Volume 30 2008

THE COMPLETE
KORG CATALOG
AND MORE

C E L E B R AT I N G

DURAN DURAN: RED HOT

> NEW

Kamal Gray
Pa500 Pitchblack KAOSSILATOR

THE ROOTS

K61P, KONTROL49 & padKONTROL

> MR Recorders Sound Thoughts

> Kamal Gray & The Roots

KAOSSILATOR & mini-KP

> Tony Banks & Genesis

> Creating More KAOSS

Korg Legacy Collection

AX3000G & AX3000B

microX & microKORG

Korg Concert Pianos

> Korg ProSessions

Pa2Xpro & Pa800
TR Series & X50

KP3 & Electribe

ProView Extra ONLINE NEWSLETTER. SIGN UP AT www.korg.com/subscribe

Pa500 & Pa50

KAOSS Mixers

AX5G & AX5B

> Duran Duran

PX4D & PX4A

MR Recorders

> Dave LaRue

RADIAS & R3

ZERO Mixers

Metronomes
To receive regular product updates, register online at korg.com/updates

SP-250

Tuners
D3200
OASYS

Korg ProView Magazine is published by Korg USA Inc., 316 South Service Road, Melville, NY 11747. Due to our efforts for constant improvement, specifications and features printed herein are subject to change without

D888

PX5D
notice. Some of the products listed may not be available at certain Korg Dealers. We are not responsible for unsolicited material, which must be unconditionally assigned for publication and subject to Korg USA Inc.’s
M3

unrestricted right to edit and comment. Korg USA Inc. assumes no liability for errors in articles or advertisements, and opinions expressed by authors are not necessarily those of Korg USA Inc. The contents of this
publication are © 2008 by Korg USA Inc. and may not be reproduced in any manner without prior written permission of Korg USA Inc. All rights reserved. Printed in the USA. Front cover photo by Keith Smith.
Back cover photo by Stephanie Pistel. 03 06 08 10 12 14 15 16 18 19 20 21 22 23 24 26 27 28 30 31 32 34 35 36 37 38 39 40 41 42 46

www.korg.com
CELEBRATING THE GENESIS OF A KEY TREND
THE 20TH ANNIVERSARY OF KORG’S M1 MUSIC WORKSTATION
By Mark Vail
Twenty years ago, synth players and manufacturers were in search of
the Next Big Thing. Nearly everyone had abandoned analog synths,
making digital the synthesis flavor of choice. Megabuck machines with
high-tech capabilities offered some amazing possibilities, but their price
tags kept them well beyond the reach of the typical musician.
Meanwhile, companies that catered to those of us with more limited
funds searched to find the magical combination of features that we
wanted and needed the most.
It was Korg that came through with the M1, bundled with the goods
that struck the right chord for so many of us. Before the M1, most
synths were using analog, digital or some hybrid forms of the synthesis
that while interesting, were still lacking in realism for acoustic sounds.
The M1 was the first affordable keyboard that fully embraced sampled
sounds, or PCM for its sound engine.
Enclosed in its 4MB of ROM were 86 musically useful and downright
stunning 16-bit PCM samples, including superb drum and percussion
hits — a first for a sample-playback synth — and exotic instruments that
previously hadn’t been heard by many in the mainstream. “The M1 had
a lot of innovative features for its day,” says Korg’s legendary sound
programmer, Jack Hotop. “It had sampled PCM sounds in ROM, a
built-in sequencer, and a good variety of digital multi-effects. We also
gave it memory expansion via card slots. Insert a RAM card and you
could access more banks of sounds. If you wanted more samples, plug
in a PCM card that you could carry in your pocket and trade like
baseball cards.”
Korg founder and chairman Tsutomu Katoh and his son Seiki Kato
pulled the strings that spelled success for the company. They
assembled an international team to develop the M1 and its successors,
along with industry-leading sounds and feature sets for each of them.
“The sound developers and Korg’s engineers collaborate internationally
as one team with one mission: To create great instruments,” Hotop
explains. “There are no egos, and everyone contributes.”
What makes a music workstation special? You can do so much with
one instrument; it simplifies the composition and orchestration process.
Prior to the M1, you had to assemble a bunch of separate components,
connect them all via audio and MIDI cables, and troubleshoot channel
assignments and compatibility issues before you could actually get
around to making music.
Quite a stream of trendsetting workstations followed in the M1’s wake.
The Trinity introduced the touchscreen, optional hard-disk recording,
and Flash ROM, user memory for samples that were ready to go at
power-up. The TRITON offered user sampling, dual arpeggiators, and
knobs for realtime parameter control. Karma featured Variable
Performance Modeler technology for automatically generating and
manipulating phrases and patterns. OASYS, the remarkable Open
Architecture Synthesis Studio, delivered modeling, vector,
>> 2
wave-sequencing, waveshaping, and other types of synthesis,
synchronized sequencing and hard-disk recording, and so much more.
The new M3 offers Enhanced Definition synthesis, Firewire DAW
integration, a color touchscreen with KAOSS Pad controller capabilities,
and a whole lot more.
“I think a crucial secret in the sauce,” Hotop concludes, “is that Tsutomu
Katoh and Seiki Kato had the vision to create an International team of
musicians and sound designers, involving them in the product design
decisions, and coming together in Japan to work with the whole team of
engineers. Each product we work on is a labor of love with each person
contributing something special to make it a musical instrument, not a
piece of science. We’re like a wonderful international family with a
special bond. And we are as excited today to be working together on the
new ideas and products that you’ll be seeing in the near future.”
> TRITON
> OASYS
> KARMA
> M3
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M3
MUSIC WORKSTATION/
SAMPLER
M MEANS MORE
The M3 heralds the third generation of Korg
Workstations. The M1 started it all, first appearing in
1988 to bring the world a new concept called the
‘music workstation.’ It went on to become the best
selling workstation in history, and was further
expanded and enhanced through the T and 01/W
series. Trinity defined a new level of innovations
including touch screen technology, and was the
forbearer of the wildly successful TRITON range
of products.
Now Korg once again has delivered powerful new
advancements in the workstation category. With a
number of innovations distilled from the flagship
OASYS including the new EDS (Enhanced
Definition Synthesis) sound generator derived from
the HD-1 engine design, the advanced second-
generation KARMA functionality, and the multi-
purpose control surface, the M3 has learned a lot
from its upper-end sibling.
As a stand alone instrument, the M3 offers unparalleled fidelity and an interactive interface that is second to none. The M3 is
also a workstation in tune with the times – the era of the “Integrated Workstation” has arrived due to the M3’s ability to be
used in conjunction with your computer. It is no longer an either/or decision! The abundant controllers and hardware can all
be used to control your favorite software instruments and apps. With our “Virtualized Hardware,” the M3 transforms into a
powerful plug-in for your favorite computer DAW program. Best of all, since the M3 provides its own processing it adds more
power to your system instead of draining it. No other workstation offers anywhere near this versatility!
Whether used on its own or with your computer, what you’ll most appreciate about the M3 is its stunningly expressive and
inspiring sounds, and the ways it will bring your performances and recording to new heights. The M3 Music
Workstation/Sampler opens a new and exciting page in music making, and is the workstation that rightfully deserves to wear
the “M” that started it all.
> The screen even changes colors in response to > The eight slider/switch control surface offers
the movement of your finger for cool visual multi-functional control over KARMA, sounds,
feedback to your performance. effects and even external hardware.
>>3

www.korg.com
M3 > ENHANCED DEFINITION
SYNTHESIS
MUSIC WORKSTATION/ The M3 utilizes a new sound
chip designed in parallel with
SAMPLER the software that became the
HD-1 in the flagship OASYS.
This new synthesis system,
EDS (Enhanced Definition
Synthesis), shares much of
the OASYS lineage – low-
aliasing oscillators with up to
M3 AT A GLANCE four stereo samples per, a
powerful new filter topology,
Synthesis Method: EDS synthesis detailed envelope generators,
a Drive parameter for analog
ROM: 256 MB
warmth and grit, AMS Mixers
Polyphony: 120
for advanced modulations –
Keyboard: 61 keys, 73 keys or 88 weighted keys; the 120 voice M3 delivers the
velocity and aftertouch sensing essential elements from the
Programs/Combinations: 1,664 user programs (512 acclaimed HD-1 design.
preloaded); 1,792 user memory combinations (384
preloaded); 144 user drum kits (32 preloaded); GM
Level 2
Effects: 170 algorithms, 2 master effects, 5 insert
effects, 1 total effect
Control Inputs: Damper pedal, dual assignable
(Switch/Pedal)
Outputs: Main = L/MONO, R; Individual = 1, 2, 3, 4;
S/P DIF (optical); Headphones
Inputs: 1, 2; MIC/LINE Switch, Level Knob; S/P DIF
(optical)
MIDI: IN, OUT, THRU
Interface: 2 USB Type A (external USB device), USB
Type B (PC)
KARMA® (Kay Algorithmic Realtime Music
Architecture) and the KARMA Logo are registered
trademarks representing patented technology licensed
from Stephen Kay, Karma Lab LLC, www.karma-
lab.com.
To hear and see more, go to: www.korg.com/M3
> KARMA-FIED!
The M3 includes all the
second-generation KARMA
functions as featured in the
flagship OASYS, including
KARMA Wave Sequencing.
KARMA is the inspiring, real-
time phrase generator that can
help you play everything from
natural instrument gestures, to
complex cascades of notes,
dance-riffs, gated and
chopping effects and more.
>> 4
> MORE ROM
A whopping 256 MB of ROM
with 1,028 multisamples and
1,606 drumsamples provides
plenty of samples to make
sounds from! It’s like the
“best-of” from the OASYS
ROM compiled into a great
new soundset, including velocity-
switched sources for the main
acoustic sounds and plenty of
synth source and drums.
> UNIQUE DESIGN
The M3 series offer a new
design concept called the
Korg Komponent System,
allowing you to custom
configure your own
expandable instrument. The
73-key version can host both
the M3 and the RADIAS·R
module for a powerful dual
panel system. The 88-key
version can actually hold dual
M3 engines or the
M3/RADIAS configuration.
> BETTER SOUNDS
Korg is renowned for their
> RADIAS ENHANCED
unsurpassed sound
programming, and the M3
takes that reputation to an even
higher level. Five hundred
twelve expressive Programs
and 384 stunning
Combinations take full
advantage of all the innovations
of the M3. With space for a
total of 1,664 Programs and
1,792 Combinations, you’ll
never run out of room for your
own creations.
> COMPUTER FRIENDLY
> OPEN SAMPLING
The Open Sampling System
allows sampling and
resampling in every mode,
with 64 MB of RAM standard,
expandable to 320 MB with
the optional EXB-M256 board.
Compatibility with WAV, AIFF,
AKAI and now SoundFont 2.0
ensures a large library of
possible sounds beyond your
own creative efforts.
You can add even more synth
> INNOVATIVE CONTROL
power to your M3 – the EXB-
RADIAS is a 24-voice, single
timbre version of the awesome
MMT synthesizer that fuels both
the RADIAS and R3 synths. Just
pop it in to your M3 and enjoy
analog modeling and digital
synthesis combined to offer
endless synthesis possibilities.
One hundred twenty-eight great
new Programs marry that engine
to the many features found only
in the M3.
> VIRTUALIZED HARDWARE
The bundled editor/librarian
software uses USB MIDI to
enable you to edit and work
with your M3 using your
computer. This powerful
software works in stand-alone
mode or as a plug-in within
your favorite host software.
We’ve included a wealth of
> CONTROL SURFACE
expressive controllers to
enhance your performance.
The classic Korg joystick, dual
switches, a ribbon, and
multiple pedal inputs are just
the beginning. The color
TouchView display also
doubles as an X/Y pad for
controlling syn-thesis and
effects parameters, changing
colors in response to your
movements.
Adding the visionary EXB-
Firewire option enables the
M3 to interface both audio
and MIDI with your computer
using a single Firewire cable.
The M3 shows up in your
DAW/ sequencer like a plug-
in with complete control and
interactive operations.
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The M3 features the same
> PAD ME
type of multi-mode real-time
control surface as first featured
on the OASYS. Eight sliders
and switches with powerful
functionality give you total
control over tweaking internal
sounds, mixing tracks,
interacting with KARMA,
controlling external hardware,
and more.
> GREAT NEW FEEL
Eight great-feeling velocity-
> DRUMMER INCLUDED
Drum Tracks are an M3
sensitive pads can be used to
trigger notes, chords, even
innovation – natural sounding,
user-programmable grooves
controller messages for use
with KARMA or your own live
that can be played along to
for instant inspiration, integrated
performance and sequencing with KARMA for new creative
needs. You can store up to possibilities, and used as
eight notes per pad, retaining springboards for your next
all the feel and nuance of your hit song.
chord voicing, and play them
back exactly as entered, or
with full velocity scaling.
New
> SEQUENCING PERFECTION
The M3 features a new high-
resolution sequencer engine
with a professional 480 PPQ
The M3 comes in 61- and 73-
for the most natural feel. It
key synth action versions,
includes all the must-have
featuring a newly-designed
Korg innovations like One-
keybed that delivers great
Touch Record, Song
feel, fast response, and ultimate
Templates, RPPR, Cue List
control. The 88-key version
and Tone Adjust part editing.
uses Korg’s heralded RH3
weighted action that is graded
so it feels heavier at the bottom
and progressively lighter as
you go up. All three models
feature aftertouch sensitivity.
>>5
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> KARMA – THE NEXT All of the onboard KARMA > CONTROL MULTIPLIED > UNLOCKING THE > CAUSE AND EFFECTS > RECORDING POWER

OASYS GENERATION
KARMA is our revolutionary
algorithmic performance
Generated Effects have been
organized into 13 “Real-Time
Control Models,” which
The control surface has
multiple modes of operation –
it can be a mixer for the 16
COMBINATION
Combination mode provides
the ability to layer and split
OASYS offers an astounding
12 Insert, two Master and
two Total effects. With 185
HOUSE
OASYS combines Korg’s
acclaimed 16-track MIDI
OPEN ARCHITECTURE technology that generates
amazing phrases, grooves,
standardize controllable
parameters and assignments.
MIDI or audio tracks, a real-
time interface for sounds and
up to 16 Programs, freely
blending all the synth engines
algorithms, the possibilities
are vast and include the
sequencer with 16 tracks of
Audio recording. Up to four
SYNTHESIS STUDIO and other musical effects that
can be altered and
OASYS OS 1.3 has added
support for loading new and
KARMA parameters, and can
even be used to control
to create amazing new
textures. A powerful Tone
ToneWorks (REMS) mic,
amp and speaker models;
tracks of 16-bit, 48 kHz
audio can be recorded
creating your own KARMA external MIDI gear. the Chorus/Vibrato circuit
randomized in real time. Adjust feature allows easy simultaneously with
IN A CLASS ALL ITS OWN patterns via optional software
available from Karma-Lab.
tweaking of over 33 timbre from the CX-3; and more! automation editing provided.
> KARMA 2 > UNDER CONTROL parameters. Record through the on-board
OASYS brings together over 40 years of refined expertise in making the finest This easier-to-use, second OASYS offers a large, 10.4" effects, and use the many
musical instruments in the world. OASYS is more than the instrument you buy generation KARMA includes
> PAD CONTROL color TouchView display. The mic, amp and speaker
today; it’s a platform to support Korg innovations for years to come. Powered by The OASYS also features traditional joystick, dual models to enhance your
KARMA Wave Sequencing,
eight velocity-sensitive drum switch and ribbon controllers recordings.
an ultra-fast processor and an open architecture, OASYS offers all the benefits of which manipulates the
pads which can be used to are joined by a Vector
a variable software system with the hardware integrity that can only come from a playback of the samples
trigger notes, controllers, or joystick, eight knobs, 16
fully-integrated instrument design. used for a sound, allowing
chord voicings. switches, nine sliders, plus
each note triggered to
access a different waveform. three pedal inputs.
FANTASTIC FOUR AND MORE!
OASYS ships with four synthesis engines that deliver a new level of realism,
fidelity and sound quality for a professional musical instrument.
> HD-1 STELLAR SYNTHESIS
The HD-1 High Definition PCM synthesizer offers up to 172 notes
of polyphony and comes preloaded with a staggering 628 MB of
wave ROM. This includes stereo waveforms with long sample lengths
and up to 4-way velocity-switched instrument and drum samples.
Dual multi-mode resonant filters, three LFOs per-voice, a 3-band EQ,
and three detailed Envelope Generators allow for very complex and
nuanced Program design.

BLAST FROM THE PAST

Vector Synthesis smoothly blends between the two oscillators for ever-shifting
timbres. Wave Sequences play back a series of selected waveforms, creating
either distinctive rhythmic effects or complex and continually evolving sounds.
FREE HD-1 SAMPLES
We’ve included the first two Expansion Sample (EXs) releases for free; the
EXs-1 is a 313 MB Expansion set, and the EXs-2 is a 503 MB Concert Grand
piano offering unparalleled realism
EXs-3 NEW BRASS AND WOODWINDS
This large optional Expansion sample library (over 700 MB!) features a wide
variety of natural-sounding brass and woodwind instruments. Each instrument has
long samples taken at many points, giving you extremely nuanced and realistic
sounds. Individually played notes can be richly expressive, thanks to the included
samples of idiomatic dynamics, trills, falls, growls, and staccato articulations.
Methods of Synthesis: PCM, Analog Modeling, String
> AL-1: THE ULTIMATE VA Modeling, Tonewheel Organ Modeling, VPM, Waveshaping
The AL-1 is a state-of-the-art virtual analog synth delivering 96 notes of Preset PCM: 314.6 MB (1,505 multisamples, 1,388 drum
polyphony. Dual oscillators offer eight waveforms with modulatable shapes, > MOD-7 ADVANCED samples)
along with a sub oscillator, noise generator, and audio input. Sync, FM, and WAVESHAPING VPM Sample RAM: 500 MB*— expandable to approx.1.5 GB
several varieties of ring modulation offer plenty of tone-mangling power. Korg’s SYNTHESIZER Output: L/MONO, R, Individual 1-8 (1/4"), headphones

> OASYS AT A GLANCE

new MultiFilter provides 21 different filter configurations. Awealth of modulation > POLYSIX EX OASYS version 1.3 adds the (1/4" stereo), S/P DIF
The PolysixEX reproduces MOD-7 Waveshaping VPM
riches include five re-triggerable envelopes; four tempo-synced LFOs; dual the features and sonic Input: Audio Inputs 1 and 2 (XLR-1/4" phone combi
synthesizer option, a
AMS Mod Mixers; and a 32-step Step Sequencer. > MS-20EX character of the classic Korg jacks), Audio Inputs 3 and 4 (1/4"), S/P DIF
powerful, semi-modular
The MS-20EX is a faithful re- Polysix, including the synthesizer, combining Control Input: Damper pedal (half damper supported),
> CX-3 = ORGAN-IC AUDIO creation of the Korg MS-20 arpeggiator, and effects. As Variable Phase Modulation assignable footswitch, assignable footpedal
analog synth, perfectly with the MS-20EX, we added (VPM), waveshaping, ring Interface: Four USB 2.0 type A connectors (for external
Expanding on the current Korg CX-3 organ, this EXi expansion instrument
reproducing its distinctive the Legacy version’s modulation, PCM sample USB devices)
features dual drawbars and control over every nuance of the sound, including features, up to 172 note
timbral signature. It includes playback, and subtractive Disk Drives: 20 GB HDD (2.5"), CD-R/RW
leakage, key click, chorus/vibrato and a complete rotary speaker simulation. It all of the features from the polyphony, plus new synthesis. VPM refers to
also features Korg’s unique EX Mode which adds additional harmonics and OASYS-only additions. Dimensions (W x D x H) in.: 76-key: 49.84 x 19 x 5.3,
Korg Legacy MS-20 plug-in, Korg’s patented contributions
percussion tunings. 88-key: 57.4 x 1 x 5.3
an abundant 48 voices of to Frequency Modulation
> LAC-1: A LEGACY FOR polyphony, and significant, (FM) synthesis, as made *Capacity of sample RAM varies based on the use of EXs PCM libraries.
THE FUTURE! OASYS-only extras. famous on classic Korg KARMA® (Kay Algorithmic Realtime Music Architecture) and the KARMA
> STR-1: STRINGS AND THINGS The fifth and sixth synth
included free and can be Logo are registered trademarks representing patented technology licensed
unlocked for full operation via a instruments such as the
The STR-1 Plucked String lets you use 16 different “pluck” types, noise, or any models are the distinctive Prophecy and the Z1 — and
from Stephen Kay, Karma Lab LLC, www.karma-lab.com.

PCM waveform to pluck, strike, scrape, or otherwise “excite” a virtual string.
MS-20EX and the rich-
Other unique modeling parameters involve damping, harmonics, and dispersion sounding PolysixEX, available
– even physical characteristics of the string and modeled feedback interaction. in the LAC-1 Legacy Analog
bundle. Demo versions are
code purchased from the To hear and see more and find complete specifications
the MOD-7 takes this
korguser.net website. and options, go to: www.korg.com/oasys
technology to a completely
new level.

>> 6 >>7
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TR > BACK-UP, BE SAFE

You can use compact,
affordable, high-capacity SD
> TOTAL CONTROL
MUSIC WORKSTATION cards to transfer data in and
out of the TR or to make
backups to your computer.
BLAZE TRAILS. BE BRILLIANT.
There are four knobs that offer
fixed and assignable functions,
> SCREEN SENSATION
plus two assignable switches
and foot pedal jacks. These
provide you with a full range of
indispensable control over
synthesis parameters, effects
The TR offers an easy-to-
understand interface with
> FANTASTIC SOUNDS
clearly laid-out screens. The
240x64 pixel LCD features
adjustable contrast so you
can view the display even in
low light on stage. You can
The 64 MB PCM waveform
memory is jammed with new
> CAUSE AND EFFECTS
sample data, including 470 high-
quality multi-samples and 518
outstanding drum samples, many
with multi-level dynamics and
stereo imaging. These are shaped
The TR offers a broad palette
of 89 types of effects to enrich
> IN SEQUENCE
There’s an onboard 200,000
note, 16-track sequencer with
your sound creations and
productions. The section consists
One-Touch Record, Song
Templates complete with
of two Master effects, one pre-programmed drum patterns,
stereo Insert effect and one and RPPR phrase-based
Master EQ. pattern sequencing.

>TR MUSIC WORKSTATION AT A GLANCE

Korg’s TR Music Workstations distill the essential power settings, and MIDI control. also quickly flick through into 512 awesome Programs and
Programs, Combis, 384 Combinations (blends of up
and creativity of the acclaimed TRITON into an affordable
waveforms and effects using to eight Programs for advanced Synthesis Method: HI (Hyper Integrated) 48 kHz
all-in-one package. We start with Korg’s proven HI sound the Category Select function. splits/layers and mixtures). sound engine
engine and then add in a comprehensive 64 MB sample
set including many new acoustic instruments. Plenty of Sampling: 64 MB PCM ROM
new Programs and Combis were created from these Max Polyphony: 62 voices, 62 oscillators
sounds for a soundset that covers all genres and tastes. (single mode)
The TR workstations boast modern USB MIDI and SD Keyboard: 61-key and 76-key: velocity and
aftertouch sensing, 88-key: real-weighted (RH2)
storage, Korg’s classic 16-track sequencer, a superb
keys, velocity and aftertouch sensing
effects engine and a user-friendly interface. What’s more,
Effects: 2 master, 1 insert, master EQ, 89 types
with three different sizes to choose from, there’s sure to
be one to suit your needs. Presets: GM sound map compatible, 512
Programs (512 preloaded), 384 Combinations
(384 preloaded), 24 Drumkits (16 preloaded)
Sequencer: 16-track, 200-song, 200,000-note
Arpeggiator: Dual polyphonic
Ins & Outs: L/mono out, R out, individual outs
1 & 2, headphones, USB-B, SD card slot, MIDI
In/Out/Thru
Display: 240 x 64-dot LCD backlit display
Dimensions (W x D x H) in.: 88 key: 55.67 x
User-friendly interface 14.37 x 4.84; 76 key: 49.51 x 11.9 x 3.75;
61 key: 41.15 x 11.91 x 3.75
For soundclips and more go to:
www.korg.com/TR
> EXPRESS YOURSELF > THE ART OF ARPS > SAMPLE THIS > BELIEVE IN USB > VERSATILE STYLES
The four-way joystick lets you The richly expressive dual With the EXB-SMPL The USB connector lets you make The TR Music Workstation
vary the pitch and apply arpeggiators generate powerful upgrade, the TR has full- MIDI connections with your comes in three different sizes
modulation effects such as performances. You can use fledged sampler capabilities, computer using just a single covering every performance need:
vibrato or wah. one arpeggiator in Program including advanced functions cable – no MIDI interface needed! 61-key and 76-key synth actions,
mode and both arpeggiators such as graphic waveform and an 88 weighted-key version
Real-time knobs simultaneously in Combi editing, timestretch, with graded action. All models
mode, and you can even crossfade looping and time include aftertouch sensitivity for
record their output directly slice. increased expression.
into the internal sequencer.

X50 > MULTI MODE

Use the 16-part Multi Mode
with your favorite sequencer
> USB IT
MUSIC SYNTHESIZER
or DAW application. You can
save and recall 128 of these
A single USB cable connects
the X50 to your computer,
> PERFORMANCE
and the included editor/
librarian software can run as a
CONTROLS
> HELP ME
The TR’s low-profile panel
offers traditional Pitch and
Mod wheels, and the new
Finding the right sound has
never been easier! The X50’s
> ALL IN THE FAMILY
Category Select function makes
it quick and easy to choose the
Sharing the same great 64 MB
ROM, 512 sound Programs, and
> STYLISH AND
FUNCTIONAL DESIGN Synthesis Method: HI (Hyper Integrated) 48 kHz
sound engine
The lean-and-mean design of the
384 Combinations as the TR X50 ensures that it can fit into PCM ROM: 64 MB: 470 multi-samples and 518
series, the X50 allows you to the smallest home studio

> X50 AT A GLANCE

drum samples
flexible multi setups internally. plug-in for an integrated ClickPoint™ cursor system sound you need from the vast share sounds and songs with workspace or tight stage setup,
approach we call “Virtualized array of high quality sounds. Korg users around the world. Keyboard: 61 keys, velocity-sensitive
THE MUSICAL HEART OF TR Hardware.”
makes navigating the X50 a
breeze. There’s also an Audition Riff
and thanks to its cool side
handles it is easy to take along Max Polyphony: 62 voices, 62 oscillators (single
function that provides one-touch wherever you go. Even with a mode)
With modern styling, integrated handles, and a
audition of each Program. 61-note keyboard that gives you Effects: 2 master, 1 insert, master EQ, 89 types
lightweight stealthy design, the X50 packs all the sonic
plenty of room to perform, the Presets: GM sound map compatible, 512 programs
brilliance and clarity of the TR. The head-turning X50
X50 boasts an ultra-light weight (512 preloaded), 384 Combinations (384
leaves out the TR’s sequencer-based production tools, of only 9.5 lbs. – about the same preloaded), 128 multi-sets (16 preloaded), 40 drum
sampling option and media slot, offering a lean as an electric guitar. kits (16 preloaded)
performance synthesizer with real audio firepower for
Arpeggiators: Dual polyphonic, 251 patterns
live performance or computer-based applications.
Now comes with the Display: 240 x 64-dot backlit LCD
valuable Creative Kontrol Ins & Outs: L/mono out, R out, individual 1&2 outs,
Pack Vol.3!! See page headphones, damper, switch, pedal, MIDI In/Out,
16 for more information. USB
Dimensions (W x D x H) in.: 38.39 x 10.12 x 3.15
For video demo, sound clips and more info go to:
www.korg.com/x50
Select sounds easily with the Category/Audition function

>> 8 >>9

www.korg.com
KAMAL GRAY OF THE ROOTS
DEEPLY ROOTED Written by Jenn Plonski
“A big portion of my life was spent tug-of-warring between jazz and
hip-hop. A lot of time during my youth was spent trying to follow the
trends of hip-hop: break dancing, DJ’ing and graffiti writing. Then I had
my dad on the other side saying, ‘Get away from that hip-hop stuff,
you need to be over here sitting down at this piano, playing this jazz
music.’ I kind of fell into both musical categories growing up.” And
that, my friends, is where the story begins for The Root’s 14-year
keyboard veteran, Kamal Gray.
“Early on in my musical development, with my hip-hop edge, I met my
manager Rich. He gave me an introduction to MIDI and keyboards
through a production course for little kids that he was teaching. Rich
and I developed a relationship that we kept through the years, and he
eventually went on to put The Roots together. He called me up and said,
‘You should be in this group that I’ve got. We need a keyboard player.’
I’d say ‘I can’t really do it. You know, my dad…this, that and the other
thing. I’m in trouble. I’m here. I’m there.’ Rich came back with, ‘Aw
man, just graduate high school, and see what you’re going to do.’ It
seemed like the day I graduated he was on my phone, ‘So, what’s up?
The guys are in London. Why don’t you meet up with us? We’re going
to go live in London for a little while.’ Live in London? I had all the
pressures of going to college, and other things that I wanted to do, but
eventually I agreed. The next thing you know, I’m living in London with a
bunch of people I didn’t know except for my manager Rich and our bass
player Hub,” explains Kamal. Little did he realize at the time but these
‘people’ would soon become his fellow band mates, the ‘legendary’
Roots. Sitting across from me at The Studio, in Philadelphia, PA, Kamal
still seems amazed telling his ‘right place at the right time’ story…
“I was just there. Seriously, the second I graduated from high school. I
was in London, in a two bedroom apartment with, I don’t know, seven
of us. Living there, fighting over beds and who was sleeping in which
bedroom. We lived off of fish and chips. It was quite an experience. I
had been places, but I had never been anywhere by myself for that long
of a period of time. We developed a brotherhood, but it was similar to
being broke. Seriously, like being a broke-ass family, living in one place
together. That type of situation will definitely bring you together and
cause you to develop a bond. There’s nothing else to do in that
situation but be a man. You walk out into the streets, and you’re on
your own,” Kamal reflects.
Looking back, hopping a plane to London fresh out of high school may
have been one of the smartest decisions that Kamal could have made.
The Roots are now a Grammy Award-winning ensemble that also have
various MTV Award nods, a N.A.A.C.P. Image Award for Best Duo or
Group and the prestigious honor of being named one of the ‘twenty
greatest live acts in the world’ by Rolling Stone!
Some of Kamal’s major musical influences growing up were
Thelonious Monk, Herbie Hancock and Chick Corea, and he actually
got a chance to meet and get involved with those guys at an early age,
too! But when he was a bit older, Kamal started getting into Prince
(now the artist formerly known as…) “When Prince came around, I
thought, ‘Oh man, he looks like me a little bit. We were both light-
skinned and had these big giant curls that I hated when I was growing
up,” Kamal laughs. “I immediately thought, ‘I need a guitar, I’ve gotta
have a guitar. It gets you girls, dude!’ And my dad bought me a guitar.”
Classic sibling rivalry is what we’ve got to thank for the Kamal Gray
Photo by Keith Smith we all know and love today. He explains, “Eventually, I wanted to play
Location: The Studio, Philadelphia, PA the piano because my little brother was taking piano lessons. I’d tell
him, ‘I can do that. That’s easy, son!’” Thankfully for all the fans out
there, the lessons took off really well.
>> 10
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Gear-wise, this musician’s path is the same as many of the greats that
came before him. Now, coming upon the 20 year anniversary of Korg’s
breakthrough best-selling workstation of all time, Kamal recounts how it
all went down. “The first Korg keyboard I was introduced to was the
Korg M1. I had a friend who did all of his stuff on the M1 back in the
day. My piano teacher had one, too. When I started making my own
money and buying keyboards, I was introduced to the Korg Trinity. That
was a sound being used by a lot of people. We bought a few Trinitys
around here. I used them to make beats over and over and over. I knew
almost every sound in the Trinity. Then, I knew it was time to upgrade. I
used the Trinity on stage, but I got a Korg TRITON to use on my
recordings and for the albums. That kind of put me in a situation where it
had to be a staple in my performance because those were the sounds
that I used on all of The Roots recordings. It was the easiest thing. It
became second nature to me. The TRITON has been a staple for our
performance, because I understand that workstation for what I need to
use it for. The main thing about the TRITON that’s always made it so
usable for me is the touch screen. During the show, I don’t want to have
to turn knobs and scroll through things. I can push the screen three
times, and I’m right at the sound that I need to be.”
Moving forward, there’s always room for change, explains Kamal, “I can
definitely see myself using the Korg M3 for sounds and production
because I already have an idea of how to use it.” Continuing, “I’m the
worst at learning something brand new. I’ve had a few new keyboards
put in front of me that I didn’t understand. The fact that the M3 is so
very familiar to me in a lot of ways, though it has a lot of new toys built
in, will allow me to progress and move forward. I can definitely see
myself incorporating it more. Maybe it’ll eventually replace the TRITON.
The M3 has the quality that I need in a keyboard, and since I can build
one of my main sounds, the Rhodes, to my liking with the M3, that’s
pretty cool, too.”
Since he was just starting to dig into all the rich features the M3 offers
at the time of this interview, Kamal was bursting with product
knowledge. “I like all the effects options, the expansions, the fact that
you have a whole extra board, the RADIAS, to load into it and the idea
of having pads built in. It’s pretty cool to be able to assign chords to
different pads. It will take time for me to figure out ways to use some of
the features.” But wait, he remembered, “The KAOSS pad function in
the touch screen – now that seems like something that’s going to be fun
to use on stage to spice up my solos and give me some flair!”
All in all, Kamal is decidedly a humble guy (don’t let his Paul Wall
designed diamond grill fool you!) and a proud dad with some great
insight for up and coming musicians. “You know what’s funny is that I’ve
done so many things that are far beyond my wildest expectations of
being a musician that I look at them and am numb to it now. I’ve played
with the best; I’ve been around the best and eaten with the best. You
know what I mean? I’ve been everywhere, done everything that I can
imagine doing. I feel my biggest accomplishment is sticking in there as
long as I have and not giving up on any of it. Never thinking in broke
times that it was never going to work. The most major accomplishment
is sticking in there this long and keeping it moving, because it’s what
I’ve gotta do.”
The Roots expect to release their yet-to-be named 10th album in early
2008. For now, do yourself a favor and catch up on your Roots
knowledge by picking up their 2006 release Game Theory or checking
out a live show in a city near you!
Stay tuned to www.myspace.com/theroots or www.theroots.com for the
latest info on The Roots.
>>11
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RADIAS & R3 > ENDLESS EFFECTS

Two insert effects and a two-band
> BEND ME, SHAPE ME
SYNTHESIZER/VOCODER EQ can be assigned to each
Timbre. Choose from 30 different
effect types.
AHEAD OF THE CURVE
Borrowing ultra low-aliasing modeling techniques from the > MOD SEQUENCING
OASYS, the Multi Modeling Technology (MMT) synth Modulation Sequencers (RADIAS –
engine in the RADIAS and R3 exceeds common analog three per Timbre; R3 one per
expectations and rapidly takes off for uncharted territories. Timbre) provide discrete values to a
modulation parameter that change
This powerful MMT engine first appeared in our EMX-1
over time, either in stepped or
ELECTRIBE and has been fully realized in the amazing
smooth motion, and can loop over
RADIAS and R3 synths. and over.
> PROCESSING PACKAGE
Audio inputs allow any audio signal
to be gated and filtered using the
internal synthesis and effects.
Add analog warmth by dialing up
> ACTION VOCODING
extra “Drive.” Innovative Wave
Shaping provides dramatic results
– even offering virtual “pick-up”
response.
Above and beyond traditional
> PUNCH IT UP
vocoding, Formant Motion records
the formant of a sung or spoken
phrase, so it can be recreated
anytime. The vocoder offers 16
bands for extra clarity, and a
vocoder mic is included.
Add definition and emphasis to the
> FREE EDITING SOFTWARE
Manage your sounds and formants
beginning of the sound by adding
variable amounts of Punch to
with the free sound editing and
librarian software. A single USB
reinforce the attack. connection makes transferring data
quick and easy.
> KEYS TO THE KINGDOM
Both models offer full-size, velocity
sensing keys; Pitch and Mod
wheels offer expressive
performance control.
Download RADIAS OS V2
and cool new sounds FREE at
korg.com/RADIAS

RADIAS & R3 AT A GLANCE

Synthesis Method: MMT (Multi Modeling Technology)
Max. Polyphony: 24 voices (RADIAS) / 8 Voices (R3)
Synth Structure: Four Timbres per Program (RADIAS)
Two Timbres per Program (R3)
Vocoder: 16-band with formant motion, shift and hold
functions
Effects: 30 types, 2-band EQ, 2 insert effects per timbre, 1
master effect per Program
Keyboard: 49 keys; Velocity sensing (RADIAS) 37 keys; > TWO IN ONE
Velocity sensing (R3) > AWESOME ARCHITECTURE An R3 Program consists of up to
Each of the 256 RADIAS Programs two complete Timbres. The
Accessories: RADIAS: Headset mic, mounting hardware, consists of up to four Timbres,
accessory shelf, CD-ROM; AC supply RADIAS: Program itself offers a master effect,
each with its own note-range, plus an eight-step arpeggiator.
R3: Gooseneck mic, CD-ROM, AC supply > CUSTOM CONFIGURED output, MIDI channel and more.
Connections: With enough controls for the The Program itself offers a master
effect, plus a 32 step arpeggiator
R3:
• Audio In: 1, 2 serious knob-tweaker, the RADIAS
• Audio Out: L/Mono, R, 1, 2 panel tilts up for easy access and and two step sequencers that can > STREAMLINED DESIGN
• MIDI: In, Out, Thru down when you just want to play. be applied to any or all timbres. Compact, portable and easy to use,
• USB port The whole panel slides to either the R3 keeps important controls
• Pedal jacks: Switch, Pedal side, so you can drop in the > KEEP THE BEAT close at hand, and individual
Dimensions (W x D x H) in.; Weight: RADIAS: 34.84 x 15 x matching shelf to hold a laptop, A drumkit program can be parameter displays let you dig deep
3.9 (flat), 8.78 (raised); 19.2 lbs. R3: 25 x 20.63 x 3; 6.17 KAOSS pad, mixer, etc. RADIAS is assigned to one Timbre in a when editing or programming. The
lbs. also available as a rack module. Program and can be driven from Bank Select dial keeps all 128
the arpeggiator or Step Sequencer. preloaded programs organized by
See and hear much more at:
www.korg.com/RADIAS & www.korg.com/R3 category for fast access.

>> 12 >>13
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www.korg.com

microX
MUSIC SYNTHESIZER
HOOK UP, TAKE OFF
It’s a software plug-in. It’s a hardware module. It’s
a multifunction controller. The microX is all this and
more! Its compact size makes it perfect for
gigging, plus you can use it as a fully-featured,
multi-timbral MIDI expander module!
> BEST SOUND AROUND
microX starts with the most
up-to-date version of Korg’s
legendary Hyper Integrated
(HI) synth engine and then
doubles the ROM with new,
specially created PCM
waveforms. 640 Programs
and 384 Combinations are
provided, with a special
emphasis on modern synth
and dance applications, as
well as unique ethnic
instruments and traditional
sounds.
> CASE INCLUDED
The microX comes with a
cool, custom carry case that
includes space for the
adapter and cables.
> MULTI CAPABLE
For multi-timbral
performances, the microX
offers 128 sixteen-timbre Multi
sets, perfect for working with
software sequencers.
> FINDERS KEEPERS
All sounds are grouped by
category making it easy to
find what you need, and the
Click-Point controller makes
navigating the display a
breeze.
> DUAL ARPEGGIATORS
Dual polyphonic arpeggiators
can be used individually or
together on individual or
multiple timbres.
> COMPUTER
COMPATIBLE
An External Control feature
allows 12 functions to be
assigned to the four knobs
as a “set” – and 64 of these
sets can be stored. A USB
jack talks MIDI directly with
your computer. We’ve also
included a graphic
editor/librarian program that
runs as a plug-in under VST,
AU or RTAS.
TONY BANKS/GENESIS
By Thomas James
As the keyboardist and pianist in one of the most successful and
highly acclaimed British bands of the last 40 years, Tony Banks
knows exactly what he needs from technology. “Most people think
I’m still using the old instruments, which really is a good thing!”
laughs Tony Banks, reflecting on the fine job his Korg OASYS
keyboard workstation has been doing on the mammoth 2007
Genesis reunion tour.
It was while still at school, that Tony Banks formed a series of
bands with fellow pupils Peter Gabriel and Mike Rutherford,
eventually landing a recording deal and settling on the name
Genesis. By 1970, Phil Collins had joined as drummer and,
microX AT A GLANCE together with guitarist Steve Hackett, the band fully established
themselves as one of the most important progressive rocks acts
Synthesis: HI synthesis of the era.
ROM: 64 MB
Now for the first time in more than a decade, keyboardist Banks
Polyphony: 62 voices (max)
and guitarist Mike Rutherford have been joined by Phil Collins to
Keyboard: 25 full sized keys; velocity sensing
perform a set of old favorites, celebrating the band’s 40-year
Programs/Combinations/Multi: 640 Programs/ 384
anniversary, and helping to promote a host of newly formatted
Combinations/128 Multis; GM
DVD releases.
Effects: 2 master effects; 1 insert effect; master 3-band EQ; Effect
types: 89 The task of recreating the sounds from songs written using
generation after generation of equipment has not been a simple
Controllers: Joystick, 2 assignable switches, 4 real-time knobs
Control Inputs: Damper pedal; Assignable Switch; Assignable one, but Korg’s flagship workstation, the OASYS, is Tony’s secret
Pedal weapon. It also came to the rescue during the band’s Wembley
Stadium performance as part of the UK Live Earth climate
Outputs: L/Mono, R; Indiv. 1, 2; Headphone
Dimensions (W x D x H) in.: Weight: 23.86 x 8.9 x 3.15; 5.29 lbs. awareness show in July.
See and hear more at: www.korg.com/microX Not one to hang onto his vintage gear, Tony originally intended to
Now comes with the valuable Creative Kontrol Pack Vol.3!! See recreate his old sounds using virtual instruments running from a
page 16 for more information. dedicated rack-mounted computer, but eventually decided that the
OASYS – offering a selection of different synthesis types within
the one box – was a better bet. “It is something of a coincidence
that I happened to come across it at this particular time,”
continues Tony. “I was looking at something to power my virtual
instruments and went as far as buying the hardware, but when I

microKORG
started fiddling around with OASYS I realized that I didn’t need
the other system.
> ROBUST VOICE > POWERFUL > PERFORMANCE “A lot of people do the same thing using computers, but I trust the
SYNTHESIZER/VOCODER ARCHITECTURE
Two oscillators with over 70
PROGRAMS
Grouped by genre for quick
EDITING
In performance, these five
OASYS more, and it is much easier because it’s a complete
system. I find that the trouble with virtual instruments is the
waveshapes power each of access, the microKORG is knobs default to cutoff,
RETRO TO GO! the microKORG’s four loaded with 128 great- resonance, etc. for on the fly latency. Sequencing is fine but when you are actually trying to
The future/retro microKORG delivers seriously big voices. The four filter modes sounding, fully editable tweaking.In Edit mode, they build up an idea they are not terrifically user friendly.”
sound, combining analog modeling, vocoding, provide 12dB and 24dB Programs. Each can play up provide direct access to
On stage, the OASYS provides almost all the sounds originally
slopes, with Low, High and to two Timbres, layered or every parameter.
multiple effects and step-arpeggiation with an easy- Band pass settings. Two split across the keyboard. created using analogue synthesizers and other pre-digital gear.
to-use performance interface. ADSR envelope generators, “Everything that pre-dates 1980 is almost exclusively done on the
> KEYS TO PLEASE
two MIDI syncable LFOs, > PLAY IT AND SAY IT Thirty-seven mini, velocity OASYS, and it’s been fantastic for that,” he insists. “We do a
switchable distortion and a An eight-band vocoder (with sensing keys keep the long medley starting with ‘In The Cage,’ passing through lots of
Virtual Patch matrix provide included mic) provides microKORG compact for go- instrumental passages and ending with ‘Afterglow,’ and every
unpreced ented creative exciting talking music and anywhere action – it can sound in that is from the OASYS. I don’t have any of those
microKORG AT A GLANCE options. other effects. Vocal
formants can be
even run on batteries. keyboards anymore and wouldn’t want to tour with them. It’s got a
great piano, organ, strings and voices, plus all the monophonic
captured and played
Synthesis Method: Analog Modeling synthesizers I used in the old days.”
across the keyboard.
Structure: 128 Programs; 2 Timbres per Program Tony’s live setup employs three keyboards, two of which are
Vocoder: 8-Band; Formant Shift, Formant Hold merely controllers, set up to play the sounds stored in the
Arpeggiator: 6 patterns OASYS. For each song, the relevant sounds are split between
Effects: Modulation (3 Types); Delay (3 Types); EQ the three, enabling Tony to instantly access whatever he needs
Ins &:Outs: Audio In 1; Line/Mic switch; Audio In 2, without too many button presses. “I just use about 30 or 35 user
L/Mono out, R out; Headphone presets to represent all the different songs and set it up so that
Dimensions (W x D x H) in.; Weight: 20.63 x 9.13 x 2.76; the splits are appropriate for each song. For example, for ‘In The
4.85 lbs. Cage,’ which has about seven or eight sounds, three of them can
For video demo, soundclips and more info go to: be played on the OASYS itself, the lead is played remotely from a
www.korg.com/microKORG little sprung keyboard sat on top and then I have two types of
Also available: Limited edition reverse key model. Find out organ on the third.”
more at www.korg.com/microKorgBK
Read more of our interview with Tony Banks at
Photo by Keith Smith | Location: Verizon Center, Washington D.C. korg.com/TonyBanks and find out more about Genesis at
www.genesis-music.com
>> 14 >>15
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www.korg.com

KORG Controllers padKONTROL K61P

On stage or on the run, wherever your music takes you, the K61P USB
MIDI controller can keep up with you. With responsive full-size keys, a
USB MIDI CONTROLLER wide variety of controls and a solid set of on-board sounds, K61P provides
USB MIDI CONTOLLER the versatility, power and creativity that helps you to play with confidence.
Packed with user-friendly features, the padKONTROL is
the most expressive and versatile pad controller ever! In
addition to triggering drum sounds or samples, the
padKONTROL can control soft synths and effects, trigger
loops and video clips, and act as transport controls for
DAW programs. Combining an X-Y pad, 16 illuminated
pads, foot-pedal input and assignable knobs, the
padKONTROL gives you unsurpassed, evocative power
over your musical creations.

> CONTROLLERS
Two assignable knobs provide continuous control of two MIDI
parameters.

> PAD POWER > ASSIGNABLE CONTROL > DOUBLE-DUTY > “SOUND CONTROL”
You’ll appreciate the fantastic feel of the illuminated pads. They
respond well no matter where you strike them, and each pad
The K61P offers two switches,
two knobs, a slider, mod wheel
CLICKPOINT™ The K61P takes full-featured
USB control one step beyond
K61P AT A GLANCE
The innovative ClickPoint
can have its own velocity curve so you get responsive, great- and footswitch input – all MIDI controller can be set to act as by providing 24 pro-quality Keyboard: 61 full-size keys, velocity sensitive, 4 velocity curves
sounding results every time! assignable. Switches can be a USB mouse + left click, to sounds on-board. Natural Programs: 24 sounds
set to toggle or momentary navigate through your soft sounding acoustic and electric
> X-Y PAD Connections: Pedals, MIDI Out, USB, DC in
operation, with separate on synths or DAW software. In pianos, organs, strings and
The X-Y pad can be used to intuitively manipulate any two and off values. more are right there for you Power: USB power, optional AC adaptor
addition, this versatile interface
continuous controllers in real time. It can also be set to control can be switched to send two whether you’re connected to a Dimensions: 38.66” (W) x 8.70” (D) x 2.72” (H)
realistic flams and rolls. By moving from left to right you increase MIDI controllers; one on the X computer or to a keyboard Weight: 6.39 lbs.
the speed of the roll or the distance between the flammed notes, axis and one on the Y axis. amplifier.
and by moving up, you increase the volume of the roll or the For more detailed specs, sound clips and information, visit:
second note in the flam. www.korg.com/kseries

KONTROL49
> PUT YOUR FOOT DOWN
With an optional footswitch, you can add real kick-drum parts or
close an open hi-hat. The footswitch input can also be set as a
momentary or toggle switch for any parameter.

> MAKE THE SCENE

USB MIDI CONTOLLER
padKONTROL AT A GLANCE You can save your entire set of assignments as a user scene.
There are 16 user scene locations available in the
When quality counts, the Korg KONTROL49 is ready!
Forty-nine great-feeling, full sized and velocity-sensing
padKONTROL itself, as well as 30 provided preset scenes,
Controllers: 16 velocity-sensitive, illuminated trigger pads, X-Y pad, two assignable knobs, assignable which instantly match the padKONTROL to some of the most keys, assignable knobs and sliders – dedicated LCDs,
pedal jack popular music software programs. multi-function pads, and handfuls of performance controls
Display: Seven-segment, three-digit LED provide endless performance possibilities.
Dimensions: 12.36” (W) x 9.21” (D) x 2.17” (H) > SOFTWARE BONUS
The padKONTROL comes with free editor/librarian software,
Weight: 2.12 lbs. which makes it easy to create, store and organize vast scene
For more detailed specs and information, visit: www.korg.com/padkontrol
> QUALITY KONTROL > “PAD-TASTIC” > MIDI AND MORE
libraries. Third-party software is also provided, including DFH
SUPERIOR, a 260 MB drumkit plug-in from Toontracks with over
A Vector (four–pole) joystick,
pitch and mod wheels,
These pads do it all.
Illuminated and velocity-
Sure, the KONTROL49
features MIDI in and MIDI out, KONTROL49 AT A GLANCE
2,700 samples; and Korg’s Creative Kontrol Pack Version 3. footswitch and foot pedal sensing, the pads can trigger but it also features USB for
Keyboard: 49 full-size keys, Velocity sensing; 8 touch curves
inputs and a pair of switches notes, samples and loops, single cable convenience. This
offer plenty of assignable select sounds, send SysEx arrangement allows the Assignable Controllers: 16 velocity-sensing pads
control options. Shift buttons strings, even act as transport keyboard to double as a USB/ (illuminated);Master encoder; footswitch input, 8 rotary encoders,
(as well as key transpose) controls for your computer- MIDI interface, and also 8 sliders, Vector joystick, 2 assignable switches, Mod wheel(Pitch
wheel is not assignable); foot pedal
CREATIVE KONTOL PACK VOL. 3 (CKP3) provide access to the entire
key range. Eight touch
based DAW. And of course,
the pads can also change and
provides USB bus power. An
AC adaptor is also included. Connections: MIDI IN/OUT (Out x 2 on KONTROL49), USB,
WHAT’S A CONTROLLER WITHOUT SOFTWARE? response curves can select scenes. DC In
accomodate any playing style. > NATIVE TONGUE Power: USB power, AC adapter
All Korg controllers include an impressive assortment of software to get you
started, or add to your existing arsenal, with the new Creative Kontrol Pack V > MAKE THE SCENE Native Mode allows supported Dimensions: 28.74” (W) x 12.56” (D) x 3.39” (H)
> IT’S HOT ON THE Full sets of controller software – Korg Legacy
Version 3. CKP3 features a full version of Korg’s M1 Le – the software version Weight: 10.8 lbs.
SURFACE assignments are stored as Collection, Propellerhead
of our iconic M1 workstation. Also included – Propellerhead’s Reason Adapted “Scenes.” A free editor/ Reason, Apple Logic, etc., to For more detailed specs and information, visit:
Eight assignable sliders and
3.0, Ableton Live Lite 6, lite versions of Applied Acoustics’ Ultra Analog VA-1 eight assignable rotary librarian program helps you map parameters with custom www.korg.com/KONTROL49
and Lounge Lizard, a lite version of Modartt’s PianoTeq and Ultimate Sound encoders are teamed with create, manage and save names directly to the control
Bank’s UVI Korg Edition Volume 2. Round it all up with a dedicated custom eight color-coded LCD scenes on your computer. surface with no set-up – all in
Editor Librarian, and you’re stocked with the tools you need to create right out displays. The display color Template scenes for popular real time – offering the highest
of the box! indicates the controller type, software titles are included. level integration between a
and the text shows the controller and a software
parameter name and value– package.
and you can even create and
display your own parameter
names.

>> 16 >>17

www.korg.com
LEGACY COLLECTION
DIGITAL EDITION (KLC-DE)
Korg has earned acclaim for transforming many of its historic instruments into superb-sounding softsynths.
KLC-DE offers an exacting recreation of the legendary Korg M1 and WAVESTATION, offering integration
of some of the most famous synths of all time into your computer-based production environment.
LEGACY COLLECTION
ANALOG EDITION 2007 (KLC-AE07)
The classic sounds of the MS-20, PolySix and Mono/Poly are reborn in KLC-AE07! Korg’s proprietary
Component Modeling Technology recreates not just the sound, but the characteristics and response curve
of each aspect of the original analog signal flow, to provide results that are completely faithful to the
original hardware.
> MONO/POLY
The Mono/Poly was a
monophonic/polyphonic
behemoth that many musicians
acclaimed as the best analog
synthesizer Korg ever made.
And we’ve improved its
functionality in software by
adding a powerful eight-virtual-
patch matrix for near infinite
modulation routing, two
integrated multi-effects, 16-
voice unison and up to 128
voices.
>> 18
> MS-20
This semi-modular monophonic
synthesizer has enjoyed
unbroken popularity for its thick
and solid sound, aggressive
filters and inexhaustible
patching possibilities. The
software MS-20 adds 32-voice
polyphony, up to 16-voice
unison (with detune/spread)
and flexible modulation settings.
> M1: RETURN OF A CLASSIC
In 1988, the M1 created the
workstation category and went on
to become one of the top selling
keyboards of all time, easily
surpassing an amazing 100,000
units. The M1 software softsynth
goes on to supplement this
powerhouse synth with 256 notes
of polyphony, variable filter
resonance, two Insert effects per
part and two Master effects.
> SOUGHT AFTER SONIC
UPGRADES
The M1 also contains all PCM,
Program, and Combination data
found in the original M1 and
M1EX PCM expansion, all 19
ROM cards, plus the full sound
set of the acclaimed T Series.
That’s over 3.000 sounds total!
> POLYSIX
The Polysix programmable
polyphonic analog synthesizer
provided a surprisingly full-
sounding voice structure and
powerful performance functions,
quickly becoming a worldwide > KORG EFFECTS INSIDE
hit. The Polysix software gives KLCAE-07 includes the same
you all the power of the original great MDE-X effects suite as its
hardware and then adds the brethren. Here, we include yet
same polyphony, unison and another powerful effect plug-in –
modulation enhancements as the MS-20FX – which allows
the MS-20 – readying this you to run audio through the
classic for modern music MS-20’s snarling filters and
production.
flexible DSP signal processing.
REIGN OF KAOSS
> WAVESTATION
In 1990, the WAVESTATION
introduced the world to both
Advanced Vector Synthesis and
Wave Sequencing, winning
numerous awards and legions of
fans. And all of the WAVESTATION’s
functions have been faithfully
recreated in the KLC-DE.
Furthermore, the WAVESTATION
adds all the data contained in the
six long-sought-after ROM cards
for a total of over 1,450 sounds!
> MDE-X
MDE-X is a multi-effect plug-in
providing 19 high quality effect
types derived from Korg’s digital
recorders, TRITON synthesizers,
and effects processors. MDE-X
provides a full arsenal of niceties
to satisfy all your recording,
mixing, sound designing and live
performance needs!
BOTH LEGACY
COLLECTIONS
AT A GLANCE
Compatibility: PC and Mac,
AU/RTAS/VST compatible
Operation Modes: Standalone, Plug-
In via host
Protection: SyncroSoft USB Key
For more detailed specs, sound
clips and information, visit:
www.korg.com/klcde and
www.korg.com/klc-ae2007
Proview Extra Online Newsletter. Sign up at www.korg.com/subscribe
No matter what style of music you play, record or produce, there’s always room
for some KAOSS! Korg’s ultra portable KAOSS products give you the ability to James Zabiela
add real-time creativity and expression to any performance or recording. No other
interfaces are as intuitive, immediate or just plain fun to use. By simply tapping or
sliding your finger over the touchpad of the KP3, mini-KP, or KAOSSILATOR,
you can control multiple effects parameters, manipulate samples, or produce
stunning synth sounds. I’d touch these if I were you!
“The KAOSSILATOR is such a fun gizmo. I really love it! On the way home from Miami, I
was jamming on the plane with it and the time literally flew by. The air stewardess possibly
thought I was insane as I was literally raving in my seat.”
Jesse Nelson
— James Zabiela
www.jameszabiela.co.uk • www.myspace.com/jameszabiela
“The KP3 is great because it pushes the limits and cuts through everything else that I’m
playing. I can really hear it and feel it in the PA system. I use the sampling feature a lot. I’ll
take sound samples…and use them as segues between songs, along with the synth patch,
which makes some really gnarly noise. I’m going to start messing around with the
microphone input and start doing weird stuff like sampling the crowd. Or possibly running
the mic from our lead singer and just totally tweak out a weird line that he says…”
Chris Dudley
— Jessie Nelson, Head Automatica
www.headautomatica.com • www.myspace.com/headautomatica
“I’m super excited to get to work with the KP3…I’m going to be using it on our new
Rondo Brothers
record!”
— Chris Dudley, Underoath
www.underoath777.com • www.myspace.com/underoath
“The mini-KP wins out as our new favorite studio toy. We have it linked up to our outboard
mixer and have been using it to both gently affect and radically destroy keyboards, beats off
the turntables, and anything else we can manage to run through it. It’s like having 50 of the
coolest stompboxes ever made sitting there at your fingertips. It’s also extremely killer for
using live and DJing – we are using it to bring a whole new dimension to our live sets and it DJ Enferno
never gets old or repeats itself.”
— Rondo Brothers
www.rondobrothers.com • www.myspace.com/rondobrothers
“The KP3 has so many effects packed into a small package. The power and portability make
the KP3 perfect for my Live Remix Project shows. My favorite features are the filter and
grain effects, as well as the sample banks. Plus, with the illuminated red touchpad, it looks
cooler than any performance effects processor that I’ve seen!”
— DJ Enferno
www.djenferno.com • www.liveremixproject.com • www.myspace.com/djenferno
“I can honestly say that [KP3] exceeds the fist two KAOSS Pads, which were amazing as
well! This is quiet too, which is always more helpful in the studio.”
— Aaron Johnston, Brazilian Girls
www.braziliangirls.info • www.myspace.com/braziliangirls
Aaron Johnston
“I’ve always been a big fan of Korg products and the KAOSS KP3 is just another reason
why. It’s an amazing improvisational tool for me and the interface is pretty much the most fun
you can have with a piece of gear.”
— EL-P
www.definitivejux.net/jukies/el-p/ • www.myspace.com/elproducto
EL-P
>>19

www.korg.com
KAOSSILATOR
MUSIC SYNTHESIZER
The next innovation in musical expression and creation from Korg has arrived!
The KAOSSILATOR is a new pocket-sized instrument that packs Korg's
world renowned sound along with innovative performance features in an ultra-
compact unit.
> BIG SOUND, SMALL
FOOTPRINT
The nifty little KAOSSILATOR
comes packed with 100
powerful sound programs that
combine Korg's legendary
modeling synthesizer engine
with effects from the KAOSS
PAD series, perfect for any
musical genre.
KAOSSILATOR doesn’t just
offer synths. In fact, there are
drum patterns that
automatically sync with the
selected tempo, drum hits,
basses, chorded sounds and
even realistic horn models.
> GET PLAYFUL
Whether you’re an established
“tweaker,” an aspiring
electronic artist or somewhere
in between, KAOSSILATOR is
one musical sketch pad that
you should not be without!
Anyone can instantly play
musical phrases by simply
tapping or sliding their finger
across the KAOSSILATOR’s
touch pad.
mini-KP KAOSS Pad
DYNAMIC EFFECT PROCESSOR
It’s the KAOSS Pad that fits in your shirt pocket! The new mini-KP distills 100 effect and
synth programs from the KP3 into a portable package that is perfect for music on the go.
With its familiar touch pad interface intact, it’s meant to be touched.
> GROOVE ON THE MOVE
The mini-KP is lightweight and
battery powered, yet offers
tons of features like auto-BPM
and Tap Tempo functionality,
FX hold, FX depth selection,
FX Release and more – all
derived from its big brother,
the KP3.
>> 20
> GET LOOPY!!!!
Loop Recording allows you to
record a phrase with a
specified number of beats
(maximum 8 beats = 2
measures), and play it back
endlessly. Now, go ahead and
choose a different sound and
play it on top… and repeat
infinitely! Each time you add a
phrase, KAOSSILATOR
“stacks” it on top of what was
previously entered, resulting in
complete musical works as
simple – or complex – as you
desire!
> HAS POWER, WILL
TRAVEL
KAOSSILATOR is a
completely portable, travel
friendly device that runs on
batteries, so you can have fun
creating music anywhere your
life takes you, with seemingly
endless possibilities.
> HOW WILL YOU USE
YOUR MINI-KP?
The mini-KP’s size and power
make it a perfect multi-task
processor. Keep it near your
studio and you might find that
you can quickly patch it into
the effects loop of a guitar
amplifier, directly between a
synth and mixer or… well, who
knows? No matter what you
connect it to, from a mixer, to
an MP3 player to your
television, mini-KP provides the
effects you need to do the job
– or simply have some fun.
Proview Extra Online Newsletter. Sign up at www.korg.com/subscribe
KAOSSILATOR AT A GLANCE
Programs: 100 KP3 KAOSS Pad > KAOSS TO THE THIRD
KP3 has 128 all-new effects
designed to appeal to players,
> TRIP THE LIGHT
FANTASTIC
Outputs: Line Out L, R (RCA), Headphone Jack
Power Supply: Four alkaline AA batteries
DYNAMIC EFFECT/SAMPLER producers and DJs alike.
The new pad lighting system
provides visual cues for the
Along with traditional effects – current program, held position,
Dimensions (WxDxH) in.: 4.17 x 5.08 x 1.14 The KP3 KAOSS Pad takes real-time effects control and sampling to a new delays, flangers and more – and more – it can even scroll a
For more detailed specs, A/V examples and information, visit: level! Just move or tap your finger along the X/Y pad to manipulate sample the KP3 provides exciting new custom message!
www.korg.com/kaossilator and effects parameters in a totally unique and intuitive fashion. effects, like grain shifter,
decimator, analog style filter > BEYOND EFFECTS
with a tone-bending drive
Instant drum grooves and
circuit and EQs controllable
RADIAS-inspired vocoder and
directly from the pad.
> HOW DID THEY GET ALL synthesizer sounds can also be
THAT IN THERE?!?! played on the X/Y pad.
To add another dimension of KP3 AT A GLANCE > SYNC’D UP
expression, 50 Gate
Arpeggiator patterns are there Sampling: 16 bit, 48 kHz; 24-bit A/D, D/A The KP3’s Auto BPM circuit
for the using, applicable to any Data Storage: SD Card (100 samples max) derives tempo information from
of the programs. a turntable or CD player and
Inputs: Mic (1/4" ) with trim knob; Line In L,
KAOSSILATOR also provides can sync effects to play in
R (RCA)
31 available scales to help you perfect timing, while providing
Outputs: Headphone (1/4"Ç Stereo) with MIDI clock to other devices.
devise phrases that inspire.
volume; Line Out L, R (RCA)
Interface: USB Type B (PC), MIDI IN/OUT > CAPTURE CONTRAPTION
Dimensions (WxDxH) in.: 8.27 x 8.9 x 1.93 Sampling and effects are totally
integrated, so you can sample
For more detailed specs and information,
through the effects, and even
visit: www.korg.com/kp3
resample the output to create
powerful, multi-element sounds.
> SOFTWARE SAMPLE
EDITOR
An editor/librarian program
is included so you can build
libraries of samples and edit
them using your computer
(via USB).
EMX1 AND ESX1
ELECTRIBE EMX1 & ESX1 AT A GLANCE
MUSIC PRODUCTION TOOLS ELECTRIBE • MX (EMX1)
Analog Modeling + PCM
mini-KP AT A GLANCE
The ELECTRIBES achieved instant popularity by combining interactive pattern-based Wave/Models: 207 drum; 76 synth PCM; 16
programming with unique sound generation. Illuminated step-keys, flexible pattern recording Oscillator Models
Programs: 100 options and a wealth of dedicated knobs team up in an intuitive and easy-to-use interface. Number of Parts: 16 total
Inputs: Line In L, R (RCA)
Outputs: Line Out L, R (RCA), Headphone Jack
ELECTRIBE • SX (ESX1)
Sampling (44.1 kHz)
Power Supply: Four alkaline AA batteries ELECTRIBE•SX: SERIOUS ELECTRIBE•MX: Sample Memory: 285 seconds total; 256 Stereo
SAMPLING BEAUTIFUL MODELS samples + 128 Mono samples
Dimensions (WxDxH) in.: 4.17 x 5.08 x 1.14 Number of Parts: 16 total
A wide variety of samples are The incredibly
For more detailed specs, sound examples
included, plus you can import advanced MMT BOTH
and information, visit: www.korg.com/miniKP Dimensions (WxDxH) in.: 14 x 10 x 2.44
WAV/ AIFF samples or record (Multi Modeling
and www.myspace.com/minikp Weight: 6.83 Lbs.
your own! These samples can be Technology)
played back as “one-shot” Drum sound engine For more detailed specs, sound clips and
Parts or as tuned Keyboard Parts. offers 16 information, visit: www.korg.com/emx1 and
Stretch Parts allow the tempo of different www.korg.com/esx1
sampled loops to be adjusted synthesis
without affecting pitch, so you can methods,
play multiple loops in perfect sync. providing > TUBE TONE
Samples can also be “sliced” into powerful analog Both models feature our
threshold-based segments, models as well exclusive Valve Force circuit,
allowing play back of the phrase as sophisticated using a pair of 12AX7 vacuum
at different tempos, individually additive, PCM, tubes to add warmth or edge
triggering each of the segments. VPM, unison and to your sound.
more.
> SOUND IN MOTION
Motion Sequencing captures
and replay your inspired knob
tweaks for an extra
performance dimension.
>>21

www.korg.com
KM402 & KM202
KAOSS MIXERS
With the KM202 and KM402, Korg brings a new level of control and
expression to the DJ. Both combine a pristine 24-bit digital mixer with an
adjustable curve digital crossfader, familiar cue and monitor, an integrated
KAOSS pad with effects from the renowned KP3, plus multi-modeling
EQ. Their streamlined design set a new standard for an integrated
mixer/effects processor, allowing a style of mixing and performing with
effects that is unequalled.
> DJ MIXER MEETS KAOSS
With the innovative integrated
KAOSS Pad, you can
manipulate effects using the tip
of your finger. The unique
touch-pad changes multiple
effect parameters at once to
create unique timbres. The
simple and intuitive interface
has made the KAOSS pad one
of the most popular effect
processors in the world. And
choosing which channels are
affected by KAOSS is a quick
one button operation.
> SO MUCH AT YOUR
FINGERTIPS
The KM Mixers integrate one
hundred powerful effects from
the KP3 KAOSS Pad, all with
the unique fingertip control that
made the entire line of KAOSS
products famous. The
included presets combine
simple elements such as
delays and filters in ways
you’ve never imagined to
provide a wealth of inspiration.
With the KOASS Pad’s unique
ability to “touch” your effects,
the KM Mixers provide a
unique access to effects that
will take your performance to
the next level.
> EQ ECLECTIC
EQ manipulation is a staple of
DJ performance. In response
to this need, the KM Mixers
take advantage of full-digital
processing to provide six
different sonic sculpting tools
suit any sound, from powerful
high-pass filters and full-cut
Isolation, to unique EQ curves,
all based on the opinions of
numerous famous artists. This
capability means that the EQ
knobs are now a core element
of your DJ performance, and
take advantage of the
integration with the KAOSS
effects to create performances
that use EQ in a new and
unique way.
>> 22
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KAOSS MIXERS AT A GLANCE
Line Inputs: Connectors: RCA jacks L/R Input impedance:
10 k OHMS
ZERO MIXERS
Phono Inputs: Connectors: RCA jacks L/R Input impedance: LIVE/STUDIO CONTOL MIXERS
40 k OHMS PHONO RIAA compliant
ZERO IN ON LIVE CONTROL
Mic Input: Connectors: 1/4" mono phone jack Input impedance:
50k OHMS The ZERO8 and ZERO4 combine multi-channel Firewire audio I/O, a flexible, easy to understand and customizable MIDI control
surface and multi-effects processing. That translates to total control of your music, whether mixing in the studio or performing live.
Master Output L/R: Connector: RCA jacks L/R
Booth Output L/R: Connector: RCA jacks L/R
Phones Output: Connector: 1/4" stereo phone jack
Dimensions (WxDxH) in.: 11.34 x 15.12 x 4.21
Weight: 11.02 lbs. THE PERFECT > ZERO OFFERS MORE
For more detailed specs and information, visit: INTEGRATION OF Round out both ZERO Mixers
www.korg.com/km202 and www.korg.com/km402 SOFTWARE AND with digital faders and cross
faders all with highly adjustable
HARDWARE curves, full featured cueing,
> FADER FINESSE An Input Select knob at the top
Cross-fader response is as per-channel LEDs, auto-BPM
of each channel controls an input and more, and they claim their
personal as the DJ holding it. matrix, helping to easily assign
The adjustable digital (VCDA) stake as “Uber-Control Mixers.”
the full array of inputs to the Want more? A flexible bus
crossfader offers curve control channels or stream Firewire
and calibration that let you set structure lets you stream your
audio from your computer. As we hands-on performance right
the mixer to your personal approach the “Audio + MIDI” and
style. Whether you’re mixing back into your favorite audio
“MIDI” selections, things get recording program.
dual decks, triggering from a even more interesting. In MIDI
laptop or integrating other mode, all knobs and switches
sound sources, the KAOSS change from bright orange to
Mixers adapt to your style and electric blue (ZERO8) or dazzling
personal touch. The fader feels
great, whether you’re making
green (ZERO4) to indicate that
those controls are ready to send
ZERO8 AT A GLANCE
transitions or getting into some MIDI CC to any software with a Inputs: Phono (x3): RCA L, R (with ground lug);
serious scratching. MIDI learn feature or preset CD (x8): RCA L, R; Line (x8): TRS L, R; Mic (x2):
MIDI, implementation. The “Audio XLR; switchable phantom; mic/line gain switch;
+ MIDI” provides a half-MIDI Guitar: 1/4" unbalanced
setup, leaving the EQs available
Outputs: Master: XLR L, R; TRS L, R (+4/-10
for audio.
switch); Booth: TRS L, R; S/P DIF: co-axial;
Headphone: 1/4" stereo; 1/8" stereo mini
THE ZERO EFFECTS
Total MIDI-capable controls: 128
On ZERO8, 112 effects can be
used three at a time (Master, MIDI: In, Out
send from each channel and a FireWire (x2): IEEE 1394 6-pin connector
single channel-specific). A large Dimensions (WxDxH) in.: 11.8 x 15.83 x 4.13
touch screen provides real-time
Weight: 13 lbs.
control of these effects a-la
KAOSS Pad! On ZERO4, one For more detailed specs, sound clips and
of eight effects is selectable per information, visit: www.korg.com/zero8
channel, along with one Master
effect.
SOUND SCULPTING THAT
GOES TO ELEVEN
Want sound shaping? On
ZERO8, the EQ knobs can ZERO4 AT A GLANCE
actually be set to one of five
Inputs: Phono (x4): RCA L, R (with ground lug);
EQs, three filters or three
CD (x4): RCA L, R; Line (x4): TRS L, R; Mic:
isolators per channel. That’s
XLR; switchable phantom; mic/line gain switch;
eleven options to help you
Guitar: 1/4" unbalanced
modulate your mix! On ZERO4
one of the eleven EQs are Outputs: Master: XLR L, R; Booth: TRS L, R; S/P
selectable for the whole mixer. DIF: co-axial; Headphone: 1/4" stereo; 1/8"
stereo mini
Total MIDI-capable controls: 56
CAUGHT IN A TRAKTOR
BEAM MIDI: In, Out
>Both KAOSS Mixers feature 100 Both ZERO Mixers boast Traktor FireWire (x2): IEEE 1394 6-pin connector
presets from the KP3 KAOSS Pad. Scratch Certification. This means Dimensions: (WxDxH) in.: 17.72 x 14.61 x 4.92
that Native Instruments has
Weight: 16 lbs.
evaluated the mixers and deemed
them worthy alternatives to their For more information, visit:
own Firewire I/O. And with the www.Korg.com/zero4
For more information ZEROs’ extensive MIDI control,
on Traktor Scratch you can take advantage of
Certification, visit: Scratch’s MIDI learn function to
http://www.native- customize your control over the
instruments.com software.
>>23

www.korg.com
DURAN DURAN
Duran Duran killed in the ‘80s electric pop scene, and their
newly released Red Carpet Massacre shows that they still have
the razor-sharp sensibility for combining catchy, danceable hits
with artful songwriting. With over 70 million records sold, 18
American hit singles, 30 top 30 songs in the UK, and an arena-
filling international presence, Duran Duran has endured a
longevity that is rarely associated with its contemporaries.
Bassist John Taylor explains why this is by saying, “I think it’s
just not quitting. I see groups and individuals just hang up their
guitars, their drumsticks – whatever it is, and often times people
don’t want to work out the issues that arise with their band
mates. We just keep moving forward. We love what we do,
we’re very passionate about it, and we feel very honored to still
be doing it.”
While Duran Duran did experience additional commercial and
critical success in the ‘90s with its second self-titled album, it
had its share of member changes and breaks. John says, “I left
the band for a while and I tried making music with others.
Through that experience, I appreciated the particular chemistry I
have with these guys…and I’ve got to say that we may not be
virtuosos, but there’s a chemistry we have and it works.”
Now not only are we approaching the 30th anniversary of Duran
Duran, but the beginning of the next era for the band. They’ve
collaborated with the stellar production team of Timbaland and
Nate ‘Danja’ Hills, as well as long-time Duran fan Justin
Timberlake on Red Carpet Massacre. John describes the
experience as, “Pretty damn intense. Timberlake was in the first
day on the New York session, and then we did five days with
Timbaland and Danja…we kind of felt a flow. Then Danja came
to London and he produced a bunch of tracks with us there. He
picked up from the New York sessions and got the band’s vibe.
We then worked with Justin one more time right at the very end
and cut a track with him.” He adds, “They’re very exciting guys
to work with. Since I’ve got back into the band, we’ve worked
with producers but nobody that was really on their game the
way these guys were. They were very inspiring to work with. It
just really pushed you to up your game.” The result is a
collection of powerful, club-ready cuts like “Nite Runner,” that
displays Duran’s versatility and ability to keep up with the
changing times.
John realized right away when working with this production
team that he’d be playing some keyboard bass. He says, “There
RED HOT
>> 24
Proview Extra Online Newsletter. Sign up at www.korg.com/subscribe
By Evan O’Brien
was no way that I was going to be able to make all this work
with a regular bass, and I had to find new ways of saying things
with my bass.” For his amazing synth bass sounds, John relies
on the Korg RADIAS Synthesizer/Vocoder. He loves how it
combines the old school, hands-on feel of a real analog unit
with modern voicing, user ease and capabilities. “It has
everything I could possibly want to use it for,” he notes, adding,
“I’ve only touched the surface of what that machine is capable
of. I didn’t pick up my RADIAS until we went on tour, but I have
to say it has been able to adapt to everything that I did in the
studio with Timbaland and Nate.”
When John showed the RADIAS to Duran Duran keyboardist,
Nick Rhodes, it blew him away. That led to what they call the
“electro set,” a collection of their hits that they perform on tour
where the whole band is playing synths. John explains, “We’d
sort of been talking about how a lot of bands today have what
they call the “acoustic portion” of the set. It’s become sort of an
industry standard...and we’ve done that but it never felt really
genuine because we’re not that kind of a band. When we go
back to our roots, we go back to synthesizers and early
sequencers and that sort of thing. So we thought instead of
going back to an acoustic guitar type of presentation, why don’t
we go electro?”
In addition to the RADIAS, they’ve equipped the stage setup
with a Korg M3 Music Workstation/Sampler and microKORG
Synthesizer/Vocoder. They can’t get enough of all three
instruments and are looking forward to utilizing them on future
recordings. John says, “Basically, we’re all playing keyboards in
the electro set so there was a bit of a learning curve. I was
already into them so I thought this is going to be great for me,
because I have to play a bit of keyboard in the presentation of
the new album. I suggested to Simon (Le Bon, lead singer,)
‘How would you feel about just playing a couple of lines here
and there?’ and he was willing to try it. Of course, once he
started working with the vocoder on the microKORG, he was
like a kid in a candy store! We’re all interfacing with technology
in a way certainly Simon, Roger (Taylor, drummer,) and I are not
used to, and we’re having a lot of fun. We’re really loving it.”
Be sure to check out Duran Duran’s Red Carpet Massacre and
visit their website, www.duranduran.com for additional
information on the band, including performance dates!
Photos by Stephanie Pistel
>>25
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www.korg.com

SP-250 > SUPERIOR SOUNDS > EFFECTS THAT > CALL TO ACTION > TUNING AND TIMING > BUILT TO SHARE > STEALTH SOUND
Multi-level stereo sampling ENHANCE Our RH3 graded hammer For practice and reference, a With two headphone outputs, Integrated into the SP-250 is a
ensures accurate and faithful A spacious reverb effect and action provides 88 keys and convenient metronome can be you can share your music with rich, vibrant sound system.

DIGITAL PIANO sound reproduction over the

piano’s entire dynamic
range. But piano is just the
PORTABLE PIANO SOUND AND FEEL beginning. Thirty sounds are
provided, conveniently
In creating an outstanding portable piano, KORG has
a colorful chorus can add
pizzazz, depth and motion to
the sound. The effect
settings have been optimized
for each individual sound,
a life-like grand piano feel for
confident, inspiring
performances. Three velocity
response settings tailor the
touch to the performer’s own
set to different tempos and
time signatures. Transpose
into different keys at the touch
of a button. Historical
temperaments add authentic
a friend. Student and teacher
can share lessons without
disturbing – or being disturbed
by – other family members.
Use MIDI cables to connect
Mounted into a bass-reflex
chamber is a complete stereo
amplifier and speakers. Stereo
Sound Engine: PX dynamic stereo sampling;
outputs for connecting to a
60 note polyphony (max)
recorder or stage amplification

> SP-250 AT A GLANCE

organized in three banks of
combined their finest keyboard touch, a wide variety of ten. Layer two sounds for
detailed and authentic sounds, assignable effects, a even more sonic variety.
robust integrated sound system and a solid matching
stand into a complete instrument that is both elegant and > TAKE A STAND
easy-to-use. The SP-250 is a complete
instrument offering sounds,
effects, sound system and
pedal all in one. It also
includes a sturdy, collapsible
stand that fits into a groove
on the underside of the
keyboard for a solid, secure
connection. A matching
music rack is also provided.
> SECURE PEDAL
The SP-250’s half-damping
pedal provides greater
nuance of the damper effect,
just as on a real grand piano.
The SP-250 is also This unique pedal simply
available in this elegant, slips over the stand,
limited-edition white finish preventing the pedal from
at Korg Concert Series “creeping” forward during
piano dealers. performance.
and the depth can be
specified or changed to suit
the music, the performance,
or even the room.
playing style. voicing to Baroque and
Classical performances.
your new SP-250 to your
computer or other MIDI
devices.
system are featured on the Keyboard: RH3 Graded Hammer Action;
back panel. 3 touch curves
Sounds: 30 total; (5 Pianos, 7 Electric
Pianos, 3 Church Organs, 3 Jazz Organs,
Harpsichord, Marimba, Vibraphone, Acoustic
guitar, 3 Strings, 3 Choirs); 30 Demo songs
Effects: Reverb (3 Levels); Chorus
(3 Levels)
Sound System: Bass-reflex chamber;
2 co-axial 10cm speakers, 2 11-Watt
amplifiers
Connections: Headphone (1/4" Stereo x 2);
Line out (1/4" L/Mono, Right); MIDI IN, OUT;
Pedal input
Dimensions (W x D x H) in.; Weight: 51 x 15
x 5.5; 41.9 lbs.
Accessories: Half-damping pedal, custom
tubular stand, AC adapter, music rack
Read and hear more at:
> www.korg.com/sp250

C-720, C-520, > THE PIANO EXPERIENCE

Our new PX (Piano eXperience)
> OUR FINEST KEYBOARD
As on a concert grand piano, the

and C-320
technology accurately reproduces
every dimensional detail of the
piano, using multi-velocity stereo
samples, key release and damper
CONCERT PIANOS resonance to create all of the
subtle shadings inherent in a
> PLAY IT AGAIN
superior instrument.
THE MODERN ART OF
C-520’s 88 keys feature a graded
hammer action (RH3), getting
progressively lighter towards the
top end of the keyboard. Sound Engine: Piano eXperience multi-level
stereo sampling; 62 note polyphony (max)
Keyboard: RH3 Graded Hammer Action;
8 touch curves
The two-part recorder allows over-
dub and play-along options with Sounds: 40 total; (9 Pianos, 8 Electric

> C-520 AT A GLANCE

MAKING MUSIC® > SOUND SYSTEM
The C-520’s two-way stereo sound
The C-520 Concert Piano – and the new flagship
system features two 13cm
C-720 – combine advances in sound, touch and design woofers, two 3.5cm tweeters, and
to create a series of piano instruments that is a feast for is powered by 35 Watts per
all the senses. channel. The speakers are housed
in a bassreflex chamber.
Also Available: C-320
Based on the KORG SP-250, the C-320 is housed in a more > EYE CANDY
traditional Concert Piano cabinet, and offers larger 13cm Graceful curves, elegant front legs,
speakers with 20 Watts of power per side. Available in Dark sliding key cover and a full-size
Rosewood or Light Cherry. modesty highlight the refined
C-520 cabinetry. Even the folding
> C-320 > C-720
music rack is equipped with page
retaining clips.
> POWERFUL
PERFORMANCES
Any of the 40 sounds can be
played individually. Thirty
“Performances” can quickly recall
Also Available: C-720 any two sounds – split or layered
The new flagship C-720 adds a powerfully enhanced 90 Watt bi- across the keyboard – plus all
amped sound system (featuring 16cm bass speakers) that effect, pedal, metronome, tuning
mounts “spinet-style” to the stand; a true grand piano style soft-
and transposition settings.
landing fallboard (folding key cover); decorative metal accents;
and a real wood finish. Available in Wenge (dark espresso).
songs saved internally or to Pianos, 2 Harpsichords, 2 Clavs, 2 Vibes,
Nylon Guitar, 3 Church Organs, 3 Jazz
computer via USB. For the student,
185 classical music selections can Organs, 3 Strings, 3 Choirs, 4 Basses);
30 Demo songs
be played from the recorder’s
memory, with the right and left Effects: Reverb (8 Types); Chorus (8 Types);
hand parts on separate tracks. Insert 1 & 2 (24 Types); Brilliance
Tuning: Transpose, Fine Tuning,
> TIME OUT! Temperaments (10)
The C-520 metronome features Sound System: Bass-reflex chamber;
both metronome settings and drum two co-axial 13cm & two 3.5cm speakers,
groove settings. two 35 Watt amplifiers
Connections: Headphone (1/4" Stereo x 2);
> AUTHENTIC PEDALING Line out (1/4" L/Mono, Right); Line in (1/4"
The C-520’s damper and soft L, R); MIDI IN, OUT; USB to computer.
pedals respond to varying degrees
Dimensions (W x D x H) in.; Weight: 55 x
of pressure (half-pedaling) for an
18.2 x 34.2; 116.9 lbs. (including stand)
authentic piano experience. And
the sostenuto pedal operates just *Available in Dark Rosewood, Cherry and
as on a grand piano. In > C-520 Dark Cherry
performance, the pedals can also See and hear more at:
be assigned to other functions www.korg.com/C520

>> 26 >>27
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> STUNNING SOUND > DO IT WITH STYLE New

Pa2XPro
Based on the EDS (Extended Take a drum groove, add some
Definition Synthesis) engine found percussion, toss in a bass pattern
in the new Korg M3, the Pa2XPro and stir in up to five more
provides breathtaking sound. The instruments parts and you have the
Professional Arranger Pa2XPro also borrows the stunning
multi-layer piano sound from our
foundation for a Style. The Style
section follows your chord changes
flagship C-720 Concert Piano. All and voice leading, enhancing your
TAKING THE “WORK” OUT OF WORKSTATION in all, over 950 fully editable performance by adding everything
For the musician, composer, performer and entertainer, the interactive sounds are preloaded for from tasteful and authentic guitar
Pa2XPro is the perfect musical partner, quickly transforming musical ideas immediate use, along with a full picking to a tight drum and bass
into complete, polished productions. Guided by Korg’s Real eXperience GM soundset and 64 drumkits. groove – or even a full blown
(RX) technology, the Pa2XPro combines unbeatable sound, state-of-the-art R & B rhythm section!
effects, advanced MP3 features, comprehensive sample edit tools, fully
realized musical Styles and a sequencer loaded with compositional aids.
Brimming with power, the Pa2XPro employs a slew of assignable controllers
and a new motorized, full-color TouchView interface, providing an intuitive
and musical interface that will encourage your creativity – not stifle it.

> GET CONNECTED

> INSTANT ACCESS
As each Style plays, up to four
sounds can be played along in real
time, split and layered across the
keyboard. Four “Single Touch
Settings” (STS) per Style can call
> INTERFACE LIKE NO OTHER up and switch these sounds
The intuitive color TouchVIew instantly in performance or as you
display is motorized, providing a record to the sequencer.
secure position at nearly any angle.
“Expert” and “Easy” modes show
> NON-STOP
Talk to computers, external drives
and other devices via three USB
ports (2 Host, 1 Device), including
a convenient front panel slot – ideal
for USB pen drives. All this in
addition to the internal Hard Drive.
> NEW MIC SECTION
Want to sing along? A phantom
powered XLR input feeds into
our TC Helicon powered vocal
effects – including compression,
EQ, reverb – even three part vocal
harmonies! Dedicated switches
operate the mic, harmonies and
effects.

Pa800
> SIEZE CONTROL
Two assignable switches and a
four-way joystick offer versatile
Professional Arranger real-time control. The nine multi-
mode sliders provide full drawbar
With the same renowned RX Technology and EDS organ control, MP3 volume, mixer
synthesis as the Pa2XPro, the all-in-one PA800 adds a levels, and eight are fully
pair of 22 Watt amplifiers and a four-speaker sound assignable. The optional EC-5
system. With sixty-one keys and minus a few luxury offers five assignable footswitches
as much or as little information as
you need for performance.
Contextual HELP screens are a
button push away – select any of
seven languages!
> EFFECTS EVERYWHERE
Four stereo processors access a
treasure trove of effects, from rich
reverbs and dazzling delays to
ENTERTAINMENT
Two individual sequencers allow Keyboard: 76 keys, semi-weighted; velocity
one to play while the other loads. and aftertouch
Cue the next song and use the DJ-
style crossfader to smoothly Synthesis Method: Extended Definition
transition between the two Synthesis (EDS)
sequencers. Each sequencer can Polyphony: 120 voice
play MIDI or MP3 files! MP3: Play, Record; Transpose +6/-5 steps;
Tempo change ± 30%

> Pa2XPro AT A GLANCE

features, the Pa800 offers the same great sound in a > ENDLESS POSSIBILITIES
more portable, affordable package. Each of the over 400 fully-editable
preloaded Styles contains four
variations of increasing intensity.
Three Intros (including a Count-In),
three endings, three breaks / fills
are also provided so you can add
the finishing touches to your
compositions. Need more? Each of
the four Pads can also be assigned
to a sound effect, instrument solo /
arpeggio, or even one of your own
riffs or phrases. Build your own
Styles quickly by copying parts
from different Styles.
so you can keep your hands on
the keyboard.
> BOOK ‘EM!
The Songbook feature provides a
searchable database for all your
songs, settings and more; keeping
your settings merged with
your repertoire – and all at
fingertip control.
> SUPER SEQUENCING
In addition to traditional “track at a
time” workstation sequencing, the
Backing Sequencer allows you to
capture multiple Style driven parts
at once. Step Editing allows
changing or substituting chords,
instantly re-writing all Style tracks
in the sequencer.
> NO KEYBOARD CHOPS?
guitar modeling effects from Korg’s
renowned REMS series – even an
amazing vocoder. Each track has a
three-band EQ, plus a semi-
parametric master EQ.
> PERFORMANCE
MP3 ENGINE
In addition to recording and playing
back MP3 files, the Pa2XPro allow
you to change the tempo and/or
key of MP3 files in realtime, as
they play!
Hard Drive: Internal ATA 2.5”
With the Backing Sequencer, you
Effects: 4 Stereo Processors (2 for Styles,
can Step Enter all the chord
2 for Sounds); 3-band per track EQ, Master
changes for a song, add fills, switch semi-parametric EQ; TC Helicon Vocal FX &
variations, etc., building a complete
Harmonies
backing without ever playing the
keyboard – a big plus for guitarists, Sounds: 950+ GM soundset (256 user);
singers, horn players, etc. 64 drumkits (64 user)
Styles: 400+ preloaded; 960 locations
Interface: Color Motorized TouchView
display; Easy and Expert modes
Connections:
• Pedals: damper, assignable, EC5
• Audio In: Balanced TRS 1, 2; XLR
w/Phantom
• Audio Out: Balanced TRS L/mono, R, 1,
2; Digital (Co-Axial)
• MIDI: In, Out, Thru,
•USB: Host (x2 – one on front); Device
Dimensions (W x D x H) in.; Weight: 47.52 x
14.37 x 5.35; 39.68 lbs.
See and hear much more at:
www.korg.com/Pa2XPro

>> 28 >>29
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Pa500 > PERFORMANCE

THE PROFESSIONAL
ARRANGER AT THE
AMATEUR PRICE
Like its big brothers – the Pa800 and
the Pa2XPro – the Pa500 uses our RX
(Real eXperience) technology to deliver
a sound unprecedented in an arranger
keyboard. With exclusive Korg features
such as the XDS Dual Sequencer,
intuitive TouchView interface, quarter-
tone on-the-fly and a four way joystick
for realistic articulation, the only thing
really missing is a big price tag!
Pa500 AT A GLANCE
Keyboard: 61 key; velocity sensing
Synthesis Method: Extended Definition Synthesis (EDS)
Polyphony: 80 Voice
Effects: 4 Stereo Processors (2 for Styles, 2 for Sounds); 1 Final EQ
Sounds: 880 (including GM Level2 soundset + 56 drumkits)
Styles: 320 preloaded; up to 448 locations
Interface: TouchView (monochrome)
Connections:
• Pedals: Damper, Assignable
• Audio In: Left, Right
• Audio Out: Left, Right
• MIDI: In, Out
• USB: Device
• Card: SD / MMC Memory
Sound System: 15 Watts (x2); Dual 10 cm Speakers in reflex enclosure
See and hear much more at: www.korg.com/Pa50
POSSIBILITIES
> SINGLE TOUCH SETTINGS
No doubt: Korg’s Style
programming is world class. With
up to eight parts, four variations,
three intros/count-in, three
fills/break and three endings, each
Style is a complete musical
environment. Advanced features
such as Syncro Start/Stop, Fade
In/Out, Assignable Pads, Tap
Tempo and Manual Bass allow
you to spontaneously add complex
and professional touches to your
performances.
> PRODUCTION POWER
New
Need to switch sounds fast? Four
> STUDIO SIMPLICITY
Traditional linear 16 track
STS (Single Touch Settings) sequencing is enhanced by our
buttons allow you to have up to step edit/entry feature and unique
four sounds split and layered backing sequencer. The backing
across the keyboard and switch Sequencer captures each Style
them all instantly with a single instrument on a separate track
button press. The STS and MIDI channel, making it easy
assignments can be saved to re-write or edit an individual
independently for each Style. part later – without re-writing a
entire Style. With Step Edit/Entry,
you can actually just type in your
chord changes without ever
playing the keyboard – a real plus
for guitarists, singer, and other
instrumentalists.
> ALL IN ONE
Hiding inside is a full stereo sound
system with two speakers in a
bass reflex enclosure for the best
sound in a small box. The Pa500
is completely self-contained and
easily transportable – whether
rushing to a gig, jamming with
friends, or teaching a new tune to
the band. We couldn’t fit any
more fun in here if we tried.
Four internal effect processors > SAVE IT FOR LATER
allow you to add any of 124 In addition to providing a USB to
different effects to any and all of computer connection for moving
the Style instruments and/or the and saving data, the Pa500 can
parts you play live (realtime also save and read data from SD /
tracks). Developed for our Digital MMC memory cards for instant
Recording Studios and Pro-level access to your custom data, MIDI
workstation instruments, these files, songs, and performances.
effects are all studio-quality and
offer full parameter editing. A final
semi-parametric EQ allows even
more custom control.
> NON-STOP ENTERTAINMENT
In addition to being a serious
instrument, our unique dual SMF
player, ensemble modes, and
simplified chord recognition transform
the Pa50 into a non-stop
entertainment center for even the
novice musician!
SOUND THOUGHTS
ON THE MR SERIES RECORDERS
By Leslie Buttonow
MICHAEL BISHOP
Grammy Award-winning engineer Michael Bishop has an affinity for good sound. He’s been at the helm for some of
the world’s best classical, jazz and blues recordings on Telarc, a label known for amazing sound quality and clarity. It’s
no wonder that Michael was drawn to the Korg MR-1000 1-bit recorder. He shares his initial reaction, “I came
from DSD systems that took eight engineers to run. Now I have one that’s running on eight AA batteries! And it’s
so easy – within 30 seconds, I had it up and running.”
Michael first used the MR-1000 for a Cincinnati Symphony Orchestra session. He explains, “I put some mics in
front of the orchestra while I was recording because I wanted to see what the MR-1000’s mic pre-amp was
going to do by itself. I also brought the MR-1000 into the control room. When I played the recording back in the
control room of just a two microphone set-up that went straight into the MR-1000 at 5.61 MHz, Bob Woods, the
session’s producer, said, ‘Boy I could put that out today and not make apologies for it.’ It was that good with
Michael Bishop such a simple set-up.”
Visit www.wired4music.com to learn more about Michael Bishop.
HERBIE HANCOCK
Jazz legend Herbie Hancock was also turned on to the high quality sound capture of the MR recorders. During
Herbie’s tour in Japan, FOH engineer Bill Winn recorded each show and was so impressed with the MR-1000’s
sound quality he suggested that Herbie consider releasing them as a live recording. And after hearing the results
himself, Herbie commented, “The spatial sound spectrum is very apparent –almost like hearing 3D.” He
concludes, “They sound fantastic, stunning. They take your breath away.”
Find out what’s going on with Herbie at www.herbiehancock.com
RUSS LANDAU
The MR-1 and MR-1000 have found their way to the remote regions of China. Composer and producer Russ
Landau brought them there to help record traditional Chinese instrumentals and chorus parts for a new variation
Herbie Hancock
of the theme song for the wildly popular TV show, Survivor. He shares his reaction to the experience, saying,
“The stealthy beauty of both of Korg’s new 1-bit recorders, the MR-1000 and the MR-1, allowed me to get up
close and personal to my subjects without distracting them from the music at hand. The 2.8 and 5.6 Mhz
recordings have a resolution I’ve never before heard in a digital format. The veil has lifted!”
Find out more about Russ at www.russlandau.com
TIMOTHY MONTLER
Timothy Montler, a linguistics professor at the University of North
Texas, has received a grant from the National Endowment for the
Humanities to create a dictionary and electronic text archive to help
preserve the endangered Klallam language used by the Lower Elwha
Klallam American Indian tribe in northwest Washington. As he
explains, “Future-proofing our recordings is of utmost importance to
Russ Landau our project, since this may be our last chance to record these
languages in a medium that won’t degrade over time. The MR
recorders are assisting in our quest to permanently preserve a piece
of native American history.” To learn more about this project, please
visit http://www.ling.unt.edu/~montler/Klallam/
PETER WOLF
If you’ve heard hits by the Commodores, Heart, Natalie Cole or Santana or watched Top Gun, Pretty Woman or
The Never Ending Story then you’re already familiar with the work of multi-Grammy nominated composer,
producer, arranger and keyboardist extraordinaire Peter Wolf.

Pa50
Peter and his wife, Gilia, recently used the Korg MR-1000 on her new Christmas album. “I heard it and was
really blown away!” says Peter. “We mixed the album to the MR-1000 – it really sounds fantastic! We usually mix
to 1/2 inch analog tape because the bottom end is so much better. But we compared it to the MR-1000 version
Based on the Korg Pa80 – the instrument that started the Arranger Revolution – the and felt that we didn’t have to do that any more. The sound was huge already!” Peter also uses the MR-1000 in
Pa50 provides the proven TRITON synth engine combined with our XDS dual his everyday musical activities. “I’m using it for my composing ideas – I have two C-12s recording my
sequencer, studio-quality effects, and an internal stereo speaker system. Eight-part, Boesendorfer piano.
world-class Styles along with assignable pads, a four-way joystick and other For more info on Peter Wolf, visit www.opus26.com; www.myspace.com/peterwolfmusic;
performance features keep you in control. A huge custom backlit LCD lets you view www.powerhausmusic.com.
everything at a glance.

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MR-1000 > PRISTINE FIDELITY > PURE AND SIMPLE > THE 1-BIT ADVANTAGE > REAL WORLD > FREE INTEGRATED

& MR-1
1-bit recording is the latest
advancement in audio. It
offers a frequency response
of DC to 100 kHz and
1-BIT PROFESSIONAL dynamic range of 120 dB,
exceeding even the best
MOBILE RECORDERS analog tape recording
systems, and has already
UNCOMPROMISING, been adopted for use in the
FUTURE-PROOF FIDELITY critically acclaimed SACD
recording format. This
AT AN UNPRECEDENTED PRICE uncompromising fidelity, low
Korg’s new, super-portable MR Professional Mobile noise floor, extended dynamic
range, lifelike imaging and
Recorders break new ground by providing high fidelity
analog quality depth has been
1-bit recording technology at unheard of low prices. praised by top experts.
The hand-held MR-1 provides high quality 1-bit/2.8
MHz recording and playback, while the mobile/tabletop
MR-1000 delivers an astonishing 1-bit/5.6 MHz,
doubling industry DSD recording quality standards.
Today’s state-of-the-art 24-bit
converters already use high-
speed 1-bit conversion to
capture audio, and then
employ real-time decimation
and other processes to thin
out the data stream into the
correct bit depth/sample rate
to match the desired format.
The beauty of the MR’s bit-
stream format is that it uses
the original 1-bit data, without
the need for the other
processes. What comes in
comes out, with no
manipulation needed.
In addition to providing the
finest audio performance
available, the 1-bit format can
be readily converted to any of
today’s multi-bit PCM formats.
The critical issue is that you
want to be capturing your
recordings/mixes in the highest
fidelity possible; you can always
repurpose it to the format of
your current project, but if you
haven’t recorded it with the
best fidelity in the first place, it
can never be improved upon.
FEATURES
Recording formats include
DSDIFF, DSF, and WSD 1-bit
formats, as well as multi-bit
PCM format (BWF) with
resolutions up to 24-bit/192
kHz. Both MR recorders
feature an internal hard drive
and a USB 2.0 connection for
fast and easy file sharing with
your computer.
SOFTWARE SOLUTION
Korg’s innovative AudioGateTM
software for Mac® and PC
converts 1-bit recordings into
WAV and AIFF formats at
various bit-rates (and vice
versa) and offers real-time
conversion and playback of 1-
bit files. Free with every MR,
AudioGate also offers DC
offset removal, gain control,
and fade in/out.
> AUDIOGATE SOFTWARE
ACTUAL SIZE

MR-1000 AT A GLANCE
Recording Formats: <1-bit audio formats> DSDIFF, DSF, WSD:
2.8224 MHz @ 1-bit, 5.6448 MHz @ 1-bit <PCM audio formats>
WAV, BWF: 44.1 kHz @ 16/24- bit, 48 kHz @ 16/24-bit, 88.2
kHz @ 24-bit, 96 kHz @ 24-bit, 176.4 kHz @ 24-bit, 192 kHz @
24-bit
Number of Tracks: 2 tracks, 2-track recording/playback
simultaneously
Input L/R: XLR-3-31 type / 1/4" TRS phone combo jack
(balanced)
Output L/R: XLR-3-32 type (balanced), RCA jacks (unbalanced)
Headphones: 1/4" stereo phone jack
Internal Hard Disk Drive: 40 GB
Dimensions (W x D x H) in.; Weight: 7.56 x 6.7 x 2.2; 2.20 lbs.
Power Supply: AC adapter, or 8 AA batteries (not included)
Accessories: AC adapter, carrying bag, CD-ROM (AudioGate
audio file conversion software)
Find out much more at: www.korg.com/MR1000

MR-1 AT A GLANCE > MR-1000 –

Recording Formats: <1-bit audio formats> DSDIFF, DSF, WSD: FUTUREPROOF
2.8224 MHz @ 1-bit <PCM audio formats> WAV, BWF: 44.1 FIDELITY AND > SAVE IT RIGHT
kHz @ 16/24-bit, 48 kHz @ 16/24-bit, 88.2 kHz @ 24-bit, 96 kHz PERFORMANCE Mixing directly to the
@ 24-bit, 176.4 kHz @ 24-bit, 192 kHz @ 24-bit MR-1000 gives you the
The MR-1000 is the perfect
Number of Tracks: 2 tracks, 2-track recording/playback tool for professional users superb fidelity of high-rate1-
simultaneously recording and archiving their bit technology, outperforming
Input L/R: 2 mini phone jacks final mixes in the studio, while today’s multi-bit formats. The > PRO PERFORMANCE
its compact size and AudioGate software can > MR-1 – SHIRT-POCKET > STUNNING AUDIO Record anywhere
Output L/R: stereo mini phone jack; Headphones: stereo mini Quality components ensure
convert your recording into By recording in 1-bit/2.8 MHz thanks to the
phone jack portability make it ideal for the finest audio performance. PORTABILITY AND
location recording. Whatever the mastering format of your format you are assured that included high-quality
Internal Hard Disk Drive: 20 GB
The MR-1000 uses the highly STUNNING FIDELITY CM-2M stereo
the use, you get the benefit of choice. And backing up in respected Burr-Brown your most important, once-in-
The MR-1 is the ultimate condenser mic. Its
Power Supply: AC adapter, or internal rechargeable battery capturing it at the new high this highest-spec 1-bit format PCM4202 from Texas a-lifetime moments are
portable 1-bit recorder, versatile clip-on
(lithium ion polymer) 5.6 MHz rate. “future proofs” your mix for Instruments for A/D captured in stunning detail
perfect for location recording, design allows you to
Dimensions (W x D x H) in.; Weight: 2.52 x 4.72 x 0.94; .44 lbs. potential reuse in the future. conversion and the CS4398 and ready for whatever the
broadcast journalism, live place it anywhere
from Cirrus Logic for D/A future brings you. And back in
Accessories: AC adapter (also operates as charger), carrying music performances – even you need.
conversion. It features ultra- the studio it also provides
pouch, stereo condenser mic (CM-2M), CD-ROM (AudioGate for rehearsals and
high quality mic preamps and superb final mix and archiving
audio file conversion software) songwriting sessions.
uses separate power supplies benefits. Record anywhere
Find out much more at: www.korg.com/MR1 thanks to the included
for the digital and analog
circuitry, providing an high-quality CM-2M stereo
Register your MR-1 online and get a free external AA battery absolutely pristine audio path condenser mic. Its versatile
pack to increase your mobile recording time! See throughout the signal chain. clip-on design allows you to
www.korg.com/MR1 for more information. place it anywhere you need.

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D888 D3200
Tracks: 64 plus master track, eight-track simultaneous

> D888 AT A GLANCE

recording/playback
Recording Format: 44.1kHz, 16-bit, WAV format

DIGITAL RECORDER Recording Time: 124 hours (single recording: 6 hours)

Mixer: Eight channel inputs (eight-buss)
DIGITAL RECORDING STUDIO
Songs: 200 (100 mark points per song)
EIGHT INPUTS, EIGHT OUTPUTS, EIGHT TRACKS Signal Processing: 40-bit, 44.1 kHz
HIGH QUALITY RECORDING IN AN EASY-TO-USE FORMAT > INPUTS
OF RECORDING When it comes to professional results in a compact, self-contained studio, the D3200 delivers like no other, with The D3200 is equipped with eight
Effects: Master x1, 11 programs XLR inputs (each with individual
uncompromising audio clarity. From musical idea to finished CD, all recording, mixing, editing and processing
For performances, rehearsals, gigs, or spontaneous jam sessions, the D888 Display: 160 X 104-dot backlit LCD phantom power), eight balanced
takes place right inside and is saved to the internal hard drive. A full suite of editing tools is provided.
delivers truly great-sounding live recordings. With this powerful, portable recorder Ins & Outs: 8 XLR (phantom)/TRS inputs, monitor out 1 TRS inputs, optical S/P DIF stereo
you can use all eight tracks at once to capture the whole band. When recording & 2, master out 3 & 4, Ch 5-8 out (unbalanced 1/4"), inputs plus a guitar input. Trim and
shows, the D888’s in-line mixer and reconfigurable outputs can put you in charge two quarter inch stereo headphone jacks, optical pad controls provide excellent gain
of the show, or ensure that the house mix is unaffected. Each track is recorded as S/P DIF out, USB Type B, MIDI out (clock) control.
a separate WAV file, so once you get back home, you can easily move your tracks Dimensions (W x D x H) in.: 14.76 x 13.03 x 4.33
into any recording software using the high-speed USB 2.0 port for further For more information go to: > OUTPUTS
production enhancements. www.korg.com/D888 Both digital (S/P DIF) and analog
(TRS balanced) Master outputs are
provided. The balanced Monitor
outputs have a Mute switch and a
level control, and are great for
isolating a click, setting up a cue
> MIC INS > PERFECT TIMING > COMMUNICATION > EASY EDITING mix for overdubs, etc.
The D888 provides eight balanced The metronome can be sent from Tracks can be transferred between Non-destructive editing tools
XLR and TRS inputs. 48V phantom master and monitor outputs, or just the D888 and an editing/recording enable you to copy entire sections
> DISPLAY / CLICKPOINT™
power is available on all XLRs. the monitor outs so you can follow environment thanks to native WAV of the song, swap tracks, or erase.
The 320 x 240 pixel backlit LCD
a click-track during recording or format recording. A high-speed Undo and Redo commands allow
tilts for easy viewing, using a four
> REAL OR VIRTUAL performance. USB 2.0 connection moves the you to hear before and after
level grayscale for clarity. The
Eight virtual tracks exist for each data, with the entire hard drive versions of edits.
fingertip ClickPoint moves the
track, making a total of 64. You > MIXER STYLE showing up as a mounted disk on
cursor and selects display items
can bounce tracks together The interface is similar to an analog your desktop. The MIDI output > INDIVIDUAL MODE with intuitive ease.
digitally and bounce the entire mix mixer, where each channel has its transmits MIDI timecode, so other In Individual mode, each output is
down to the stereo master track. own channel strip, with trim, three- devices can sync up to the D888. directly tied to a particular channel.
> KNOB MATRIX
band EQ, effects send and pan With the Individual mode off,
These 16 multi-function knobs
controls. outputs 1 & 2 become Monitor
provide hardware satisfaction when
outputs, while 3 & 4 serve as
adjusting EQs, effect parameters,
Master outputs.
pan, effect sends, using jump or
match knob behavior. They also
control the Session Drums.

> SESSION DRUMS

Kick-start your recordings by laying
down a complete drum track with Recording Format: 24-bit/16-bit uncompressed,
fills and an ending in real time – 44.1kHz/48kHz
with no programming. You can vary
Simultaneous Record Tracks: 14 (12 analog + 2 S/P DIF)
the kit, tune the drums, add
@ 16-bit; 12 @ 24-bit
variable dynamics and humanize
the feel, all on the fly. Simultaneous Playback Tracks: 32 @ 16-bit; 16 @ 24-bit

> D3200 AT A GLANCE

MIXER
> AUTOMATED DIGITAL Internal Processing: 64-bit (maximum 69-bit)
MIXING Automation: 100 Scenes per song (Scene); Dynamic fader
Supports both scene and fader automation
automation for that perfect mix. The EQ:
digital mixer offers powerful EQs, • Recorder channels 1-24: 4-band parametric with selectable
69-bit digital processing, and up to hi/lo shelving
11 simultaneous effect processors • Recorder channels 25-32: 2-band shelving EQ
– eight Insert, two Master and a • Submixer channels 1-12: 2-band shelving EQ
Final effect. • Master track: 4-band parametric with selectable hi/lo
shelving
> DIGITAL CONNECTIVITY
Although self-contained, the D3200 EFFECTS
plays well with others. MIDI, USB Internal Processing: 56-bit
and S/P DIF optical Ins and Outs Simultaneous Effects (max): 8 Insert, 2 Master, Final
are all provided. Programs: 128 Preset; 128 User; 32 Song
Dimensions (W x D X H) in.; Weight: 21.5 x 14.6 x 4.5; 17.2
> DRIVES lbs.
With the built-in CD-RW drive, you
can make your own finished CDs Options: PS-1 Footswitch; EXP-2 Foot controller
Now comes with FREE Cubase LE and back up valuable song data. To find out a whole lot more go to:
> EFFECTS SET 4 production software! Use your Inside is a 80 GB hard drive for www.korg.com/D3200
Eleven effects types are provided for computer to edit, arrange, mix and saving your current projects and
the Master effect. Effects settings are
master your recordings with a recordings.
memorized with each song.
wealth of powerful tools and
cutting-edge features.

>> 34 >>35
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www.korg.com

Nagae
PANDORA PX5D

Nagae
Effects: 180 types (Max. simultaneous

by Miki
effects: 7)

Miki
Number of Programs: User: 100,
THE FIRST COMPUTER READY PANDORA

Photo
> PX5D AT A GLANCE
Preset: 100

Photo:
Inputs: guitar input (1/4" jack), AUX
The Korg PANDORA series is famous for packing dozens of realistic modeling effects and (mini stereo jack)
a multitude of versatile functions into a pocket-sized unit. Now we’re proud to introduce Output: line/headphone dual-purpose output
the new PANDORA PX5D multi-effect processor, optimized to work with your computer as (stereo phone jack)
a powerful recording tool. The PX5D for guitar and bass is the first in the PANDORA Control: FOOTSW jack, USB connector
series to provide a USB audio interface so you can plug directly into your computer. Tuner Section: detection range:
27.5 Hz-2,093 Hz (A0-C7), calibration:
A = 438 Hz-445 Hz
Rhythm Section: 128 patterns, 40-208 bpm

GET MORE! WHAT’S NEW WITH THE PX5D: Includes: strap holder
Power Supply: 2 x AA alkaline batteries
• More live control! Footswitch jack lets you use any common footswitch to select Dimensions (W x D x H) in.:
programs—a first for Pandora. 4.65 x 2.95 x 0.79
• More effects! Over 20 new effects brings the grand total to 180. Option: AC adapter, KORG PS-1 pedal
switch
• More Recording! With USB audio, your Pandora doubles as a direct recording interface.
Find audio files, effects listings and more
• More jam tracks! 744 Rhythm and Bass patterns to jam along to. That’s over seven times info at: www.korg.com/px5d
more than the PX4D. Plus you can chain up to 20 different patterns together.
• More memory! 80 second phrase trainer samples and slows down your favorite tune
without altering the pitch. And if you want to change the key, we’ve got you covered with a
transpose feature.

> THE MAGIC OF MODELS

The PX5D provides a total of 180 realistic and wide-
ranging effects created using Korg’s world-
> READY TO RECORD
acclaimed, proprietary “REMS” modeling technology.
Included are simulations that recreate classic vintage
and modern, high-gain amps, as well as effects
ranging from the familiar to the unique.
> PHRASE TRAINER
> CABINETS TOO
Realistically reproduced models of many different
cabinets and speakers are also provided, offering
differences in speaker size and cabinet structure for
superb presence and depth. You can even combine
cabinets and speakers freely with any amp models,
> RHYTHM AND BASS
letting you experience combinations not possible on
the original units themselves.
> THE BASS-ICS
Numerous effects designed specifically for bass are
also included, making the PX5D a great choice not
only for the guitarist but for the bassist as well.
> SYNTH EFFECTS
There are also synth effects that let you create unique
and fresh new sounds, with three choices each for
guitar and bass.
> SPECIAL EFFECTS
The PX5D goes beyond with features like pickup
modeling, an intelligent pitch shifter, a talk effect, a
slow attack effect to simulate a violin or cello, a
feedback effect, a rotary speaker effect, a fretless
bass effect and many others.
> USB CONNECTION
A USB-MIDI/USB audio interface is included, so you
can use the PX5D with your computer to transfer
audio data or record into your DAW software.
The PX5D comes with “Ableton Live Lite 6 Korg
Edition” recording software, so you can start
> FEATURES PLUS
recording as soon as you open the box. There’s also
dedicated editor/librarian software that lets you edit
and manage programs from your computer.
> HANDS-FREE CONTROL
The PXD5 allows you to record up to eighty seconds
of sound from an external audio source such as a
CD, MD, or MP3, and then play it back as a loop at
a different speed, without affecting the pitch.
You can also record your own accompaniment, along
with the built-in rhythm and bass patterns, then play it
back while you practice playing a lead.
A Key Transpose function lets you change the pitch
of the incoming audio source by as much as one
octave upward or downward, and a Bass Canceller
function cancels the bass sound so that you can
enjoy “minus-one” playing.
A foot switch jack lets you control the PX5D’s rich
array of functionality without interrupting your
performance. Connect the included foot switch jack
cable to the PX5D, and you’ll be able to connect two
foot switches (not included) and use them to change
programs or start/stop Phrase Trainer recording or
playback.
ACTUAL SIZE
DAVE LARUE – BASS OUTTA THE BOX
By Brinton Ewart and Evan O’Brien
Dave LaRue learned his first bass line from a drummer. “Just by chance, the bass player walked away, left his
bass, and the drummer showed me a few licks,” he explains. “So I’ve always stayed with the bass and developed
a love for it.”
Indeed he did. From that hometown band, a true great has emerged, carrying the low end for some of the most
technically proficient rock artists in the industry. He has been touring with the Dixie Dregs and the Steve Morse
Band for nearly two decades, and has also worked with Joe Satriani, Dream Theater’s John Petrucci, Steve Vai,
Steve Lukather, Vinnie Moore, Planet X, and many more.
LaRue’s influences might provide some clue to where he has acquired his fretboard proficiency. Jaco Pastorius
was his main “go to” guy. “There was a period where I was really emulating his style, copying everything he did,”
Dave says. He also includes Jeff Berlin, John Paul Jones (Led Zeppelin), and Berry Oakley (Allman Brothers),
among others.
In the way that he has been affected by his influences, LaRue wishes to do the same for the next generation. He
writes an instructional column for Bass Player magazine, holds clinics nationally, and even teaches privately in the
Orlando area. He has performed and instructed at numerous seminars and released educational materials such as
instructional videos and bass method books.
On stage and in the studio, LaRue is constantly on his toes and adapting his style to play with the virtuosos around
him. “I’ve just seen so much wonderful music, and gotten so many great ideas from these guys” says Dave.
Sometimes that means creating new parts and emulating other instruments, pushing himself and his technical
ability to new levels. When he’s practicing, Dave uses the Pandora PX5D Personal Multi-Effect Processor, and has
been a Pandora user for many years. “The wealth of sounds is great and it’s all in one compact unit,” he explains.
“I was able to get rid of four pieces of gear by getting the Pandora! I just have my Pandora and my MP3 player
and I’m good to go.”
The new Pandora PX5D also offers USB compatibility to act as its own audio interface into computers. “I’ll be able
to get rid of another piece of gear!” exclaims LaRue, who is especially a fan of the
unit’s effects, including the reverbs, choruses, and phasers. “The delay is great for
soloing,” he adds. Hear more of what Dave and other
Dave is once again providing thump for Steve Morse on a yet-to-be-named Pandora artists have to say at
upcoming record, and is working on his second solo album at home. www.korg.com/px5d
Check out some more of Dave at www.davelarue.com, and get more info on
the Dixie Dregs and the Steve Morse Band at www.stevemorse.com!

>> 36 >>37
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www.korg.com

> PX4D AT A GLANCE

PANDORA PX4D Effects: 158 types (Max. simultaneous effects: 7)

AX3000G Number of Drive/Amp Types: 16

> AX3000G AT A GLANCE

PERSONAL MULTI-EFFECT PROCESSOR
THE ULTIMATE PRACTICE TOOL FOR GUITAR
AND BASS
Packed with authentic amp models, a wealth of effects, rhythms, bass patterns and a phrase
trainer, the PDX4 provides an array of advanced sonic tools for practice, performance and
recording, all in one compact, easy to operate unit. From high-end tube amps to rare vintage
amps and classic favorites, the PX4D’s 25 amp types faithfully model the amp sounds that
guitarists and bassists seek. Each of the 23 speaker cabinet models was newly created
especially for the PX4D. The permutations are limitless — you can even combine a guitar
amp with a bass cabinet.
> MASSIVE EFFECTS
In addition to standards such as
compressor and wah, there are
numerous modeling effects, plus pickup
modeling, guitar and bass synths, slow
attack effect, feedback effect, fretless
bass and much more.
> SUPERB VISIBILITY
A backlit, semitransparent LCD clearly
displays effect and program names and
icons. A strap holder is also provided so
that you can attach it directly to your
instrument strap.
> MULTIPLE PROGRAMS
Utilize the PX4D’s effects to the fullest
with the generous 100 preset and 100
user programs.
> LEARN PHRASES
Record up to 30 seconds from an audio
source such as a CD, MD or MP3, and
play it back repeatedly (looped) at a
slower speed without changing the pitch
with the built-in phrase trainer.
Number of Programs: User: 100, Preset: 100 Number of Cabinet Types: 11
Inputs: guitar input (1/4" jack), AUX (mini stereo jack) Number of Effects: Pedal: 11, Modulation: 11, Delay: 11,
Output: line/headphone dual-purpose output (stereo phone jack) MODELING SIGNAL PROCESSOR Reverb: 11, Noise Reduction: 1
Tuner Section: detection range: 27.5 Hz-2,093 Hz (A0-C7), Number of Programs: 96 (24 Banks x 4 Channels)
calibration: A = 438 Hz-445 Hz Every guitarist craves a better way to satisfy his hunger for ultimate tone
Audio Inputs: INPUT (1/4" phone jack), INSERT RETURN (1/4" phone
and control. Packed with a treasure trove of tone and a unique Expression
Rhythm Section: 40-208 bpm jack), AUX IN (stereo mini-jack)
Step Sequencer, the AX3000G satiates that need with a powerful multi-
Includes: strap holder Audio Output: OUTPUT x 2 (1/4" phone jacks), INSERT SEND (1/4"
effect processor with amazing control.amp with a bass cabinet. phone jack), PHONES (stereo mini-jack), LEVEL Knob (adjusts OUTPUT
Power Supply: 4 x AAA alkaline batteries
and PHONE), S/P DIF OUT (16-bit, 44.1 kHz optical connector
Dimensions (W x D x H) in.: 2.99 x 4.41 x 1.06
(IEC60958, EIAJ CP-1201))
Option: AC adapter
Tuner: Tuning Range: A0~C7 (27.5 Hz~2093 Hz),
Find audio files, effects listings and more info at: > AMP MODELS GALORE > EASY TO USE, TOO Tuner Calibration: A = 438 Hz~445 Hz
www.korg.com/px4d The AX3000G packs 72 types of Select an effect model just by
amp models and effect sounds turning the effect select knobs MIDI: IN, OUT
delivered by Korg’s world- provided for each effect block. Edit Power Supply: DC9V
acclaimed REMS modeling each individual effect simply by Dimensions (W x D x H) in.: 19.69 x 9.49 x 2.83
> BUILT IN PATTERNS technology. turning the knobs of the familiar, Included Items: AC adapter
The 100 built-in rhythm patterns cover a analogue-style user interface.
broad range of styles that include rock, Find audio files, video demos, effects listings and more info at:
> ESS IT www.korg.com/ax3000G
jazz, funk, blues and dance music. Add some amazingly cool, complex > SWITCHABLE CONTROL
movement to your sound with the A multi-function control switch can
> THE BASS-ICS unique Expression Step Sequencer be used to switch effects blocks on
The PX4D also contains a Bass (ESS). It automatically controls or off, set effect parameters or
Canceller function that erases the bass most effect parameters in a fixed or control ESS.
sound from an external audio source so random step function.
that you can play and hear your bass
along with the song. > EVEN MORE EFFECTS!
The AX3000G includes some funky
> PLAY ALONG effects like synth effects that model
Connect a CD player or another external a guitar synthesizer, an acoustic
audio source to the AUX IN jack, and use effect to transform your electric
the Key Transpose function to change the guitar into an electro-acoustic, or
pitch of the song upward or downward by Pickup Modeling to transform the
as much as one octave. tonal character of your pickups.
> SWITCHABLE CONTROL
A multi-function control switch can
be used to switch effects blocks on
or off, set effect perameters or
control ESS. > EXPRESSIVE POWER
Use the assignable expression pedal
to control volume or wah, or tons of
other effects that you select.

PANDORA
> PX4A AT A GLANCE

Effects: 82 types (Max.

AX3000B

> AX3000B AT A GLANCE

Drive/Amp Types: 16
simultaneous effects: 8)

PX4A
Cabinet Types: 11
Number of Programs: User: 50, Effects: Pedal: 11, Modulation: 11,
Preset: 50
Inputs: guitar input (1/4" jack), AUX
BASS MODELING SIGNAL PROCESSOR Delay: 11, Reverb: 11, Noise Reduction: 1

ACOUSTIC PERSONAL (mini stereo jack)
MULTI-EFFECT PROCESSOR Output: line/headphone dual-
purpose output (stereo
phone jack)
OPTIMIZED FOR ACOUSTIC Built-in Tuner
Created especially for electric-acoustic players, the PX4A Rhythm Section: 40-208 bpm
contains 82 effects including Body effects that model the
Power Supply: 4x AAA alkaline
resonances and vibrational character of great acoustic batteries
guitars. Aspects such as guitar construction and body size
are modeled in painstaking detail. The PX4A’s effects
include models for resonator guitar, a newly developed
banjo and nylon-string guitar — you can play a wide variety
> With numerous effects ranging from
of acoustic sounds using just a single instrument. standards such as compressor, limiter, echo,
delay, reverb, and chorus, through
distinctive effects such as a twelve-string
effect, the PX4A even includes Mic effects
that simulate the sense of space and depth
achieved by mic’ing an instrument.
The AX3000B packs 72 types of amp models and effect sounds created specifically for bass delivered
Programs: 96 (24 Banks x 4 Channels)
Audio Inputs: INPUT (1/4"), INSERT
by Korg’s world-acclaimed REMS modeling technology. You’ll find unique effects such as a two-octave
pitch shifter, a fretless effect, and even a bass synth effect. The AX3000B’s bass-specific 16 drive/amp
RETURN (1/4"), AUX IN (stereo mini-jack)
Audio Output: OUTPUT x 2 (1/4"), INSERT
models include fat-sounding tube sounds, ultra-low bottom-end, clean sounds, and many more.
SEND (1/4"), PHONES (stereo mini-jack),
LEVEL Knob, S/P DIF OUT (16-bit, 44.1 kHz
optical connector)
Built-in tuner
MIDI: IN, OUT
Dimensions (W x D x H) in.: 19.7 x 9.5 x 2.8
Included: AC adapter
Find audio files, video demos, effects
listings at:
www.korg.com/AX3000B

>> 38 >>39
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AX5G > MORE MODELS

Packed with 57 different
realistic modeled effects, the
MODELING SIGNAL AX5G offers 16 models of a
variety of highly coveted amps
PROCESSOR including hard-to-find tube
amps, boutique, as well as
Looking for just the right sound? Check out the classic and modern amps.
AX5G multi-effect processor. This on-the-floor,
> 80 PROGRAMS
footswitchable unit contains an array of realistic
Use up to six REMS effects
effects powered by Korg’s proprietary REMS
modeling technology. Want a studio’s worth of
simultaneously, and save your
settings as one of 40 different
great amps, cabinets, modulation, and delay/reverb programs. Forty preset
effects and more? An ideal choice for quick programs in a wide range of
rehearsals, warmups or even to help pass the time musical styles are also
while traveling in the van – with the AX5G you can provided, giving you a total of
enjoy great sound wherever you are. 80 programs.
> OF COURSE, EFFECTS
Choose from standard effects
like comp, wah, delay, reverb,
> FLEXIBLE EDITING
and acoustic simulator, as
well as unique choices such
as a pickup effect or a drone
effect that simulates the
sympathetic strings of a sitar.
> LIMITLESS
EXPRESSION
The AX5G’s expression pedal
lets you control volume, wah,
or nearly any effect parameter
such as the gain of an amp
model or the speed of a
tremolo or flanger.
With a simple and intuitive
interface, getting the perfect
sound is quick and easy.
Suitable values are
automatically selected when
you choose an amp or effect,
and there are a wide variety
of editable parameters that
rival those found on dedicated
units.
Wanna polish your chops with tips from top players? Check out Korg ProSessions. This FREE series of metronome-
based instructional videos features world renowned artists like John Petrucci, Joe Satriani, John Scofield, Jordan
Rudess, Jake Cinninger of Umphrey’s McGee, Jesse Murphy and Aaron Johnston of Brazilian Girls, Béla Fleck, Victor
Wooten and many more.
Each ProSession features metronome practice tips for all levels of playing including beginner, intermediate and
advanced exercises demonstrated by the artists themselves. Plus, we’ve posted notation and tablature for the lessons,
so you can have all the tools to make the most of each session.

Check out Korg ProSessions at www.korg.com/ProSessions. You can even sign up to find out when the next
AX5G AT A GLANCE ProSession goes live.

Number of Effects: 57 (Pre effects: 10, Drive/Amp

Photo: Nick Suttle

Photo: Larry DiMarzio
models: 16, Cabinet models: 10, Modulation effects: 10,

Photo: Erik Neldner

Delay effects: 5, Reverb effects: 5, and Noise Reduction)
Number of Programs: 80 (40 users / 40 presets)
Connections: INPUT (1/4" phone jack), OUTPUT (1/4"
stereo phone jack)
Signal Processing: A/D, D/A conversion: 24 bit, sampling
frequency: 31.25 kHz
Tuner Function: Detection Range: 27.5 Hz~1,318.5 Hz > KNOBS HELP
(A0~E6), Calibration: A = 438~445 Hz
The most frequently used
Power Supply: Four alkaline AA batteries main parameters are
Dimensions (W x D x H) in.: 9.88 x 5.59 x 1.69 accessible directly via the
> CABINETS, TOO! knobs. Numerous sub-
Options: EXP-2 Foot Controller, XVP-10 Ten cabinet models ranging
Expression/Volume Pedal, DC9V AC adapter parameters are also provided

Photo: Paul Undersinger

> SPEEDY CONTROL from 4x12 stack cabinets to

Photo: Brett Saul

Find audio files, effects listings and more info at:
The Quick Assign function
www.korg.com/AX5G
lets you assign an effect
parameter at one touch and
adjust the variable range
yourself for maximum
flexibility.
so that you can adjust the
combo cabinets are each
details of the sound to your
realistically reproduced with
taste.
their own distinctive sonic
character.
> AUTO CHROMATIC
TUNER
An Auto Chromatic Tuner is
included, so in addition to
having great tone you’ll
always be in tune.

AX5B
Effects: 57
AX5B AT A GLANCE

Programs: 80 (40 users / 40 presets)

Connections: INPUT (1/4"), OUTPUT

BASS MODELING (1/4" stereo)

Signal Processing: A/D, D/A conversion:
SIGNAL 24 bit, Sampling frequency: 31.25 kHz
Built-in tuner
PROCESSOR Power Supply: Four alkaline AA batteries
Dimensions (W x D x H) in.: 9.9 x 5.6 x
The great-sounding, compact and affordable 1.7
AX5B is designed specifically for bass, with
57 of its own specially modeled effects. Options: EXP-2 Foot Controller, XVP-10
Sixteen famous bass amp sounds range Expression/Volume Pedal, DC9V AC
from vintage to standard models, and every adapter
detail of each original amp has been Read and hear more at:
faithfully recreated. All the essential effects, www.korg.com/AX5B
plus a collection of unique bass must haves
are included. The AX5B also has a built-in
expression pedal.
> BROUGHT TO YOU BY KORG METRONOMES

>> 40 >>41
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>>FIND
FINDTHE
THETUNER
TUNERTHAT’S
THAT’SRIGHT
RIGHTFOR
FORYOU
YOU
AT
ATWWW.KORG.COM/MYTUNER
WWW.KORG.COM/MYTUNER
GUITAR AND BASS TUNERS year
y ear
warranty

New
New

GT-4
SOLO TRIMODE TUNER
A compact and unique high-
performance dedicated
guitar/bass tuner • Three
types of tuning modes:
GA-40 Strobe, Mirror, and Meter
ADVANCED SOLO TUNER • Flat tuning down to 5
Larger, higher visibility display ensures stable tuning • Output jack for semi-tones • Tune seven-
PITCHBLACK connection to an external amplifier • Built-in folding stand for easy viewing string guitars and six-string
CHROMATIC PEDAL • Tune seven-string guitars and six-string basses • Flat tuning down to 5 basses • Auto Power Off
TUNER semi-tones • Reference tone can be produced from the internal speaker function conserves battery
100% true bypass circuitry (Sound Out) • Auto Power Off function conserves battery life • Built-in life • Built-in high-sensitivity
high-sensitivity microphone for tuning acoustic guitars • Range of pitch microphone for tuning
• Four types of tuning modes:
Full Strobe, Half Strobe, Meter
PITCHBLACK+ detection: B0-B6 • Battery life: approximately 85 hours of continuous use acoustic guitars • Range of
ADVANCED CHROMATIC PEDAL TUNER • Dimensions (W x D x H) in.: 3.94 x 2.64 x 0.67 pitch detection: B0-B6
and Mirror • Flat tuning down to
Two selectable inputs for guitar or bass • Dual meter “Focus Mode” • Battery life: approximately
5 semi-tones • 11 point LED
offers ultra-precise tuning within +/- 0.1 cent • 5 programmable tunings 18 hours of continuous use
display • DC out powers other 9
• 5 open tunings (A-G-E-D, DADGAD) • 100% true bypass circuitry • Dimensions (W x D x H)
volt pedals • Range of pitch
• Choose from 6 tuning modes: Full Strobe, Half Strobe, Meter, Mirror, in.: 2.40 x 2.56 x 0.87
detection: E0-C8 • Battery life:
Focus Mode 1 and Focus Mode 2 • Flat tuning down to 7 semi-tones
approximately 5 hours of
• Includes cascade cable for powering other 9 volt pedals • Range of
continuous use • Dimensions (W
pitch detection: E0-C8 • Battery life: approximately 5 hours
x D x H) in.: 2.67 x 4.72 x 1.85
• Dimensions (W x D x H) in.: 5.12 x 4.8 x 1.9 (including feet)

GT-120
STUDIO PRO TUNER
Dual display combines a needle indicator and backlit LCD • Five
types of built-in open tunings (D, E, A, G, DADGAD) • Tune
seven-string guitars and six-string basses • Auto or Manual
tuning modes • Reference tone can be produced from the
internal speaker (Sound Out) • Flat tuning down to 4 semi-
tones • Durable suede-type soft case is included • Built-
in high-sensitivity microphone for tuning acoustic guitars
PITCHJACK • Range of pitch detection: A0-C8 • Battery life:
approximately 100 hours of continuous use
PLUG-IN TUNER
• Dimensions (W x D x H) in.: 2.91 x 1.42 x 4.72
Plug directly into your
guitar or bass • Built-in
flashlight • Connects to a
keychain ring • Flat tuning
down to 7 semi-tones
• Tune seven-string guitars
and six-string basses
• Range of pitch detection:
B0-B6 • Dimensions
(W x D x H) in.:1.22 x 5.39
(open) x 1.1 GA-30
SOLO TUNER
High-precision LCD needle-type meter for easy tuning • Flat tuning
down to 5 semi-tones • Tune seven-string guitars and six-string basses
New • Reference tone can be produced from the internal speaker (Sound
DT-7
Out) • Convenient tilt slit lets you insert a plastic card for use as a BUZZ FEITEN GUITAR AND BASS TUNER
stand • Auto Power Off function conserves battery life • Built-in high- Two types of tuning modes: Buzz Feiten or Chromatic • Large
sensitivity microphone for tuning acoustic guitars • Range of pitch LED meter and seven-segment note display • Buffer amp between
detection: B0-B6 • Battery life: approximately 100 hours of continuous the INPUT and BYPASS jack eliminates tone loss • Tune seven-
use • Dimensions (W x D x H) in.: 4.1 x 2.52 x 0.6 string guitars and six-string basses • Reference tone can be
produced from the internal speaker (Sound Out) • Built-in high-
sensitivity microphone for tuning nylon or steel acoustic guitars
• Range of pitch detection: A0-B7 • Battery life: approximately 12
hours of continuous use • Dimensions (W x D x H) in.: 6.65 x
2.48 x 1.71
> FIND
> FIND
THE
THE
TUNER
TUNER
THAT’S
THAT’S
RIGHT
RIGHT
FOR
FOR
YOU
YOU
AT WWW.KORG.COM/MYTUNER
AT WWW.KORG.COM/MYTUNER
Products not shown in relative size.
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>> FIND
FIND THE
THE TUNER
TUNER THAT’S
THAT’S RIGHT
RIGHT FOR
FOR YOU
YOU
AT
AT WWW.KORG.COM/MYTUNER
WWW.KORG.COM/MYTUNER
STAGE PRO RACK TUNERS year
y ear
warranty

DT-4
SOLO TRIMODE TUNER
A compact and unique high-performance
chromatic tuner • Three types of tuning
modes: Strobe, Meter and Mirror • Built-in
high-sensitivity microphone for tuning acoustic
instruments • Adjustable calibration: 410
Hz~480 Hz • Range of pitch detection: A0~C8
• Battery life: approximately 18 hours of
continuous use • Dimensions (W x D x H) in.:
2.40 x 2.56 x 0.87

DTR-1000 DTR-2000 LCA-120

Chromatic tuner with large LED meter • Mute button for silent tuning during a
performance • Flat tuning down to 7 semi-tones • Front and rear input jacks
• Two types of tuning modes: Cent and Strobe • Adjustable calibration:
Manual/Auto • Easy to read note name display • Range of pitch detection:
A0-C8 • Dimensions (W x D x H) in.: 18.94 x 4.45 x 1.81
Strobe, Cent and Hertz tuning modes • Chromatic, guitar (six-string, seven-
WIDESCREEN PRO TUNER WITH FOCUS TUNE™
string)/bass and open modes • Five types of built-in open tunings (D, E, A, G,
Focus Tune™ function allows for even more precise tuning • Volume Meter
DADGAD) • Flat tuning down to 7 semi-tones • Mute button for silent tuning
visually displays the volume of a performance • Sound Back™ mode plays
during a performance • Two sets of inputs • Built-in light illuminates rack-
the reference pitch for the note closest to the input pitch. The meter also
mounted equipment below • Reference tone can be produced from the sound
indicates the discrepancy between the input and the correct pitch
jack • Built-in high-sensitivity microphone for tuning acoustic guitars • Range of
• Programmable Temperament lets you specify the pitch for each note
pitch detection: A0-C8 • Dimensions (W x D x H) in.: 18.94 x 4.45 x 1.81
• Reference tone can be produced from the internal speaker (Sound Out)
• Marks to indicate pure major third and minor third intervals • Flip top design
protects LCD display • Built-in high-sensitivity microphone for tuning acoustic
instruments • Adjustable calibration: 410 Hz~480 Hz • Range of pitch detection:
A0~C8 • Battery life: approximately 60 hours of continuous use • Dimensions: (W x D x
H) in.: 3.98 x 3.31 x 0.81 (folded)

MULTI-INSTRUMENT TUNERS
OT-120
STUDIO PRO TUNER
Dual chromatic tuner display
combines a needle indicator and
backlit LCD • Sound Back™
mode plays a reference pitch
for the note that’s closest to
the input pitch. The meter
indicates the discrepancy
between the input and
the correct pitch
• Choose from three
CA-40 levels of needle
ADVANCED SOLO TUNER response speed
A compact chromatic tuner, ideal for use with band & orchestral (slow, medium
instruments • Larger and more easily readable high-precision LCD and fast) •
needle-style meter • Reference tone can be produced from the internal Transpose
speaker (Sound Out) • Equipped with output jack & folding stand mode is
• Auto Power Off function conserves battery life • Built-in high- convenient for wind TM-40
sensitivity microphone for tuning acoustic instruments • Adjustable instruments • Multiple COMBO TUNER METRONOME
CA-30 calibration: 410 Hz~480 Hz • Range of pitch detection: A0~C8 • Battery Temperaments to support Chromatic tuner and metronome functions can be used simultaneously or
SOLO TUNER life: approximately 85 hours of continuous use • Dimensions (W x D x H) historical tunings • Both auto and manual independently • Large LCD-type needle meter • LED indicators show pitch
in.: 3.94 x 2.64 x 0.67 tuning modes are provided • Reference tone
Compact chromatic tuner, ideal for band & orchestra instruments • deviation or blink to indicate the tempo • Pure major third and minor third
High-precision LCD needle-type meter ensures stable tuning • Marks can be produced from the internal speaker (Sound interval markings • Reference tone can be produced from the internal
provided for pure major thirds and minor thirds • Reference tone can be Out) • Durable suede-type soft case is included • Built-in speaker (Sound Out) • Metronome beat mode with adjustable tempo and
produced from the internal speaker (Sound Out) • Built-in high- high-sensitivity microphone for tuning acoustic instruments time signature selections • Thirteen rhythm variations for practicing a wide
sensitivity microphone for tuning acoustic instruments • Adjustable • Adjustable calibration: 349 Hz~499 Hz • Range of pitch range of styles • Two tempo adjustment modes: “full step” and “pendulum
calibration: 410 Hz~480 Hz • Range of pitch detection: C1-C8 • detection: A0-C8 • Battery life: approximately 100 hours step” • Built-in high-sensitivity mic for tuning acoustic instruments •
Battery life: approximately 100 hours of continuous use • Dimensions of continuous use • Dimensions (W x D x H) in.: 2.91 x Adjustable calibration: 410 Hz~480 Hz • Range of pitch detection: C1-C8
(W x D x H) in.: 4.1 x 2.52 x 0.6 1.42 x 4.72 • Battery life: (tuner) approximately 70 hours, (metronome) approximately 50
hours of continuous use • Dimensions (W x D x H) in.: 4.45 x 3.03 x 0.71
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CM-100L
CONTACT MICROPHONE
The CM-100L Contact Microphone is a perfect
complement to any tuner that offers a 1/4" input
jack. The mic can be positioned on just about any
instrument to get a more accurate reading, while
allowing the tuner to be positioned for easier
reading. The jack is a right angled 1/4" male
connector.
METRONOMES AND
PERCUSSION TRAINERS
MA-30
SOLO METRONOME
Thirteen different beats and rhythms are built-in • Rhythms include duplets,
triplets, triplets with inner beats omitted, quadruplets, and quadruplets with
inner beats omitted • Headphone jack with adjustable volume • Tap Tempo
function lets you set the desired tempo • Reference tone can be produced
from the internal speaker for tuning • Adjustable calibration: 438-445 Hz •
Tempo range: 40-208 BPM • Battery life: approximately 250 hours of
continuous use • Dimensions (W x D x H) in.: 4.09 x 2.52 x 0.59
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year
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warranty
AW-1
CLIP-ON TUNER
ACTUAL SIZE
Ultra-lightweight chromatic tuner attaches to virtually any
instrument • Tune using the Piezo pickup or the built-in
MM-1
MICRO METRONOME
microphone • Marks to indicate pure major third and minor
Digital accuracy for complete rhythm
third intervals • Meter Reverse function lets you invert the
training • Fits comfortably on your ear.
display for easy viewing • Two clip sizes (Large/Small)
Only the user can hear it. • 1/4, 2/4,
are included for various types of instruments • ACTUAL SIZE 3/4, 4/4, 5/4, 6/4, 7/4 time signatures,
Adjustable calibration: 410 Hz~480 Hz • Range of
plus duplet, triplet and quadruplet
pitch detection: A0-C8 • Battery life:
beats • Hook for attachment to a
approximately 20 hours of continuous use •
keychain • Tempo range: 40-208 BPM
Dimensions (W x D x H) in.: 0.98 x 2.17 x 0.35
• Battery life: approximately 500 hours
of continuous use • Dimensions (W x
D x H) in.: 0.64 x 1.83 x 0.66
MM-2
PERSONAL METRONOME
39 tempo steps in a 40-208 bpm range • 0,2,3,4,5,6,7 beats,
8th notes, triplets, 16th notes • +/-2% accuracy • Easy-to-adjust
volume control • Piezo electric speaker • Ear hook comfortably
fits either ear • Two interchangeable color caps • Tempo range:
40-208 BPM • Battery life: approximately 100 hours of
continuous use • Dimensions (W x D x H) in.: 3.0 x 0.94 x 1.97
LMA-120
WIDESCREEN PRO METRONOME
“Virtual Conductor” mimics a conductor’s baton • The timer/stopwatch
function lets you time your practice sessions up to 99 minutes • Ten
different beats and six different rhythms can be combined • Tap
function lets you set the desired tempo • Choose from two types of
tempo steps: “Pendulum” or “Full” • Reference tone can be
produced to tune your instrument • Flip top design protects
LCD display • Calibration range: 410 Hz~480 Hz •
Tempo range: 30-252 BPM • Battery life:
approximately 90 hours of continuous use •
Dimensions (W x D x H) in.: 3.98 x 3.31 x
0.81 (folded)
KDM-2
BAND & ORCHESTRA METRONOME
Cylindrical resonator speaker offers high volume for use
with multiple instruments • Three different PCM beat
sounds (Cowbell, Agogo & Clave) • An LED provides
visual reinforcement of the tempo • A total of 19 beat
patterns cover your practicing needs for diverse musical
styles • Tap Tempo function lets you set the desired
tempo • Reference tone can be produced from the
internal speaker for tuning • TEMPO/CALIB dial and BEATLAB
switch provide quick access to the desired setting or PERCUSSIONIST’S RHYTHM TRAINING
function • A large LCD screen makes settings easy to METRONOME
see • Tempo range: 30-252 BPM • Battery life: Train with 39 basic rudiments including roll, paradiddle, flam,
approximately 120 hours of continuous use • and ruff • Accent sliders add rhythmic variations to practice
Dimensions (W x D x H) in.: 4.17 x 1.91 x 4.19 any style • Sound and LED indicators for left and right hand
sticking • Supports triplets and complex rhythms such as five to
nine notes per beat • 24 programmable patterns allows creations of
tempos, beats, and rhythms • Chain mode lets you link eight programs,
each containing up to sixteen bars • Tap Tempo function lets you set the desired
tempo • Headphone jack with adjustable volume • Backlit display for excellent
visibility • Tempo range: 30-300 BPM • Battery operation (four AAA alkaline batteries)
or optional AC adapter • Dimensions (W x D x H) in.: 5.59 x 4.09 x 1.10
> FIND
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THE
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TUNER
TUNER
THAT’S
THAT’S
RIGHT
RIGHT
FOR
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YOU
YOU
AT WWW.KORG.COM/MYTUNER
AT WWW.KORG.COM/MYTUNER
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