Hier nog een stuk uit de Sound on Sound
http://www.soundonsound.com/sos/Oct02/articles/korg40th.asp
If 1977 had been a good year for Keio Electronic's growing reputation, it's fair to say that 1978 was the year in which the company really arrived. It's also fair to say that the MS series of synths and related products launched that year remain some of the most sought-after in the whole world of electronic music.
For those of us who had seen a PS-series synth (and there weren't many), the MS series looked rather familiar, sharing many design features with their forebears, and even sporting the same control-panel hardware. The dual-oscillator MS20 monosynth was the keystone of the range. In addition to its standard controls, this also provided a patchbay that allowed you create new, complex routings to modulate the sounds of the oscillators, filters and amplifier. Although the patchbay did not interrupt the audio signal path, it allowed players to create sounds that were previously the domain of expensive modular and semi-modular instruments.
Its little brother, the MS10, offered just a single oscillator, a single envelope generator, and a shorter keyboard, but it had one thing that the MS20 did not: pulse-width modulation. Then there was the MS50, an expander module that offered numerous additional features provided by neither the MS10 nor the MS20: multiples, an inverter, and patchable ring modulation. Unlike Keio's earlier synths, which used the less common Hertz-per-Volt pitch standard, the MS50 also ran on the Volt-per-octave standard, which meant that you could patch a Korg to the other mainstream synths of the day for the first time. With an MS20, an MS10 and an MS50, the world of monophonic synthesis lay at your feet. Using a handful of cables, you could hook the synths together to create huge patches with four oscillators, multiple filters, multiple envelopes, and multiple modulation sources.
The MS01 was a CV pedal.
The MS02 converted the Hertz-per-Volt pitch CVs of the MS10 and MS20 into the Volt-per-octave systems used by other manufacturers.
The MS03 was in many ways the MS20's External Signal Processor in a box,
and the MS04 was a modulation pedal that provided a multi-waveform LFO and a pedal-controlled CV generator.
The MS series should have been Keio Electronic's big commercial breakthrough, but it is only in the past few years that it has achieved its current status. It was also overshadowed — technically if not in terms of unit sales — by the last of the PS-series polysynths, the wonderful PS3200. This was the first Korg to offer patch memories and, to this day, it remains the only analogue, semi-modular, fully polyphonic, microprocessor-controlled synth.
In common with the PS3100 and PS3300, the 3200 used 'divide-down' oscillators, lacked velocity and pressure sensitivity, and was nowhere near as sleek and transportable as the synths released that year by other manufacturers. But with extensive modulation capabilities, voltage processing, a graphic EQ, a lush Ensemble, far-out sections such as the General Envelope Generator and Adding Amplifier, plus nearly 50 patch points, it offered many more sonic possibilities than the other instruments of the era. Indeed, the PS3200 has a depth and a character that still sets it apart from other instruments, offering a combination of sounds and facilities that remain unique, and in many ways unequalled. Even today, nothing else sounds quite like a PS-series polysynth.
With its knob-festooned control panel, dual oscillators, dual, resonant low-pass and high-pass filters, dual contour generators, and the patchbay that dominated the right of its control panel, the MS20 was a very attractive and powerful synth. In addition, its External Signal Processor provided a comprehensive pitch-to-voltage conversion system and envelope follower that, within limits, enabled external signals to drive the whole of the MS20's architecture.
Perhaps the rarest production synth that Korg ever produced, the MS20 'Blackboard' version (shown here) is electronically identical to the standard MS20, but it is flat, and about four times the size of its common twin. Designed for use as an educational aid, Korg's dealer support staff used this to teach its dealers the principles of synthesis.
Die laatste zijn we al eens in een topic tegengekomen hier op het Synthforum
Klok de SQ10 is met een vco en gebruik een cv output van rij A als audio uitgang.
