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Zeroesque / Tim's Gear



Tim reflects on his Korg keyboard journey...

M1:
They had one at school in '93 and it simply smoked my own Yamaha SY-35 in most ways (and the Roland JVs that the school had). Though most of the sounds were bathed in effects, I was totally captivated by Korg sounds. I never actually got one, though I do now have the Legacy software version (which is even better with a resonant filter and all the M and T-series PCM cards ever made).
Poly 800:
I borrowed one of these for a week from my sister's friend. It had such a fat sound compared to my SY-35 that I knew I needed to get one (or something similar), especially since I was into writing trance techno at the time. In fact, I ended up doing one better...
DW-8000:
This keyboard got me into programming traditional analog filtered sounds for cheap back in the day, and playing mono leads (with a wah pedal, of course!). It could even make an okay organ patch with fast/slow rotary emulation on the LFOs. It's very cool but not a complete synth by today's standards (somewhat of a one-trick pony).
Trinity:
My all-time favorite keyboard, with super-awesome leads and synth sounds. Monster lead, baby! However, the pianos are poor and the organs are only made okay by the great effects processing. For anyone that cares, I wah on the floor, not the stick.
Trinity V3:
Added a cool analog modeling mode...Okay, THIS is my all-time favorite keyboard! This is the synth (not piano) on the first album and I should have never sold this gorgeous instrument.
Trinity Pro:
I simply hate looking at 76 keys E to G. Make them A to C like an acoustic piano! In other words, why did the Rhodes format win over the Wurlitzer format?
Triton:
I never got an original Triton because it completely lacked the Trinity's mojo when I played it in the store. One theory is that the filter algorithms weren't as good in order to preserve processing power for more polyphony and effects. Whatever, it sounded sterile.
Triton Studio 61:
Way more features than my past Trinities, but the sounds where only marginally better. It also still lacked a certain magic of the Trinity. This made the majority of the second album's synth sounds, though, and did a nice job at it. It has enough polyphony and killer effects to make a decent organ out of sine waves.
TR88:
Though it's based on the Triton LE, it actually had a very playable piano -- if you didn't run out of polyphony -- that is supposedly a cut-down version of the Oasys piano. The other sounds were not as good as the Triton Studio (and weren't really meant to be). I sold this to get the M3.
M3-73 Xpanded:
Another major upgrade in features and again only an incremental improvement in sound (especially on "bread and butter" patches like pianos and organs). They made a few additional piano multi-samples but were all largely disappointing and mushy to me. I just didn't see it as the total package worth spending days or weeks on trying to replicate my Trinity and Triton sounds. If it had Korg's excellent analog and organ modeling integrated into the regular sound banks, I would've kept it, learned Karma and tolerated the pianos for live use.
MicroX:
Another Triton LE derivative, this time with an emphasis on contemporary sounds suitable for electronic music (which, admittedly, makes for interesting ideas for other styles). The only piano sample is garbage. Ultra-portable, it's narrow width is equaled by it's narrow sound and narrow playability. I probably won't keep this thing.
Trinity TR Rack:
I finally have Trinity sounds back in my rig. This won't go anywhere unless Korg makes a Trinity plug-in.
Kronos 61:
This has all of the requisite elements: ROMpling, sampling and several forms of modeling including clonewheels in a modern workstation format. Hell, it's even lighter than Korg's past workstations. I really hope the piano is enjoyable to play. It talks the talk...let's see if it can walk the walk!
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