Korg’s SQ-64 is a powerful polyphonic step sequencer for your synths and drum machines

Building on the success of the SQ-1, Korg has upped its step sequencing game considerably with the launch of the SQ-64 Poly Sequencer.

This polyphonic offering gives you considerably more power and flexibility - in fact, it’s a 4 x 64 polyphonic step sequencer.

There are three melody tracks, each of which offers dedicated Pitch, Mod and Gate CV outputs or up to eight voices of polyphony when connected via MIDI (one Input and two Outputs).

In addition, there’s a Drum/Sub track with 16 trigger outputs - eight CV gates and eight over MIDI - giving you 16 monophonic voices. Korg’s Audio Sync technology, which offers pulse-based clocking to many of its instruments, is also supported.

Korg SQ-64

(Image credit: Korg)

When it comes to the actual sequencing, you have deep randomisation options. You can vary the next step from four possibilities within your sequence, and randomise an entire sequence or just the first step. You can also reverse the sequencer play order.

Further variation can be introduced by morphing control voltages, and there’s also an arpeggiator.

There’s plenty of visual feedback, too: each of the 64 matrixed backlit step pads has graduated LEDs to indicate control level, and there’s an OLED screen so you can see what’s going on at any given time. You can also use the pads as a keyboard and play and record in real-time.

The SQ-64 has 64 project memories, with a project comprising those three melody tracks and a Drum/Sub track. A project can have 16 patterns, with each of these having up to 64 steps.

You can expect the SQ-64 to land early in 2021 priced at $299/£269/€299. Find out more on the Korg website.

Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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