Owner’s manuals for discontinued products. Owner’s manuals or product information may not be available for all products indefinitely or at all, and may be. Serving the web since 1996 - Kid Nepro is 'The Patch King' Welcome to The Patch Kingdom. Our online store features thousands of Patches and. Welcome to Synth Mania, a web site dedicated mainly to synthesizers, but also keyboards, pianos, organs, drum-machines and electronic sound-making devices in general.
DX7. DX7. Digital programmable algorithm. The most famous synthesizer of the. Its electric piano became a standard sound in. The DX7 was also the first synth that originated.
Korg M1 - Wikipedia. M1. The Korg M1. Manufacturer. Korg. Dates. 19. 88–1. Price. US$2,1. 66.
The Korg Poly-61 was released in 1982 as the successor to the Polysix. It was somewhat of a step up from the Polysix, as it has 2 DCOs for better reliability. Over the years I've had many email exchanges with people trying to get their DW-8000s to work again, many of whom used my DW-8000 Battery Replacement. The microKORG is a MIDI-capable virtual analog synthesizer/vocoder from Korg featuring DSP analog modelling. The synth/keyboard is built in such a way that it is. Don't forget to press FUNCTION (SPACE) and then Nr. 8 to switch from UNAVAIL to AVAIL when loading patches from your sequencer, or the DX7 won't receive the MIDI sysex.
UK. Outselling the Yamaha DX7 and Roland D- 5. M1 became the top- selling digital synthesizer of its time.
The volume of M1's sales allowed Korg executives to buy back Yamaha's share of the company, a deal which had originated in the mid- 1. Yamaha kept making keyboard assemblies for Korg, the entire keybed is the same in M1, DX7 and several other Korg and Yamaha synths). The M1 was so popular that it was produced until the end of 1. T- series (the more advanced T1/T2/T3 workstations) was discontinued.
The huge success of the M1 lies primarily in the quality of its sounds. Korg expanded on the Sample & Synthesis idea. The resulting sounds were rich, colorful and natural. The ability to layer up to 8 different tones (sounds) on top of each other, split them over the keyboard in any combination, and instant realtime access to crucial parameters such as attack, release, filter cutoff, LFO timing, etc., made the M1 easy to use. S& S synthesis, under different names, is used by many major synthesizer manufacturers today.
The lower cost of electronic memory and faster processors allow current models to store much higher quality and longer samples, and to apply more signal processing. Roland's Super. Natural, Yamaha's AWM (advanced wave memory) and Korg HI (hyper- integrated) are some recent examples of synthesizers that use some form of S& S synthesis. The M1's synthesizer engine consisted of one or two digital oscillators per patch with sampled acoustic waveforms are stored in memory.
A total of 1. 6 oscillators were offered, leading to a maximum 1. This reduced to 8- note polyphony when using double oscillator programs. The basic sample sound was then processed by a simple digital low pass filter, and then fed into the digital amplifier. Envelopes and LFOs, along with keyboard tracking, were the main controllers for those blocks. Because no interaction between the oscillators was provided (unlike Roland's 'structures,' for example), dual- oscillator patches essentially ran the two oscillators in parallel. The filter did not offer resonance, but the need for a dramatic filter was diminished by the onboard sample library's wide variety of acoustic, synth, and exotic sounds.
The M1's internal 4 MB waveform ROM was a huge amount of memory by 1. RAM memory in desktop PCs was 5. Kbytes. The M1 had the was controlled by a 1.
NEC V5. 0(7. 02. 16) CPU (a Intel 8. Mhz. Input from the keyboard was handled by a custom subprocessor. I/O to the control panel and large 4. X2 LCD display was handled by another custom PIO chip. A A/D convertor handled input from the analog joystick and aftertouch sensor. The wave samples were played by a custom tone generator chip with further processing by two custom digital filter chips , followed by a digital effects chip. A 1. 6 bit PCM5. 4 D/A convertor followed.
SYNTHREPAIR: Professionele reparaties en onderhoud aan alle bekende merken ( Vintage) Synthesizers, Keyboards, Modules, Elektronische piano's, Effectapparatuur etc. The Korg M1 is a 16-voice, 8-part multitimbral sample-based synthesizer and music workstation, manufactured by Korg from 1988 to 1995. The M1 features a MIDI.
Korg module standard for iphone.
Waveform ROM contained sounds which are still in use even today, especially the compressed acoustic piano (used on countless records of the time and later adopted by dance producers), pick and synth basses, strings, realistic vocal samples, brasses, and acceptable drum kits. For the first time, ethnic and exotic sounds from world locales (particularly Asian) were offered as standard. Two presets from the M1 were used extensively in 9. This arrangement is called a 'Combi,' and allowed more complex sounds to be assembled and played via keyboard or MIDI. The integrated MIDI sequencer allowed up to eight polyphonic tracks to play internal or MIDI sounds simultaneously.
The sequencer memory could be shared with the user sound area, allowing 1. The sequencer's pattern structure permitted memory saving by using patterns for repetitive regions. Though paltry by current standards, the M1's sequencer offered full track editing and quantization, making it possible to produce high- quality songs entirely within the machine. The combination of the patches with the sequencer functionality led to the M1's near ubiquitous presence in late '8. The M1 offered 2 independent effects engines featuring reverb, flanger, chorus, delay, etc.
Previously, most synthesizers offered fixed- function effects blocks, such as chorus or delay, and rarely reverb. When using multiple patches at the same time (in Combi or Sequencer modes), all patches share the same effects blocks.
This problem also affected workstations from nearly all manufacturers. The workstation featured minimalist physical controls, including a 4. LCD, softkeys, a data slider, data entry buttons, and a 4- way joystick. The joystick combined two modulation sources and pitch bend: left/right adjusts pitch bend, up emits MIDI controller 1 messages, and down emits MIDI controller 2 messages.
No arpeggiator was offered (a common omission until mid- 9. No disk drive was integrated, so only MIDI Sys. Ex dumps and memory cards provided methods to save sequences and programs outside the keyboard. All M1 models include 2 slots for expansion - one for sample ROMs and the other for patch/combi ROMs or RAM cards for saving sounds or sequences. Korg offered the MCR- 0.
Kilobit card and the MCR- 0. Kilobit card for around $8.
MCR- 0. 4 Mega. Ram card with a capacity of 1 Megabit (1. These cards and the M1's internal memory all use 3. V lithium cells which last ~5 years without needing to be replaced (CR2. M1, and CR2. 01. 6 in the memory cards). If the battery dies, sounds and sequences are lost. Factory Programs and Combinations are not stored in ROM, so the loss of battery power in the keyboard necessitates a data dump from a RAM card, a Factory Preload card, or a MIDI sysex data dump to restore the factory patches.
Due to the M1's ability to add sounds via data cards, many voice cards were made especially for the M1, such as the well- known Synth cards. Original KORG cards came in two- card sets, one PCM containing waveforms (initial tones, or building blocks) and another programs and combinations, finished sounds. These sets extend way beyond internal PCM waveforms, although existing set is more than enough. Many aftermarket cards (Valhala and Voice. Crystal for example) produced single Program cards utilizing internal waveforms only.
Because of the success of the M1's sales, an entire market grew around supporting this synth. This included the production of 3rd party manuals, new sounds, training videos, and hardware modifications. Another was the M1 Plus. One, which added an additional 4mb of onboard sample memory. In 2. 00. 4, Korg released the M1 in software form as part of the Korg Legacy Collection.
The Legacy Collection allowed for several older Korg synthesizers to be utilized within digital audio workstations as plugins or as standalone software synthesizer programs. In May 2. 01. 5, the M1 was re- released again as a software synthesizer called the i. M1, this time for the i. Pad. The original M1 circuitry. The software products add new features such as resonant filters and increased polyphony (no longer limited to 1.
The software versions also include waveforms and programs from all expansion cards ever produced by Korg for the M1 (included with the Legacy collection product but offered as an in- app purchase on the i. M1 product). Rackmount versions of the M1 were available. The M1. R was a 2. U rack with the same ROM and patches and combis as the M1. The M1. EX keyboard and M1. R- EX (rack version) included an additional 4. MB block of waveforms in ROM.
The M3. R was a cut- down model in 1. U form factor that had similar sounds and its own line of ROM cards. The M1's synth engine remained nearly unchanged until the Korg Trinity's breakthrough in 1. The T series (1. 98. T1/T2/T3) built upon the M1's success, offering more keyboard alternatives (8.
ROM samples, more sequencer capacity, and a better screen. However, the polyphony remained unchanged at 1. A 1 MB sample RAM option allowed users to load a handful of samples for use with the synth sections. The T1 series is able to read memory cards (RAM and ROM) that work in the M1, and can also load M1 patches and Combi's from Sys. Ex files. The 0 (zero) series (1.
W,0. 1/WFD,0. 1/W Pro,0. W Pro. X) maintained the improvements of the T series (despite losing the sample RAM) but doubled the polyphony and offered several refinements over the previous machines, mainly effects and routing of audio outputs. The Pro version had 7. Pro. X used the 8.
T1 and SG8. 8 sampled grand piano. A non- linear waveshaping technology was also integrated in the synth section, but it didn't seem to cause a major impact. The 0. 1/WFD, the 6. M1. Rackmount versions of the 0 series included the 0.
R/W which featured a sequencer, a rare feature not found on most such models. Also Korg produced the 0. R/W (1. U) which had a similar architecture but could not use the same sounds. The name for this line came from a Korg executive who showed his boss a paper upside- down—it had been intended to be called the M1. M1. However, the graphic LCD was replaced by a cheaper, smaller character- based one, the keyboard feel was downgraded, and the waveshaping removed.
A welcome addition was the disk drive, now compatible with MS- DOS machines. One- half U rack versions of the X5 were also made. The first, confusingly, was called the 0. R/W and had 3. 2 voices.
This was succeeded by the X5. DR, which was nearly identical, but with 6. The N series (1. 99. Korg N3. 64/2. 64, 1.
NS5. R, 1. 99. 8: N1/N5/N1. R, 1. 99. 9: NX5. R) was the final Korg series to use the M1's AI2 synthesis method. The N models featured larger sound ROMs and improved displays over the earlier models, but the filters were still non- resonant and many classic M1 and 0.
R/W sounds were retained in nearly original form. The later models were actually sold alongside the newer Korg Trinity series.
Throughout the series from T to N, the M1's digital filter remained unchanged, limiting the synthesis possibilities due to its non- resonant architecture, especially when attempting to recreate analog- style sounds such as sweeps.