Korg 770 synthesizer

An ancient synthesizer from Korg. Aside from being very old, there isn't much else to say about the 770. It was released in 1976, is monophonic, very limited in design, flexibility and sonic possibility. It can make some weird noises largely due to its retro-cool ring modulator. You can also run external sounds through it. Bass, string and lead sounds are ok. It's got a fast envelope, auto bend, and LFO re-trigger too. An ole' classic that's fun to play with and useful if you're in the mood for buzzy analog sounds. It is used by Freddy Fresh, Simple Minds and The Human League.

Model of an Efficient Midi Studio.

This illustrates a typical and very efficient Midi studio that combines vintage analog synths with modern Midi synths and a computer system. This model takes advantage of the built-in Midi-to-CV/Gate converter and the DIN Sync 24 output found in the Novation Bass Station and Drum Station, respectively.

The computer, either Macintosh, Windows PC or Atari, is the heart of this studio. It may hold various software sequencer and synth emulation packages. But to control the various synths, it must be connected to a Midi Interface. This Midi Interface should have at least 6 inputs and outputs for each of your Midi devices. Simply connect the Midi in/outs of each synth to the Interface and they're ready! In this example, the Yamaha CS2x is the Master Keyboard Controller and can be used exculsively to control all the other synths in this set-up.

As for the analog gear, in this case it's a Roland SH-101 and TB-303, we can use the built-in CV/Gate and Din Sync in the Novation modules. The Bass Station has a fully functional Midi-to-CV/Gate converter with assignable Midi channels so you can control both the Bass Station and the analog synth independently. The Drum Station can transmit Midi Clock or Sync out its Roland DIN Sync 24 jack to control the vintage Roland TB-303, TR-808, TR-909 and TR-606 machines.

Additional sounds can be created using the Novation SuperNova and Akai S3200 sampler. And for added hipness an Electrix FIlter Factory is connected, via Midi so you can program tweaks and filter-edits into your sequencer or control it from the CS2x.

MIDI Set-Up Guides

The computer-less Midi studio described here is useful for studios on a budget or for a more hands-on style of playing and controlling your synths, live and in the studio. Although any number of Midi synths could be linked in series using the Midi In, Out and Though ports available on them, we will keep it simple here with just a few Midi and Non-Midi synths. A Midi-to-CV/Gate converter must be included to translate Midi commands into a language that can be understood by your Analog synths such as the Roland SH-101 and SCI Prophet 600 represented above.

The Roland JX-305 above is the Master Keyboard (it can be used to play all the synths shown). It transmits Midi to the Roland MC-303 and can use it as a sound module or to trigger sequences and patterns stored in the MC-303. The JX-305 should be configured to send Midi on all channels. The MC-303 should be configured to receive on one MIDI channel, say channel 2, for example.

Midi from the JX-305 is also transmitted through the MC-303 to the Midi-to-CV/Gate converter. Here the Midi data is converted to CV and Gate voltages which are sent into and out of the Roland SH-101 allowing you to play the SH-101 directly from the JX-305. The converter should be configured to send and receive Midi on channel 3, for example. Kenton Electronics makes several excellent Midi-to-CV/Gate converters, such as the Pro Solo.

The SCI Prophet 600 is a Midi-CV hybird. It offers good Midi implementation for playing and making patch changes. It also features a CV Filter Input allowing you to use CV to externally control the filter cut-off of the Prophet 600. The Prophet 600 should be configured to receive Midi on channel 4, for example.

Now that it's all connected, here's how to use it with the JX-305 as your master controller. Setting the JX-305 to Midi Channel 1 and turning off any local keyboard control (if available on your particular synth) should only result in hearing your JX-305 sounds. Switch it to channel 2 and you'll start playing and controlling the filters and such of the MC-303. You can even trigger it to start or stop using the JX-305's own built-in sequencer.

Moving on, switching the JX-305 to Midi channel 3 will give you control of the SH-101. And switching to channel 4 will give you control of the Prophet 600. Controlling the CV Filter of the Prophet 600 will have to be done from the JX-305 on Midi Channel 3 - the channel which connects the JX-305 to the Midi-to-CV/Gate converter. As you can see, you can use the sequencer of the JX-305 to create elaborate multi-channel sequences that can simultaneously control your Midi and Analog synths from just one master controller and without the need for an expensive computer.

Analog + Midi Synthesizers Connected to a Computer

When connecting MIDI instruments to a computer, the most important component you'll need is the Midi Interface. This is what will allow Midi to be understood and transmitted into and out of your computer. Most Midi Interfaces are single-unit rackmount devices that connect to your computers serial port and they are available for Macintosh, Windows PCs and Atari. Some examples include Mark of the Unicorn's Midi Time Piece, Midi Express and Opcode's Studio series. Most have multiple in/outs for up to 10 or more Midi instruments communicating through your computer.

In many cases the Midi Interface can be an internal card for your PC such as the AWE64 card. These are convenient but only allow a few instruments to be connected and are better suited for studios with little gear.

Connections are quite simple here. The computer is hooked up to the Midi Interface. The Midi outs from your synths go into the Interface. And the Midi Outs from the Interface return to the corresponding synths. This type of set-up allows for extremely flexible control via your computer and the interface. For writing, sequencing, storing & creating patches and music, for live performance, and for stacking, controlling and programming Midi instruments - this is by far the most common and easiest set-up.

In order to Midi-up your old analog synths you will need a Midi-to-CV/Gate converter. These devices translate Midi data into control volatge (CV) and gate or trigger. This allows you to play your analog synths and in many cases edit filter and envelope parameters from a Midi controller. It is simply connected to your Midi Interface as if it were another Midi synth itself.

The Midi-to-CV/Gate connections to the Roland SH-101 represented above are straight forward. Be sure to configure the Converter to transmit the proper form of CV/Gate for your brand of synthesizer. The Roland SH-101 uses 1 Volt/Octave.

The TB-303 is capable of receiving Roland's propietary DIN Sync 24 clock. If you're Midi-to-CV/Gate converter supports this type of sync, then Midi Clock from you're computer can be transferred to the TB-303 to trigger it in sync with you're computer sequencer. However, you can not play the TB-303 from the keyboard controller without an expensive Midi or CV/Gate Retrofit.

Analog Synthesizers Connected to a Computer.

In order to Midi-up your old analog synths you will need a Midi-to-CV/Gate converter. These devices translate Midi data into control volatge (CV) and gate or trigger. This allows you to play your analog synths and in many cases edit filter and envelope parameters from a Midi controller. In this situation, a Computer with sequencing software is used with a Roland SH-101 and TB-303. The computer can be either Macintosh, Widows PC or Atari. It connects to a Midi Interface such as Mark of the Unicorn's Midi Time Piece, Midi Express, Opcode's Studio series or an internal AWE64 type card. This interface however only needs a few Midi in/out ports since it will only be connecting to one device, the Midi-to-CV/Gate converter.

The Midi-to-CV/Gate connections to the Roland SH-101 shown above are straight forward. Be sure to configure the Converter to transmit the proper form of CV/Gate for your brand of synthesizer. The Roland SH-101 uses 1 Volt/Octave.

The TB-303 is capable of receiving Roland's propietary DIN Sync 24 clock. If you're Midi-to-CV/Gate converter supports this type of sync, then Midi Clock from you're computer can be transferred to the TB-303 to trigger it in sync with you're computer sequencer. However, you can not play the TB-303 from the keyboard controller without an expensive Midi or CV/Gate Retrofit.

Korg's 01/W workstation synthesizer

Korg's 01/W workstation synthesizer debuted in 1991 as the follow-up to the popular M1. The O1/W was the second chapter in Korg's workstation legacy, which goes on to this day with the Triton and Oasys series. The O1/W was geared towards beginning home studio enthusiasts that wanted to take a step further into a more professional realm. Compared with the M1, the 01/W featured many enhancements including a more dynamic 16-track sequencer (the M1 only had 8-tracks), 254 real world sampled instruments to the M1's 100, polyphony was doubled from 16 to 32 voices, and greater overall control.

The 01/W synthesis engine is based on Korg's own AI2 sample + synthesis design. AI2 was so successful that most later Korg synths in the 90's were also based on the new synthesis method. The 01/W is by no means difficult to program. There is a Quick Edit feature where you can adjust the parameters to the sounds you want by using eight soft buttons. That included octave, wave-shaping intensity, filter EG, VDA level, attack, release and effects level. Like the M1, the 01/W lets you layer up to eight Programs simultaneously to create a powerful Combination. Even without getting into the editing interface, the ability to layer any of the 200 programs together means you can create many diverse and interesting sounds.

Another big feature of the 01/W is its internal sequencer. Combining ease of use with powerful editing features such as copy, paste, move, overdub and punch-in & out recording, it is possible to create complex and highly professional sounding music all in one box without the need for a computer-based solution. The sequencer also works well in a master keyboard situation so that you can select channels to control external tone generators as well as the 01/W's internal sounds.

As powerful and versatile as this workstation is, however, there are downsides. Although there are 47 different fully assignable effects to choose from, only two are useable at any time, and act globally over all tracks in the sequencer! There is also no resonance control, so there are a very limited number of fun, synthy patches, with the 01/W leaning more toward the traditional acoustic instruments and sampled waveforms style (it's a true digital keyboard; the polar opposite of analog ideology). In addition, a few of the drum sets were mapped differently from the others, and were thus not interchangeable within the sequencer.

The original 01/W actually didn't sell very well, mostly because of its limited sequencer memory capacity. But the 01/WFD expanded the memory and added a Floppy Drive for disk storage and then it sold like hot-cakes and was followed up with rack-mount, 76 and 88 keyboard models. The 01/W-series was later replaced by the Trinity and Triton workstations. Nevertheless, the Korg 01/W-series was one of the most powerful workstations of its time, and it still holds itself together in a mix. Admittedly, the effects section does help, but the basic samples are quite good, especially the organ, pad and string sounds. Guitar and piano sounds are not its strong points, but the former benefits a lot from the great distortion effect. And the later models also featured an upgraded and much better sounding acoustic piano sound. All in all, an ideal board for pop, r&b, (hard) rock...less suitable for dance music. The 01/W-series has been used by Rick Wakeman, Tony Banks, Keith Emerson, Phil Collins, Jan Hammer, Vangelis, Jean Michel Jarre, Greg Phillanganes, Rod Argent, Dave Stewart, Patrick Moraz, Moby, Eddie Jobson, Chuck Leavell, T Lavitz, Tom Coster, and Peter Gabriel.

01/W - Original 61-key model. Was not a big seller, its sequencer memory was miniscule and had no external storage.

01/WFD - Same as original but with added internal floppy disk drive capable of loading and storing sequencer data and program patches and the sequencer memory was expanded from 7,000 notes to 48,000. The 01/WFD was a huge success for Korg.

01/Wpro - Same as 01/WFD but featuring a 76-note keyboard and an added Acoustic Piano Sample.

01/WproX - An 88-weighted key version of the 01/Wpro. Also with a huge wood surface, it's really nice although a bit big!

01R/W - A rack-mount module version of the 01/WFD.

03R/W - A very stripped-down 01R/W, smaller, less sounds, less polyphony, budget oriented.

05R/W - A rack-mount module based on the Korg X3, not a true 01/W descendent.

Trivia note: Apparently when the engineers at Korg were presenting their new workstation to replace the Korg M1, they were going to call it the Korg M10, but apparently someone in marketing saw the name upside down, and M10 now read "01W". Apparently they liked that a lot better and made it the official name of the synth.

KORG O1 Specifications

Polyphony - 32 voices (16-part multitimbral)
Oscillators - 48 MB ROM using AI2 synthesis system (digital). 32 sounds, 32 oscillators (single mode); 16 sounds, 32 oscillators (double mode).
Sampler - None.
Effects - 2 Multi FX processors with 47 Digital multi-effects: reverb, delay, overdrive, EQ, chorus, rotary speaker, and more.
LFO - 2 LFOs
Filter - VDF: Digital Lowpass Filter, velocity sensitive (non-resonant)
VCA - VDA: Digital Amplifier with 4-stage ADSR envelope generators
Keyboard -
01/W, 01/WFD: 61 keys.
01/WPro: 76 Keys.
01/WProX: 88 weighted keys.
All keyboards feature Velocity, Aftertouch, Multi, Layer, Split modes.
Sequencer - 16 tracks, 16 instruments, 48,000 notes (FD & Pro version) or 7,000 notes (01/W), 100 patterns, 10 songs. Realtime and Step-editor.
Arpeggiator - None.
Memory - 200 user programs, 200 user combis; Floppy: 3.5" 720 2DD (programs, combis, drum-kit, global, sequencer and midi data).
Control - MIDI In / Out / Through (16-parts)
Date Produced - 1991-1995
Est. Value - $500-$800

Links of Interest

• Korg USA ONLINE

  Korg UK ONLINE

  Audionaut Selected Sound Patches

Midi Synthesizers Connected to a Computer

When connecting MIDI instruments to a computer, the most important component you'll need is the Midi Interface. This is what will allow Midi to be understood and transmitted into and out of your computer. Most Midi Interfaces are single-unit rackmount devices that connect to your computers serial port and they are available for Macintosh, Windows PCs and Atari. Some examples include Mark of the Unicorn's Midi Time Piece, Midi Express and Opcode's Studio series. Most have multiple in/outs for up to 10 or more Midi instruments communicating through your computer.

In many cases the Midi Interface can be an internal card for your PC such as the AWE64 card. These are convenient but only allow a few instruments to be connected and are better suited for studios with little gear.

Connections are quite simple here. The computer is hooked up to the Midi Interface. The Midi outs from your synths go into the Interface. And the Midi Outs from the Interface return to the corresponding synths. This type of set-up allows for extremely flexible control via your computer and the interface. For writing, sequencing, storing & creating patches and music, for live performance, and for stacking, controlling and programming Midi instruments - this is by far the most common and easiest set-up.