KORG MS2000B MANUAL PDF

This beauty from Korg combines state of the art analog physical modeling synth sounds with a very vintage Korg appearance. Yes, this sounds as good as it looks! They were some of the only compact Patchable monosynths of their time, and had a great Korg sound too. While the MS is somewhat "hard-wired", it offers just as much and more flexibility while maintaining a straight forward and hands-on approach towards old-fashioned editing via dedicated knobs, buttons and flashy lights. In place of actual patch cables and input jacks, the MS features a cool "Virtual Patch" mode in which signal can be routed to various sections of the synth ie: LFO, Filter or Keyboard Velocity using the LCD display and paging through various screens. Despite its amazing look, the MS has some surprising limitations.

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It was intended to bring the sound and basic functionality of the MS and MS back into the keyboard market, but with the updated technology of Virtual Analog Synthesis. The extensive number of onboard knobs and buttons over 80 could be used to dynamically edit many of the parameters while playing, as well as be used as a control surface for other synthesizers and sound modules.

This capability was the attraction of many analog synthesizers of the past and that real-time editability became the cornerstone of contemporary VA synthesizers. While both of these VA machines were powerful in their own right, they were expensive. Korg had to make some sacrifices to be able to offer the much simpler MS at a more reasonable price.

One feature partially overcame the limited polyphony. If one connected the rack and keyboard together via the MIDI ports, the two devices could be set to produce notes offset to one another, this turning the combined system into a semivoice synthesizer, [3] completely controllable using either of the control surfaces, although it was likely that most players used the keyboard surface as the master control.

Synthesis[ edit ] Sounds are initiated in the MS in a somewhat standard synthesizer manner, and then routed in various ways to produce the final sound. It can also be used as an oscillator for the Sync or Ring modulation. NOISE Noise Generator produces white noise which can be used for sound effects and introducing harmonic distortions to waveforms.

The 64 single-cycle, wavetable-like internal waveforms that can be used in the oscillator 1. Also, ring modulation and sync are available as modulation sources to generate sweep and vintage lead sounds. Using EG1 to create time-variant changes in cutoff frequency adds a fourth type of filtering. Using EG2 can create time-variant changes in volume. Quite harsh tones can be created by turning DIST on, and adjusting the filter cutoff and resonance, higher-pitched rings and tonalities are created with various harmonics layered on.

LFO2 is assigned as the modulation source for the pitch modulation controlled by the modulation wheel. Four routings combinations can be specified for each timbre. The sixteen knobs on the main panel can be used to set the value of each step and then the sequence is played back. The knobs can also be operated in realtime, and their movements parameter values recorded in each step Motion Rec function. Since each timbre can have up to three sequences, very complex tonal changes can be obtained.

For a modulation-type effect, select from chorus or stereo delay. Since arpeggiator settings can be made for each program, arpeggio types that are suitable for the sound of a particular timbre can be saved and played. The case was painted a dark teal blue color and sided with mahogany rails.

In addition to its body, the signal path and parameter list was silk-screened on the face MS model only , a retro nod to analog synthesizers of the s and s. A 19" rack version was simultaneously released, with a designation of "R" added to the name. A few additional patches and demo programs were loaded, but the most significant improvement was the inclusion of a microphone which could be inserted into the new mic input that was added to the top of the keyboard to facilitate easier use of the vocoder.

An identically-capable rack version was also released, with the appropriate "R" designation in the name. It did not come equipped with the mic or mic input, but the vocoder could still be used via one of its audio inputs.

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It was intended to bring the sound and basic functionality of the MS and MS back into the keyboard market, but with the updated technology of Virtual Analog Synthesis. The extensive number of onboard knobs and buttons over 80 could be used to dynamically edit many of the parameters while playing, as well as be used as a control surface for other synthesizers and sound modules. This capability was the attraction of many analog synthesizers of the past and that real-time editability became the cornerstone of contemporary VA synthesizers. While both of these VA machines were powerful in their own right, they were expensive. Korg had to make some sacrifices to be able to offer the much simpler MS at a more reasonable price. One feature partially overcame the limited polyphony.

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