direct recording of audio into the sequencer is possible.

Finally, the four-part arpeggiator is very powerful with thousands of different preset modes, plus it has super comprehensive editing and performance features.

Arpeggiations can be as complex as you want, plus the XF's arpeggiators can produce powerful intelligent auto-accompaniment backings, particularly when using the chord recognition feature.

Sample magic

The quality of the sampled waves are great throughout and these can be layered up to eight times in a voice too, plus velocity switched and key mapped to certain areas of the keyboard and a whole lot more.

Let's not forget about the XF's new flash RAM too, which can be added via optional cards and allows you to integrate your own samples with those already onboard. This is nothing exciting but at least finally you can keep your samples onboard even on power down. In addition, there is now built-in onboard SDRAM sample memory too.

One of the most endearing and inspiring aspects of the XF is that its overall quality of sound is stunning. It's warm and analoguey, yet hi-fi and above all else, very musical which helps it blend effortlessly into tracks alongside real analogue synths (which the XF also emulates very nicely) and other real world acoustic instruments.

Particular highlights include some of the best solo strings/strings sections we've heard onboard a sample-based synth, some very nice Rhodes pianos and acoustic guitars, great analogue style leads and basses and also some very playable drum kits, percussion and drum machine kits.

All in all, the XF is one impressive bit of kit. Yes it's a lot of money, but you get a lot for that outlay. As workstations continue to become less relevant, potential buyers are usually caught deciding between something like the Motif and a reliable laptop such as a MacBook Pro and a high-quality keyboard controller but it has to be said, for live performance, the Motif still takes the biscuit.

It sounds incredibly rich and musical, the effects are great, the sequencer is useful (if a little clunky in operation) but there's a lot to be said for the scope and quality of the synth at the heart of the XF and that's what most users will be interested in.

With the added flash memory and SDRAM for sampling, the XF can truly grow with the user, while also ensuring that the workstation is still a relevant tool in the composer/producer and live performers arsenal. The XF is without doubt Yamaha's best featured and best sounding workstation to date.

...

PRESS RELEASE: Music Computing, Inc. today announced their brand new line of keyboard workstations for both gigging musicians and any size recording studio, are now shipping. The StudioBLADE™ and iKeyDOCK™ are complete, portable production stations, which either include a built-in Windows® 7 64-bit PC with touch-screen and DAW software and virtual software instruments, or a docking system for any PC/Mac notebook.

About the Music Computing StudioBLADE:

The StudioBLADE™ series are complete music production workstations powered by Intel® processors and 64-bit Windows 7, and each model ships with a total studio package with DAW (digital audio workstation), virtual instruments, mastering effects, and utilities to customize the exclusive ControlDAW™ MIDI control surface. Support for 2 additional monitors allows for total workspace customization.

A powerful combination of hands-on control begins with the tilt and telescoping 10.1-inch touch panel (more than twice the size of most workstation screens), the high-quality 61-key synth action, or 88-key weighted piano action keyboard; and formidable ControlDAW interactive knobs, buttons, and sliders, managed by GeoMIDI™ mapping software.

The large 64-button grid control surface, in addition to knobs and sliders, is a powerful tool for musicians using grid-style programs like Ableton Live, or classic drum pad boxes like the Akai® MPC. Music Computing's TriggerGrid™ sample trigger player for drum pads turns the grid surface into a massive 64-pad virtual percussion instrument.

Each StudioBLADE also includes Studio One Pro from Presonus, a highly respected DAW solution complete with virtual instruments and mastering FX, plus 10GB of sounds. Music Computing's included SonicSource™ VSTi soft-synth contains thousands of sound presets providing a giant (8GB) starting point for both analog and digital textures.

"With remarkable audio processing capabilities like 'drag and drop mastering,' the StudioBLADE is one of the most powerful keyboard instruments ever built," said company CEO, Victor Wong. "At just 28 pounds and 36-inches in length, the 61-key version of the StudioBLADE is a truly portable all-in-one 'grab and go' solution for the gigging musician, or a home studio user with limited space."

Pricing starts at $2599 (US/SRP) for the 61-key Intel Core2 base configuration with 24/48 audio, 2 combo XLR and 1/4-inch mic inputs with phantom power, 2 balanced outs, and headphone jack. Optional upgrades include 24/96 audio and 8 inputs, more RAM, and internal hard drives, to suit the user's needs.

Complete StudioBLADE information and images:

www.musiccomputing.com/studioblade.

About the Music Computing iKeyDOCK:

The innovative and first-to-market iKeyDOCK™ keyboard workstations are OS platform neutral and suitable for any musician already comfortable with using a Windows® OS, and/or Apple Mac® notebook. The iKeyDOCK line handily bridges the gap between a system that can easily be transported to gigs, be used as a full-time docking station for any home or commercial studio, and any combination of these situations.

Similar to the StudioBLADE series, minus the touch screen and internal PC, the iKeyDOCK provides a dockable solution for any notebook; simply plug-in and start playing. Like the StudioBLADE, a full-size 61-key synth-action style, or 88-key piano-style high-quality keyboard, audio and MIDI I/O, ControlDAW™ MIDI control surface, and performance software are all part of the package.

For gigging musicians, finally cut the wires of having a MIDI keyboard, MIDI interface, external hard drives, and notebook as separate elements. With the iKeyDOCK, you simply place any notebook up to 17-inch screen size into the docking section and make connections for USB or FireWire and you immediately have a full workstation that looks good on stage, and fits on all standard keyboard stands. At just 24 lbs. the iKeyDOCK is a truly portable system.

There is simply no other solution on the market that does what the iKeyDOCK from Music Computing can do - and it's affordably priced, starting at $1499 (US/SRP) with 24/48 audio, 2 combo XLR and 1/4-inch mic inputs with phantom power, 2 balanced outs, and headphone jack. Optional upgrades include 24/96 audio and 8 inputs. Optional internal 2.5-inch hard drives expand storage for notebooks to replace the need for external drives.

The iKeyDOCK may also be used with a desktop PC/Mac via 2xUSB or 1xUSB plus 1x FireWire, for maximum flexibility.

Information taken from official press release, for more visit Music Computing

Submit a press release: email musicradar.pressreleases@futurenet.com

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The Korg M01 is a new Nintendo DS version of Korg's M1 Workstation that comes courtesy of AQ Interactive. This is the same company that did such a fine job with the Korg DS-10, an emulation of Korg's classic MS-20 synth.

The M1 was hugely popular in the late '80s and early '90s, and the 8-part multitimbral, 12-note polyphonic DS version will feature all of its PCM data, giving you 300 sounds. There's an 8-track/16-step sequencer, a master effect (either reverb or delay), and various editing windows, while data can be exchanged wirelessly between DSs.

The M01, then, could be a genuine DS workstation - it'll be released in Japan in December, and hopefully in the rest of the world at some point after that.

(Via Create Digital Music, Gearjunkies)

Yamaha has unveiled the Motif XF, the latest update to its Motif workstation keyboard range. The headline features are more voices, which come courtesy of additional ROM, and the ability to expand the keyboard via flash memory.

The Motif XF contains 741MB of waveform data, which equates to 1,353 voices. Of these, 128 are new, and there are eight additional drum kits, too. You can add up to 2GB of additional content as flash memory.

Here's a quick overview from the YamahaSynth website:

･ Comprehensive high sound quality, including an enormous 741MB of waveforms
･ An additional 128 Voices and 8 drum kits, for a total of 1,353 high-quality Voices
･ Up to 2GB of additional content available through separately sold flash memory
･ Realization of unique instrument performance methods through the XA (Expanded Articulation) tone generation system
･ Reproduction of the unique, natural, warm sounds of vintage instruments through VCM effects
･ 384 types of performances based on approximately 7800 types of arpeggiators
･ Enhanced sampling through 128MB of onboard SD-RAM
･ The popular FSX (MOTIF XF6/7) and BH (MOTIF XF8) keyboards
･ Improvement of usability thanks to the use of a new GUI
･ Category Search feature that provides instant access to the Voices you want
･ Cubase AI -- a DAW software application from Steinberg
･ DAW integration through remote control, an editor software
･ Scalability through standard-equipped USB and Ethernet and the FW16E option

Three versions of the Motif XF are available: the XF6 (61 keys). the XF7 (76 keys) and the XF8 (88 keys). No news yet on UK pricing or availability.

Those old enough to remember the arrival of Korg's legendary M1 will know that the 'Workstation' tag it gave birth to is an accolade Korg only applies to keyboards which combine synthesis and sequencing - in other words, those instruments they consider a one-stop shop for track creation.

Fast forward to the here and now and Korg has developed a second series of instruments, the 'micro' range, which includes the microKorg and microKorg XL synths/vocoders and the microSampler, all of which combine serious sound-making potential with ease of use and a fun factor.

Combine the two concepts and you end up with something pretty exciting - an instrument capable of producing tracks and editing sounds 'internally', while also offering immediacy and an intuitive approach without bogging the user down in endless menus. Enter the microStation - Korg's latest addition to both its workstation and micro ranges, which promises to do all of the above and more besides.

Overview

Appearance-wise, the microStation has a foot more firmly planted in the micro camp than it does in that of its workstation big brothers. It's a slimline, lightweight instrument, featuring 61 mini keys and a remarkably shallow depth - about the same as the length of a DVD case.

The top surface features a central two-line LCD display in the middle, with a sound 'ladder' to the left to display which category of sound you're currently playing, with the internal sequencer transport buttons below. To the right, a series of small grey buttons and corresponding LEDs keep you in touch with selected timbres, while to the left, a matrix of three rows of four parameters can be manipulated in real-time by four prominent rotary dials, with a selection button to jump from one row to the next to their left.

A pitch-bend/modulation joystick lies in the top-left-hand corner while, round the back, you'll find stereo outputs, MIDI I/O, a USB connector for instant plug-and-play MIDI transmission to your DAW and an SD card slot for data load/save.

All in all, the compact nature of the instrument is both a success and a frustration - there's a lot packed into a slender space to complement the other micro products, but we're yet to find a keyboard player who likes mini keys. If there had to be a compromise here, we'd have preferred an octave fewer notes in favour of full-size keys but, as gripes go, it's by no means a deal-breaker.

Sounds

As previously mentioned, sounds are organised into nine categories, from synths to basses to leads to drums and so on. These all employ Korg's EDS-i sound engine and there are 480 presets in total awaiting you when you switch on, with room for 512 sounds in total.

The microStation's presets are well chosen, offering a good balance between dance music sounds and more obviously 'workstation' tones such as pianos (acoustic and electric), guitars, basses and wind, brass and orchestral sounds.

Programs can be edited via the LCD screen, using the 'compass point' navigation buttons to its bottom right. Having selected a sound, a single click right takes you into Program Edit mode, with the up/down keys then providing a ladder between edit parameters for a sound's synth components, such as the Filter or Amp EG modules, to name but two.

When you've found the section you want to edit, a further click 'right' takes you into that area, with the editable parameters in each section again selectable up and down. If you're new to synthesis, this might prove a bit fiddly, but having played with a lot of menu-driven synths, we found it reasonably intuitive, especially as arrowing left quickly gets you back to where you started. That said, a full software editor will be available from Korg shortly which should make life easier still.

"The microStation's presets are well chosen, offering a good balance between dance music sounds and more obviously 'workstation' tones."

Those of you familiar with Korg's architecture will know that sounds can be played in either single (Program) mode, or combined (Combi) modes, with the latter letting you split sounds across the keyboard or create stacks for extra power. To aid the process of sound selection and to introduce you to the capabilities of the real-time controls, each sound features its own Audition riff (user-selectable from a huge list of alternatives) which immediately gets it playing a sequence or phrase that can then be manipulated, which is a great place to start and often leads to interesting composition ideas too.

Sounds are most 'musically' manipulated in real-time via the dials to the left hand side, with the top row dedicated to cutoff, resonance, EG amount and EG release, while the middle row features four user-definable parameters. One word of warning is that these encoders can jump suddenly if you need to use the same physical dial to control two parameters. For instance, if you use the one on the left to control cutoff and move this towards a low setting, if you then arrow down to use the same dial to control the amount of effects send and turn this right up, when you return to cutoff, the sound will open to super-bright the moment you touch this dial again, as its physical position is now at maximum.

We couldn't find a way to switch the microStation to relative mode, so hopefully this might be something for Korg to address in a future firmware update.

Arpeggiator and sequencer

Next to the Audition button you'll find the in-built arpeggiator. There are 640 arpeggiation patterns built-in, a total from which you can select a preset or create your own. The presets are organised into instrument type patterns, though there's nothing to stop you applying a bass pattern to piano part or vice versa.

The bottom row of real-time controllers is dedicated to arpeggiation functions, with knobs to control Arp Gate time (how long each note lasts), Arp Velocity, which varies the dynamic range of a pattern, Arp Swing and, finally, Arp Tempo. The news gets better though, as microStation actually features dual arpeggiators, meaning that two completely independent arpeggiation patterns can play at once, so you can either layer a synth sequence with an accompanying pad, for example, or split the keyboard in Combi mode and assign a pattern to a bass and another to a lead. This also applies to the internals that can use both arpeggiators within its arrangements.

The internal sequencer is capable of playing back up to 16 tracks of notes and one master track containing tempo and time signature data, which can be collectively saved to one of 128 songs. What becomes clear straight away is that several types of arrangement can be created with the sequencer, whether you want to hit record and build up a multitimbral 'song style' arrangement, or whether you're more interested in building short looped phrases which you can then expand out to a fully-fledged track or use to spin into a DJ set, for example.

"The internal sequencer is capable of playing back up to 16 tracks of notes and one master track containing tempo and time signature data."

If the latter sounds more like you, you'll find a dedicated Loop button which cycles around an area of your choosing, while the Grid Seq button activates a running light style sequencer to allow you to create basslines, beats or sequence patterns on the fly, which can then comprise one of the instruments in your track. Switching from one instrument to another takes place via the function buttons on the right-hand side, while editing of parameters works as it does in the other edit modes - arrow down to choose parameters such as part level, pan and effects routing.

Also within the sequencer menu, you can specify automatic quantise so that if you want to build loops in the studio or onstage on the fly, timing correction can be applied in real-time as you layer parts.

Effects

The tracks within each song can also access microStation's impressive effects section. There are 134 effects types, which are organised into five insert effects, two master effects and one 'total' effect. Not all effects can be loaded into each slot, so it's not possible to load eight reverbs to a single sound, for instance, but a sensible channel strip style approach is employed instead, which shouldn't prove too frustrating.

Effects operate differently in each mode, with Program mode the least restricted. A single sound can route a sound through all five inserts, both master effects and the total effect if you so desire. Both Combi and Sequencer modes share these effects instead and employ effects busses to decide which sounds get sent to which effects and the amount of effect applied to each.

Additionally, microStation features a Dynamic Modulation system, which enables you to assign specific effects parameters to real-time controls or MIDI controller numbers so that they can be affected using the controllers, the joystick or external devices. Pretty powerful stuff.

Summary

The microStation is a revelation and, in our opinion, a total success. It manages to straddle the divide between full-blown workstation and worthy addition to Korg's micro range effortlessly and packs a feature set which is inspirational, creative and fun.

What's so impressive is that there's something here for everyone - lots of people will consider this a dance synth with a sound set and sequencer/ arpeggiator functions to match, but it's equally capable of providing you with pianos, winds, brass and a more song-led approach to combining these sounds to act as a backing tracks for pop gigs.

The biggest compromises are the mini keyboard and the LCD menu-driven approach to sound editing, but if you're serious about the latter, you'll undoubtedly turn to the software editor, and if you're too vexed by the former, there are more grown-up workstations, with keyboards to match, higher up Korg's product line. We rather suspect, though, that the microStation is here to stay.

Listen to what the microStation can do:

1. Sugar Smash Lead: A big trancey lead sound with real-time control of cutoff, EG amount and EG release

2. AutoPilot Arp: The arpeggiator is endless fun. Here's a synth sound with various real-time parameter tweaks

3. Suitcase: The microStation is also packed full of more obviously 'workstation' sounds if dance music isn't your thing

4. PsychoKit: This FX heavy kit gets many of its real-time controllers manipulated to keep it dynamic

5. Uni-Saw Lead: This synth is simply packed full of made for the dancefloor noises

6. Lead Guitar: This Lead guitar makes good use of the joystick for 'feedback' sounds

7. Bass Seq: Each sound features an Audition riff and these can be the spark for some great ideas. Here's a Bass Sequence audition manipulated in real-time

The SV-1 is Korg's first foray into vintage keyboard territory. Though samples of Rhodes pianos, Wurlitzer EP200s, Hammond B3s and Hohner Clavinets can be found in Korg's workstation keyboards, the SV-1 packages these sounds (newly sampled and optimised for the SV-1) in a completely new way.

Available in two sizes (73 and 88-note) both models utilise Korg's RH3 graded-hammer action keybed (found in the M50 and M3-88). It feels positive, expressive and nicely balanced (though a little too spongy on the bounce-back for our liking) and it's very controllable for pianos and Rhodes/Wurlis. Plus, the onboard velocity curves broaden the scope.

When it comes to playing Clavs and organs, the RH3 action isn't quite fast/ responsive enough, though experimenting with the velocity response improves the playability. It would be nice, though, if Korg offered a semi-weighted waterfall keyboard option (like the Nord Electro 3/Stage Compact) as we dare say many players would rather play pianos, Rhodes and Wurlis via a semi-weighted keyboard than Clavs, Hammonds and strings on a weighted board.

Also, bear in mind that the SV-1 73 is pretty heavy to transport (and weighs even more in a flight case) while the 88 is a definitely two-man carry job.

We commend Korg for making a fantastic looking keyboard that will certainly turn heads, though it's a real shame you can't stack other keyboards on top of it.

In detail

The front panel is very simple to use and selecting from the 36 onboard sounds is a doddle using the rotary selectors. The effects, EQ and amp model selections (and pretty much everything else) are child's play with no menu diving at all, though the software editor can go deeper into tailoring the amp modelling, effects, tuning scales and more.

There are six banks (Electric Piano 1 and 2, Clav, Piano, Organ and Other) with six variations available within each category. Plus, you can store your favourite eight sounds to the large favourite buttons for quick recall.

Now onto the sounds and, specifically, the Rhodes (Electric Piano 1). We have to say that the SV-1 has probably the most authentic emulation of a real Rhodes that you could find in a current keyboard. We wouldn't hesitate to use it for both comping and solo work and it's very playable indeed.

The RX (real experience) technology onboard really captures the nuances of a real Rhodes (including mechanical and electric noise) and this adds greatly to its authenticity. All the Rhodes samples are very dynamic (from soft/bell-like to hard/ barking) and in general the transitions between soft/hard samples are smooth enough. I also love that there's the option to choose preset or user stretch-tuning curves.

The Wurlitzer EP samples are also very authentic, (though it's worth experimenting with the different velocity curves/EQ to get the best from them) though the Clavs aren't quite as authentic as we'd like. They sound a little thin/nasally and there's no muted Clav option either. However, they are musical and in the context of a band performance cut through nicely.

Overall, we're pleased to say that the acoustic and electric pianos onboard are excellent and very inspiring to play. The RX technology has captured the important nuances of a real piano in particular, including pedal noise, key on/off noise, damper noise and (like the Rhodes) this adds greatly to a very satisfying playing experience.

The SV-1 has some of the best acoustic piano samples we've heard or played. There's also a great Yamaha CP80-style electro/acoustic piano onboard and some nice piano/string combos, though these sounds are preset and can't be edited (and there are no splits or layers available either). Bearing this in mind, Korg needs to offer a large and varied library of user-downloadable samples to expand the SV-1's palette ASAP.

The weakest part of the SV-1 is its organ/synth sounds. The reed organs are nice but the Hammond emulations just don't sound authentic and the only way to change the vibrato/chorus is via the editing software, which isn't ideal. Also bearing in mind there are no drawbars or filters, we think Korg needs to make some better Hammond/synth samples available for the SV-1 pronto as they just aren't good enough at this price point.

Effects

The SV-1 is no slouch in the effects department. There's a very musical three-band EQ for subtle or drastic tonal shaping plus some very authentic stompbox or 'pre' effects including a compressor, booster, univibe, vibrato, tremolo and a lovely emulation of a Vox wah that can be controlled via an external pedal.

Then there's the real valve stage utilising the very visible 12AX7 valve, which brings a natural overdrive to the amp models. Modulation effects include some nice choruses and phasers that help create some very nostalgic instrument/effect combos, plus there's a decent rotary speaker effect that can be applied to any of the instruments.

The onboard reverbs and delays are great too and really have the vintage vibe where required, or can remain fairly transparent. Finally, there's a limiter to keep levels in check.

Summary

To conclude, as a Rhodes/Piano emulator the SV-1 hits the spot in terms of authenticity and playabilty and the Clavs are good too. However, the Hammonds are disappointing, while the onboard synth/string sounds seem like a rushed afterthought. Bearing in mind the SV-1's high price point Korg massively need to improve on these areas ASAP.

These gripes aside, we would not hesitate to recommend the SV-1 immediately if you're after very authentic and playable Rhodes, Wurlitzer and Piano sounds.

Hear some of the SV-1's sounds being played:

Rhodes

Wurlitzer

Clavinet

Acoustic piano

Full strings

Hammond B3

PRESS RELEASE: Native Instruments today released KORE 2.1, a free update for its innovative software workstation. The new version adds a powerful MIDI Control Mode that makes the KORE controller double as a versatile and completely customizable MIDI control surface.

With its eight touch-sensitive knobs and practical control layout, the KORE controller is highly capable both for sound manipulation and for sequencer control. With version 2.1, the hardware can act as a control surface for any MIDI-compatible application, with or without the KORE software running. MIDI Control Mode can be toggled on-the-fly with a dedicated button combination.

The "Controller Editor" application included in KORE 2.1 can be used to easily assign a wide range of MIDI commands to any knob or button on the KORE hardware with maximum flexibility. MIDI Control Mode also supports the Mackie Control Universal (MCU) protocol, allowing the KORE controller to be used for efficient DAW control with minimum setup effort.

Further enhancements in KORE 2.1 include optimized Pro Tools compatibility under Mac OS X 10.5 as well as various fixes and stability improvements.

The 2.1 update is now available as a free download for all owners of KORE 2.

For more information, visit www.native-instruments.com

Information taken from official press release

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As its name suggests, the M3 XPanded is an enhanced version of Korg's M3.

So what's new? Tons, actually. For starters, you should know that, if you're an existing M3 user, the whole lot's yours for nothing via a quick download. Lucky you, especially when you consider that many of Korg's prices have recently shimmied upwards.

Anyone considering purchasing one of these bad boys should know too that the XPanded now is the M3. Effective immediately, this feature set replaces the previous incarnation.

What's new?

What you'll find first and foremost is a vastly increased capacity for sound generation, with the previous 256MB of internal PCM sounds swelled by 384MB of extra content, to 640MB in total.

You now get, as standard, the sounds from the previous 'expansion option' (EX-USBPCM01/02/03 range), with the new sounds focusing primarily on additional pianos (both acoustic and electric), strings, brass and woodwind.

As you'd expect, this also swells the program and combination playback options, with more sounds available out of the box. The sequencer has been improved too, most notably with the addition of a piano roll style editor, which lets you get up close and personal to MIDI event data.

The updated touchscreen plays its part here. It's now possible to grab, drag and edit notes directly on the screen, in a way familiar to DAW users everywhere. Equally, many more aspects of a sound or effect can now be sequenced, so that 'automation' can effectively be added to M3 sequenced arrangements.

The screen has also improved in other ways. It's now possible to move virtual faders directly on the screen, whereas the original M3 required movement via the hardware equivalents to the screen's left.

The powerful effects section has been simplified with the provision of effects presets, which enable you to pick single effects or chained stacks in different combinations.

Karma, the phrase-sequence technology present in the original M3, has progressed to software version 2.2, which brings two key benefits. Firstly, there are now 1,024 locations for Karma-generated effects and, secondly, it's possible to cut between any of these in real-time, making the XPanded a live player's dream.

Summary

It's been said that the best thing to happen to hardware workstations was the software studio revolution. Many predicted that feature-packed keyboards with built-in sampling, effects and sequencing possibilities were on borrowed time when soft synths arrived, but this was to ignore the immediacy of the workstation concept and the fact that, for certain applications, there's no finer instrument type.

The M3 XPanded reeks of an instrument that knows it has to be competitive in the modern music-making workplace and, accordingly, it plays to its strengths. This keyboard is now audibly and ergonomically better and, regardless of the reason you like workstations, you can't help but feel that this represents the double espresso hit the M3 needed.

Listen to the M3 XPanded strutting its stuff:

For ease of imagination, think of the M50 as a strimmed back M3. The superfluous features have been cut away to leave 256MB of PCMs, 608 patches and 384 combinations covering all the bases.

Special mention must go to an accent on great synth sounds (alongside the slightly more mundane impersonations) and a full recreation of the classic Korg SG-1 sampling grand piano. And, for when you get creative, there's a superbly ample 640 program slots and 512 combo slots to store your patches and stacks.

The synth engine on board is Korg's EDS (Extended Definition Synthesis). This is borrowed from the M3 and it's impossible to tell if you're listening to an M3 or an M50 when you rack up both side by side.

The sound is powerful and definitely synthetic, although a GM soundset is onboard, too. For synth strings, leads and basses the M50 excels - all are rich with plenty of movement, with the rest of the soundset serving up a wide gamut of, above all, useable textures.

It's a real welcome change after tapping through endless banks of atmospheres and zap-pow 'show-offs' on other synths.

Physical specs

Build-wise, the M50 is amazingly light. Take possession and you'd be forgiven for thinking that they'd forgotten to put one in the box.

While bigger brother the M3 has metal parts visible and even a glimmer of wood at its ends, the '50 isn't so blessed. That said, the plastic used throughout has a nice matt patina (think black MacBook and you're bang on) and the casing is impossible to flex.

And we love the unusual half-open hinge design. With the keyboard flat, the controls tilt upwards at 45 degrees meaning that that touchscreen is at the perfect angle for viewing and prodding.

While the screen is the same size as that of the M3 there's less to press on the M50 due to the reduced number of features on board. While the M3 was guilty of crowding the screen with difficult to locate buttons, the M50 is less packed (though a little more 'basic' feeling as a result).

What's missing?

The M50 loses the M3's pads, which were, if we're honest, a bit of a luxury and aren't missed. What we do miss, however, is the M3's bank of sliders, used for tweaking parameters and mixing.

Instead, the M50 has four multi-function knobs off to the left, alongside buttons that determine their meaning.

Also missing from the M3 is that synth's Karma capabilities. A staple of high-end Korg keyboards, the Karma feature serves up multi-instrument backing to whatever keys you randomly jab down.

It's a great tool if you're stuck for inspiration and can make anyone sound great - it mathematically jams and adlibs around your ham-fistedness - but if you know what you want to play Karma is a novelty you will probably never use.

Strengths

What the M50 does have, however, is thousands of those great sounds and enough power to put 16 of them out simultaneously. As a partner keyboard to a DAW it's ideal - hook it up to your computer over USB and you can actually call it up as if it were a plug-in - and the large screen and quick dial (backed up by a really idiot-proof system of banks and buttons) mean that once you've installed the included plug-in software, it's easier to dial up and use the M50 than it is to trawl through your burgeoning plug-in collection.

During our test we found that we were using the M50 more and more as an instant source of great, quickly-tweakable sounds.

The built-in arpeggiator includes a bewildering number of up, down, random and alternative variations and, when combined with the drum track option which plays a suitable kit and pattern for each sound, you can get a Karma-style 'tune-from-one-finger' up in no time.

Of course, recording your songs is possible on the M50, and Korg has done its best with the sequencer, but purely due to the size and res of the screen, we'll always reach for our DAW in preference. Still, if you're on the move, it's easy to use and it works.

Summary

All in all then, it's a great package. First and foremost, it's an easy to use source of some incredible sounds, secondly it's affordable and light. And it's great to see a keyboard that truly embraces your DAW.

Get an M50 and see how hardware and software are supposed to be integrated.

Korg has released a new version of its M3 workstation/sampler - the appropriately named M3 XPanded.

Based on the same design as the original M3 (the updated keyboard looks very similar to the old one), the XPanded model has additional piano and classic keyboard samples in its internal ROM.

What's more, three new sample expansions are included as standard (they cover brass, woodwind and acoustic pianos), bringing the total amount of PCM data to 640MB.

In Sequencer mode, meanwhile, there's now a Piano Roll editing screen, a Track View arrange/edit page and MIDI SysEx editing. Elsewhere, the Karma function has been updated to version 2.2, and the TouchView interface is now easier to use.

The M3 XPanded is expected to be available in October, with the price still to be confirmed. Users of the original M3 will be pleased to learn that they'll be able to download an XPanded update at the end of September.

More at the Korg website.