Conference napalm::commusic_v1

    I got a demo of the M1 a few weeks back. While the sounds were
    acceptable (acceptable is good) I came away mostly unimpressed.
    It just doesn't fill a need for me. The "everything in one box"
    approach may suit some, but modularity fits my style soooooooo
    much better.
    
    It appears to be aimed at the 1-shot user, who wants to buy one
    unit and work at home. I can't see all the features being too
    handy in a live gig situation.
    
    It did have some neat-o bells and whistles. I was particularly
    impressed with some of the velocity tricks.
    
    This unit *may* run short on polyphony, which I bleeves is 32
    voice. This may seem like a lot, but the drums eat into that
    figure, cutting it down considerably. Since the unit is megatimbral,
    I could see the limit being reached quickly with only a small number
    of layers/tracks...
    
    The drums was ucky. Phhttttt...... 
    
    Onboard FX are cool, but kinda commonplace now....
    
    Frankly, *I* was unexcited. It offered little that I don't have
    already. But, for a new user, there's certainly plenty to keep
    busy with.
    
    Edd

    I seem to recall reading someplace recently that the M-1 has
    essentially half the voice capability of a D-50/550; i.e., it is
    capable of only 4 4-partial/oscillator voices compared to the
    D-50/550's 8.
    
    Sure do wish the D-50/550 was multitimbral...
    
    len.
     

RE: .1

    M1 is *16* voice, NOT 32.  Which makes it eve less useful.  If I was
    really after "breathy" sounds in a "studio-in-a-box", I'd probably look
    at the Roland D-20. 

    I think the M1 is mostly marketing hype.  Sorry if we're sounding
    negative, but like the song says, "I've heard it all before." 

-b

    I got a demo of the M1.  The hands-off demo sounded pretty good;
    clearly in the SQ-80/D50 class of machine... 
    
    Then I tried it.  AUGGHHGH!  Worst user interface* I have ever seen
    on a machine.  Very simply- not enough buttons.  Everything is gotten
    to by indirecting through level upon level of menu.  The menus were
    counterintuitive (from my point of view, at least).
    
    The only saving grace this machine has is that it can accept new
    wavetables from the ROM card (someday).     
    
    -----
    
    	* Worst user interface includes the Mirage "interface", which
    at least is consistent.

    
    
    I agree with the general sentiment. It's a decent all-purpose machine,
    if you are on a limited budget and you're sans fx. 
    
    Otherwise, I can't figure out what market it's really after. It
    sounds like it should be marketed (and it's priced like this too)
    towards professional soundsmiths who do commercials, movies, etc.
    But the sequencer really sucks. 6000 events? Gimme a break!!!! The
    drums are barely passable. The user interface requires a 2 week
    course. I've said this before. 
    
    /pjh

    WELL!
    
    I get the message.  "It sux"
    
    That's all I wanted to know...
    
    But I had no problems with the user interface.  I can't recall a
    synth that was never problem free with the user.  But I dove in
    and was changing patches within 25 seconds.  I liked the onboard
    effects as well.  But, you're right guys, it B stinky in the top end
    and as a whole.  The competition for the M-1 is better priced, and
    according to the DEC MIDI Consultants it's bunk.
    
    Thanx for all the feedback...   

    Aha!  Here's is an opportunity for me to learn something in a rather
    indirect way.
    
    Several of the preceding comments on the Korg M-1 refer to the drums
    being "ucky" and "barely passable".  I too have heard the canned
    demo (which didn't sound too bad) and was a bit disappointed with
    everything else from there.  I did not think the drums were that
    bad, though.  Should I go back and listen to them so that I know
    what to avoid in the future (if I ever decide to upgrade my R-50)?
    
    Bill (who is sure none of this is what Korg had in mind when they
          introduced the M-1)
    

    Listen to an HR-16 and buy something that sounds just like it...
    
    I once bought an RX-21 because I didn't think that it sounded
    'that bad'....
    
    Edd

If you're seriously looking into the M1, there are more technical reviews 
in Keyboard Aug '88 and Music Technology July '88.

My situation: I have a good-sized "modular" configuration.  However,
there are days where I either do not want to go into the home studio and power
everything up or I am not at home and do not have access to my toys.
I was looking for a single unit that could travel with me or I could use
anywhere at home.  Its primary use would be a portable songwriting tool:
to work out the basic structure and voicings of new tunes on the onboard 
sequencer.  I could later transfer the sequence onto to my regular sequencer, 
flesh out the piece, and find the right sounds.  Secondary use would be as
an additional sound source in the context of my "regular" configuration.

I bought a Roland D-20 and returned it after 4 days.  The sequencer was lame
and I was extremely disappointed with the sounds (compared to my D-50).  I was
willing to trade off the (lack of) sounds for the sequencer and onboard disk
drive, but I found the sequencer unuseable compared to my MC500 (no insert
measures, no copy, no delete measure - basic editing functions).  I tried to
sequence a simple idea but found the process too unproductive.

I liked the M1 for what it was and for the purpose I had in mind.  I can trade
off a cumbersome user interface for functionality.  I do like the sounds - it
suits the material I create.  I should add that I have a strange criteria when
looking for new sound sources - while playing, I either hear myself playing
new music/songs because of the sounds or I am inspired by the sounds to 
create because I am excited by the possibilities.  This is usually an all or 
none kind of an experience.  And the M1 did this for me; the D-20 didn't (the 
D-50 still does).  There is another feature that appeals to me is being able
to change the internal waveforms via a card slot (not possible on the D50 and 
Kurzweil 1000).

I'm still looking for a relatively cheap (under $2000) portable unit that 
will serve as a basic songwriting tool.  The analogy I've been using is a PC
portable or laptop (I recently got one while on vacation).  The
supermini/mainframe can stay at home.

I will wait awhile to see what Korg does with the M1.  I like the unit enough 
to buy a rack mount when it comes out.  Perhaps Korg will do to the M1 rack 
what Roland did for the S-50/D-550.  

The best price on the M1 was through Rhythm City (404/237-9552): $1795.  
Ask for Marty.  I did not try to get a lower price so they may go down a bit.
In Boson, the stores will quote about 2100+ (probably 2300). Sam Ash, Mannys,
Palomba are doing 2100.  Thoroughbred: 2195. Wise Music: 1950. Caruso: 1895.

For the record, Sam Ash is doing Roland D-20's for 1257 - other mail orders are
doing 1400-1450.

    For a "portable songwriting tool" you should look at the SQ-80 and
    ESQ-1.  Both have much better sequencers than the M1 and the SQ-80
    has a built-in disk.
    

RE < Note 1566.10 >

	Ahh, but he probably wants the on-board drums, too.

	Dan

    The SQ-80 does have on-board drums, but it's not a complete set.
    The on board drums includes Bass, snare, HHs and something they
    call "log drums" which can function as toms.
    
    And there are some good crash and ride patches that are fine for
    live purposes to augment a drummer, but not good enough for
    serious recording.
    
    I'm very dissapointed to hear these thumbs down reviews of the M1.
    
    This weekend I read the ad and it sounded like what I was looking
    for.
    
    Ideally, what I'm looking for is something that:
    
    	o Provides decent patches for common things like bass, strings,
    	  brass, organ, etc.  It will basically be used when my SQ-80
    	  runs out of voices (I'd kill for a 32 voice SQ-80).
    
    	o Has decent percussion sounds to augment a drummer.  I'm talking
    	  about things like shakers, handclaps, latin percussion.  I'm
    	  using it to do things that the drummer just doesn't have either
    	  enough hands, or enough equipment for.
    
    	o Is rack-mounted (I have enough keyboards and table-top boxes
    	  thank you)
    
    	o Multi-timbral is a MUST
    
    I really want to get this all in one box to keep my rig as simple
    as possible. 
    
    I have an MT-32 but I'm not real keen on it and it's not rack-mounted.
    
    The way I see it, I've really only got two choices.
    
    1) Put what I need into my sampler (16 voices) and start carrying
       that around.
    
    2) A D-110.  However, it would have to be a big improvement over
       the MT-32 (and that seems unlikely), and the idea of slogging
       through yet another awful Roland manual is seriously enough to
       make me think twice about it.
    
    3) Strap my MT-32 into the bottom of my rack so that even if it
       isn't a true rack-mounted thing, I can sorta have all the
       same advantages.  This involves a compromise on sound quality
       as well.
    
    	db
    
    

    re .12
    
    db:
    	I can sympathize with your dilema: owning an MT-32 and wondering
    what would be a good next step.  FWIW, earlier this year I also took
    a look at the MT-32 and was not impressed enough to "bite".  My
    $700.00 languished until the D-110 came out, and to my ears it DID
    provide a significant improvement in both sound quality and variety
    over the MT-32.  I am glad I waited because now it made sense to
    buy the D-110, but if (like you) I already owned a D-110... well
    it might not be worth the hassle of trying to dispose of the MT-32
    to pick up that extra benefit. 
    	I am assuming that you have taken a good listen to the D-110.
    (If you haven't, you really should).  It would seem to meet all of 
    your stated requirements.  From what I can see, it also has a much
    more flexible MIDI setup than the MT-32.  The best alternative might 
    be to wait a while and see what comes out this winter.  The way K-1rs
    and D-110's are selling around here I would expect to see other mega-
    expansion boxes from Casio, Yamaha and Korg, out soon.  
    
    Good Luck, 
    Bill Allen

    
    This may be of interest to M1 owners.  
    
    Someone on the USENET has announced plans to post a PD patch editor
    and two banks of patches that he obtained from a Korg factory rep.
    When it's available, I'll either post it here, or if it's huge,
    put in a world-readable directory.  
    
    Stay Tuned.
    

    
    
    Yeh,yeh....(drool)...Gimme,gimme!!!
    
    Any idea what machine this will run on???? (Atari , fingers crossed)
    
    Jason.

    Brian - rather than post them here (as I suspect they'll be in mumbled
    binary format), send me mail and I'll put them down here in the MIDI
    tools archive that I have going.

-b

    	Let's pretend I had $2000 dollars.  (maybe if everybody did
    it would happen).  Now I've heard the D-50, I mean I've played the
    canned sounds, and I've played the canned M1.                  
    
    	Let's further imagine that I was in a mostly live band, solo
    keyboardist, that does Duran-type pop stuff through Rush analog
    noises, mostly three patches per song.
    
    	For just a performance synth, with as many added "helpers" (like
    sequencer, splits, etc.), what is the most voice, best sounding
    (I mean for the breath--weird stuff like that) synth?
    
    	Just so I don't get "how are we supposed to tell you what you
    want" replies, I'll narrow my fantasy down a bit.
    
    	If the Korg can play as many notes as the D-50 in performance
    mode, I wouldn't mind paying extra for a stupid 6,500 note seq. and
    multi-too many-timbrality (while on stage), if it makes noise better.
    The D-50 has the oscillators and the samples, and the M1 has the
    oscillators, mulit-samples and the filtered whatchcallits.  Can
    it *make* sounds more synthy than the Roland?  And if not, are you
    serious that it has fewer voices?
    
    	All of this is conjecture, of course.  So far, it seems no one
    has really pitted the onstage capabilities of these machines so
    far (ignoring that the M1 is supposed to be a workstation).  I just
    want to know what you think.
    
    	(What I think, although inconsequential because I don't even
    have enough money for college yet, is that the Korg *sounds* better.
    But len said something about horrible stock patches, and I want
    to know:  could a D-50 match the sounds of a Korg?)
    
    --you guessed it: mikie--

    Well, here's the deal.

    The D50 is *not* multi-timbral (please! Dave/Dan - no arguments! 8-).
    The M1 is multi-timbral.

    The D-50 is capable of using 4 partials per "patch".  The M1 is stuck
    with 1 waveform per patch (2 if you use dual mode, but its polyphony is
    cut in half). 

    The M1 is arguably cleaner than the D50 (in terms of noise floor).

    The D50's waveforms are stored in ROM, and cannot be added to/updated.
    The M1 can load alternate waveforms from a card (big plus IMO).

    The M1 uses a dynamic-*oscillator*-allocation scheme, the D50 does not
    have DVA. 

    The M1's sequencer is fairly lame.  The D50 has no sequencer.

    Both do "breath" fairly well.  I would think that a machine's
    "analogness" is directly attributable to the quality of programming,
    and not so much limited by the hardware employed (in the case of these
    two, anyway).  I doubt you'd be too disappointed with either machine. 

    I don't know what the D50 goes for now.  I just got off the phone
    with Chuck Levin's - they're selling M1s new for $1850.

    Does that help you out?

-b

    I don't want to divert this discussion from the two synts in question,
    but I did face this question and I bought the Ensoniq EPS sampler.
    The longer I own it the more I love it. I am gigging regularly with
    it and, yes it is in the price range mentioned here.
    
    		regards,
    		Mark
    

    	No, Mark that's good.  My primary imaginitive goal is a 
    performance synth with amazing sounds and features, not to imagine
    Roland and Korg.  This perhaps my come to near-real proportions when 
    I go to the Ensoniq clinic on Tuesday.  Sounds like the VFX is quite 
    the performance machine.
        
    --mikie--

    > Sounds like the VFX is quite the performance machine
    
    Well....
    
    I can tell you that if playing in live situations with a modest to
    complex MIDI setup is one of the things you do or intend to do
    musically, I personally would HIGHLY recommend the Ensoniq SQ-80
    over the VFX.
    
    The SQ-80 has a sequencer, the VFX does not.  The VFX sounds great
    and has polyphony to burn but in live situations the sonic differences
    aren't going to be that evident, and I have found the polyphony
    of the SQ-80 satisfactory (although I have often wished for more).
    
    However, I have found the sequencer INDISPENSABLE.  If I had to sell
    stuff, the *LAST* thing I would get rid of is my (any brand)
    synth/sequencer.
    
    I push one putton and it does ALL the patch configuration I need which
    includes telling my sampler and MT-32 what voices to play, my
    reverbs/effects what effects to use, my RD-300 what piano sound to use.
    
    I go from one song right to the next without having to touch anything
    but one, maybe two buttons on the SQ-80 and I can make arrangements
    and associated sound patches/layers/splits about as complicated as
    I want and it doesn't matter.  I push one button, and it's ready.
    
    Now you can buy a separate box to do all that, but that means you
    have to pack it, set it up, power it, plug it in, break it down,
    etc.   It's very nice to have as much as possible in one box for
    gigging.
    
    And oh yeah, it works nice for sequencing too, and my ex-band did
    some sequenced stuff.  (Obviously the sequencer is also great for
    composing, arranging, and various other non-live things).
    
    Now, I will say that as great as the SQ-80/ESQ sequencer is, the
    EPS sequencer is a whole step better. 
    
    Summary: if playing live is important, give some extra consideration
    to the EPS and SQ-80 and ESQ over the VFX for their built-in
    sequencers.
    
    	db

       Well put Dave,
    
           I have an EPS and an SQ-80. The sequencer in the EPS does have
    MANY more features than the SQ-80. BUT !!!! When you turn the EPS off,
    you lose everything! Remember ..the SQ-80 is COMPLETELY battery backed
    up including all patches and sequences. Work on a piece, turn it off,
    come back after supper, turn it on again, and your off. It just takes
    too much time to boot the EPS, load in all the instruments, and then
    start sequencing. I consider the SQ-80 a very powerful workstation.
    I still use it extensively.
    
    Frank

    From USENET, a notice about formation of an M1 User's Group with some
    support from Korg.
    
    						Brian
    
    
    
From: [email protected] (Mark Turner)
Subject: M1 User's Group Update
Date: 27 Feb 90 00:59:21 GMT
 
 
                                  NOTE
All future M1 user's group updates will only be posted to rec.music.synth.
--------------------------------------------------------------------------
 
The natives are getting restless!  Well, after two letters and a lot of
long distance calls, I succeeded in getting Korg's attention.  In fact,
they are very enthusiastic about starting a user's group.  They have
assigned one of their customer support guys to be my liason.  He's very
hip on the idea, and offered some good suggestions.
 
I was planning to post a more complete update in a week or two, but
since you're getting antsy, here's a summary:
 
The user's group is going to cover all Korg synth products, including
pre-M1 synths, the T series, and the new WaveStation (if you haven't
heard about this puppy yet, you soon will).  Obviously, since the M
series is by far largest seller (over 90K worldwide!), most of the focus
will be on these.
 
Some of the types of things I think we could do with this group include
sharing knowledge, helping new users, trading patches and sequences,
solving problems, and helping members meet other Korg users in their
area.  This last one is especially important, since there's only so
much interaction you can have over the net or through a newsletter.
 
I'll be publishing a newsletter for the group.  Probably bimonthly until
I see how much interest there is.  Everyone is encouraged to submit
material.  I have already thought of at least two dozen articles I want
to write (hey, I'm a writer, it's what I do).  I've also thought of some
regular features that we might want to include:
 
   A question and answer column.  The most interesting questions and
   answers I get will be printed here.  You can send me your questions
   over the net, CompuServe, phone or mail.  The guys at Korg will
   answer them and I'll print them here.  If you're on the net, I'll
   email you too.
 
   Tips from group members.  You've come up with a slick way of doing
   something?  Tell us about it.
 
   How-to columns.  These might be written by myself, the Korg guys, or
   anyone in the group who wants to share their insight.
 
   New products and reviews.  I'll be getting all the latest poop from
   Korg, and also from third party developers.  Probably a lot of PR
   crap at first, but Korg has offered to loan me new equipment for
   reviews.  Also, anyone who wants to write a review is welcome to.
 
   Interviews with, and articles by, working musicians discussing how
   they use their equipment.  I have several recording artists in mind
   for this, and Korg has suggested that some of their celebrity
   endorsees may be available also.
 
   Classified ads.  If there's any interest in them, I'd be glad to
   print them.  Perhaps you want to sell something, form a band,
   whatever.
 
These are some of my ideas.  Let me hear yours.
 
In addition to the newsletter, I'm hoping to start a BBS that will
contain patch libraries, email, and the entire text of the newsletter
and back issues.  The problem with patches is a lack of standardization
among computers and librarian software.  Perhaps we can find a
programming whiz to write some translation software.  I'd really like to
get some feedback from you all on whether we should have a BBS, and how
to overcome some of the technical issues.
 
Another key issue which I haven't determined is how to fund this little
adventure.  Korg is not providing any money.  They will give us moral
support, list us as an "authorized" user's group, answer questions,
provide information, etc., etc.  Anything but $$$, basically.  The best
we can hope for is they may occasionally offer some merchandise that we
can raffle off or give away in a contest.
 
The obvious solution is to charge dues or a membership fee of some sort.
I don't know how much yet, but I'm thinking something like 20 bucks.
I'm sure some people will whine about it and choose not to join, but I
don't know any other way to do it.  I'm going to be putting a lot of
time and creative energy into this, but I'm not going to spend all my
money.  Printing and mailing the newsletter -- not to mention BBS
hardware and phone bills -- is going to add up.
 
Now, I've gotten some comments like, "I'll join if it's on the net."
Well unfortunately we netters are just a miniscule fraction of the total
number of Korg synth owners out there.  Most of them probably don't even
have a computer, let alone a modem.  I think the net is a great way to
go, and I'm going to be getting a private net address (outside HP) for
this purpose.  But you've got to realize that the only network most
people have access to is the telephone.
 
Those who have Internet or CompuServe access can communicate with me
(and each other) that way.  I just don't want to exclude the people who
don't have that luxury.
 
So, to sum up, I'm working on a getting a brochure together that will be
mailed out by Korg in a month or two.  It will announce the group and
include a membership form.  I'll also be starting to work on the first
issue of the newsletter.
 
In the mean time I'd like to hear from all of you (all 47!) about this
concept.  Do you agree with what I'm trying to do?  Your suggestions,
comments, and offers of help are greatly appreciated.  Will you join the
group, or do you just want to sit in front of your terminal and flame
people?
 
I'll post another update in about two weeks, and I'll include your comments.
 
 
Mark Turner
[email protected]

    
    I recently got an M1 and have problems getting the sequencer to
    record.  I plays the sequences that it came with fine, however
    I can't record any new stuff although it is 20% free as far as memory
    goes.
    
    I called Korg but didn't hear anything that I have'nt already done.
    There is one page that says 'Not in Multi Rec Mode'. I asked the
    Korg tech if that needs to be set to something else but he said no.
    Well, I certainly tried to change it but could'nt figure out how to
    do it.
    
    Anyway, this is what I did. I selected a an 'empty' song, select a 
    track assigned a program to it, set R/P mode press the rec button
    then pressed the play/stop button and...PRESTO...
    Nothing happened.
    
    I appreciate any help as I really don't want to have to trek down to
    the store with it.
    
    Errol (who_still_loves_his_M1)  
               

	I have found a few things about the sequencer on the M1.

1. DON'T believe the numbers it gives you about %full. It's a rough
   approximation at best. With the sample sequences in there it really
   it pretty close to all the way full.

2. Once the sequencer runs out of memory ALL KINDS of weird things start
   happening. The way I found out this at first was my "Bank Select" button
   stopped working. Just before taking it in to have it serviced I found
   out about the undocumented "machine initialize" sequence and reset my
   machine. Poof, it started working again. Since then I have had other
   symptoms as well but now I know what to do.

    Hi Errol,
    
    You've probably figured this out by now, but the way to go into
    Multi-Rec mode is as follows :
    
    1. Go into SEQUencer mode so that you get the first screen up.
    2. Move the cursor to the track select option.
    3. Increment the track number from 1 thru 8 and then once more. It
       should now say MLT.
    4. Flick thru a couple of screens (to where it used to say not in
       Multi Rec Mode) and now you'll see 
                    PLAY PLAY PLAY PLAY PLAY PLAY PLAY PLAY PLAY
       This represents the track status for each of the eight tracks and
       each may be changed to record as desired. 
    
    Now if you go back to screen one you can record on more than one track
    at a time. This I have found most useful when dumping a song from an
    external sequencer into my M1.
    
    Hope this has not been stating the obvious and that it helps you.
    Enjoy your M1... I certainly enjoy minde 8^)
    
    Jonathan

    Thanks very much for the info in .25 and .26. They both were
    informative.  I did, however, find my particluar problem which I
    probably did'nt clearly state. Anyway I solved my problem by
    unprotecting the sequencer memory, now I can create sequences.
    
    BTW .25 do you mind sharing that undocmented machine initialization
    key sequence. ( You can send me mail at NWACES::PHILLIPS or post it
    here for all M1 owners.)
    
    I really enjoy this keyboard a lot and willing to share
    programs/sequences with others. I am curious as to what/how other
    people are using theirs.
    
    Thanks again,
    
    Errol 
    
    

    You can't record if the program memory is protected either. Nobody ever 
    accused the M1 of having an intuitive user interface.
    
    Dan

RE: .27

Undocumented features are:

If you hold down certain buttons while the machine is being powered up
"Magic" things happen as follows:

hold down buttons		Result
------------------		------
int + card 			Rom version is shown in display
int + card + comb 		ENTIRE machine is initialized !!!
				Make SURE all patches/combinations/sequences/
				global are saved 'cause you'll lose it!!!


One can guess that if there are these two there may be others.

    Thanks for the 'Undocumented Features' in .29. 
    I got a question though, what is the state of the machine after
    an initialization has occurred?
    Are the factory patches/setting reloaded (from ROM) or is the machine
    completely devoid of patches?
    
    Thanks,
    
    Errol

RE: .30

	The all patches/combi's are initialized to close to all zero's.
Original Factory patches are LOST forever unless reload from midi or
card.

    My friend just picked up an M1, and he is having some difficulty with
    the sequencer.  He would like to sequence a bass line for a Real Book
    tune, and have it loop endlessy.  Sounds simple, but then I have an
    EPS outlook on such matters.  The only way he has been able to get
    the thing to loop is by (excuse my paraphrasing) calling the sequence
    a "song".  This forces the looping, but it adds a noticeable time-lag
    between the end of one loop and the beginning of the next.
    
    Could one you kind M1-ites offer suggestions for no-lag looping?
    
    Thanks,
    
    Joe  

    According to this month's Keyboard, Korg is offering the T1 ROM sample
    waveforms as an expansion to the M1. Price is $399 installed.
    

    Re:.32
    
    The way that I do a endless loop is instead of recording on song
    mode, I record on pattern mode. This is only good when you sequence
    a bass line or a drum pattern but not for multi-midi channel or
    multi-sounds. 
    
    Check the sample patterns included in M1 which can give you an idea
    how to create them.
    
    
    

    Nothing personal, but the collective wit of this conference would make
    any of the trade rags green with jealousy.  There aren't many folks who
    have commented in here who are unqualified to do so.  Just because Jim
    Aikin says that "xyz" board is awesome doesn't make it so.
    
    Sure, the M1 is a nice board, but it's not the end all that it was
    marketed to be.  The T-series also suffers somewhat, imHo, especially
    in that only 16 oscs are available.  For the price, there ought to be
    twice as many.
    
    I'm glad you like your M1; however, I think your flame is a bit
    unfounded.
    
+b (co-mod)

re: .38

I hope you have a good as time with your M1 as I have with my D50, Matrix 1000,
Proteus 1, and hopefully soon an R8m.  The total of that setup in todays dollars
is around $2500. Additionally, I was running Atari + notator and now run Mac
and Vision.

Anyway, M1 is a noce board but not the board to end all boards

rgds

Chad

    Well, as someone in another note suggested, the Christmas season is
    upon us and we should think of sharing with our fellow man, comidiots
    included of course. :^{)
    
    I have 5 banks of public domain patches for the M1, well about
    four and a quarter , two are pretty much identical except for a few
    patches.  I got these from 'begging' folks over the USENET for FTP
    locations.  Two banks are from a midilib on UCSD.EDU and three 
    are from GEnie, a kind soul mailed to me and in return I hope to mail
    him stuff I find along the way. 
    
    Are any of you folks interested in trying these patches? I am currently
    documenting the names of the patches in each set and will deposit them
    to MIDILIB when I have completed this task.  I have audition these
    banks and found some pretty good stuff, IMHO. Lots of great guitar both
    electric and acoustic, organs, brass , newage type things etc.
    The only downside is that most of these patches use two osc. so you end
    up with eight note polyphony.
    
    The price is right and I like that a lot, I guess you can called me
    sentimental, (it better than being called cheapskate). You may find
    that inspiration you looking for , for your Commusic submission, 
    I happen to be working on mine but will put it aside to finish the
    documentation if folks are interested.  I am also sending away for
    an M1  PD librarian which I will also make available. 
    
    So folks lets start an M1 library, I will deposit the patches by
    Sat. 17th. Feel free to deposit whatever PD stuff you have so this
    can get going.
    
    Errol(if you can't wait till Sat drop me mail) 

            <<< DNEAST::SYS$TOOLS:[NOTES$LIBRARY]COMMUSIC.NOTE;2 >>>
             -< * * Computer Music, MIDI, and Related Topics * * >-
================================================================================
Note 2717.0        Trouble with sounds in COMBI-Mode (KORG M1)        No replies
CENDS::GOETZ "Habe Geduld..."                        15 lines   9-SEP-1991 02:54
--------------------------------------------------------------------------------
    
    Hello M1_User !
    
    I have a big Problem on my M1 :
    
    If i am using some really incredible Sounds in the VOICE-Mode, the
    sounds are good. Very, very good ! :-)
    
    But if i am using this sounds in the COMBI-Mode, many of this
    sounds a incredible bad ! All the special effects are missing. :-(
    
    What's wrong ?!?
    
    Mac_Goetz_want_to_use_all_the_good_sounds_in_Combi_Mode_too
                                                               

    Well, the problem is that in voice mode the effects are tailored to
    that particular patch. So the sax patch, guitar patch, flute patch
    sounds great individually but in combination mode they all share the
    same effects. Now you can tailor the effect in combination mode
    to make them all sound as good as they sound in single voice but that
    tough to accomplish if you got come with more that three types of 
    effects, ie reverb ,digital delay, chorus, flange.
    
    What I do is copy the effects from the single voice that I think is
    most important to the piece that I am doing to the comination and if
    some of the other voices don't song right I route them without effects.
    
    Hope you got the idea.
    
    Errol

    
    Errol, how is it possible to copy the effects form voice to
    the combi mode ?
    
    Mac_Goetz
    

    Copy effect on the M1 only requires a copule of steps, which
    are the same regardless of whether you are in program mode, combination
    mode or song mode (sequencer).
     
    Once you are in the Combination you want,  press the Edit
    Combination button, next press the #9 button on the numeric 
    keypad and press the (-) to step back one screen. this is the
    Copy Effects Screen. You can also get there by pressing the
    #8 button (Efects page) and the (+) button four times I believe.
    The looks  something like:
    
    **Copy Effect from (Combination)   00 **
                        ^^^^^^^^^^^    ^^
    Position the cursor under  Combination and pressing (-)and (+) keys
    toggle this from Combination to Program to Song. Next position the
    cursor the number to right and use the (+) (-) keys to to get to
    desired number  then press the enter key.
    
    If you like what you hear and want to keep it you must save it, or
    else when you change to another Combination it will disappear.
    
    If you still got questions send me mail.
    
    Take it easy.
    
    Errol

I have a new Korg 01/Wfd (introduced only a few weeks ago by Korg).

I am not all that familiar with the M series although I programmed a
Wavestation for a "House" project only a few weeks ago.
Most of the Korg lines have no more than 2 effects processors (my O1/W
has 2 effects processors)....so...when you try to program 2 sounds with
2 effects each (eg...a guitar sound with Distortion and Chorus, and a
strings with Flanger and Reverb), an attempt to combine these sounds into
a Combination will require 4 effects!  My unit has 2 effects processors...
so it ignores the effects selection made in Edit Program and instead uses
the effect selection in Combination mode.

One way to get around this on the 01/W is two program the sound in two
modes during Edit Program:  Prepare a SINGLE sound with all parameters
including effects.  Prepare a MULTI sound without assigning any effects.

How many effects processors does the M1 come with?

Kris...

    
    How is it possible to change the effects in COMBI-Mode via MIDI ?
    I'm using CUBASE 2.01 and want to change the effects during an
    arrangement.
    
    Mac_Goetz
             

    Now, I don't have the User manual in front of me but I but I am
    certain you can't send and effects change from MIDI. However you can
    send a Combination change over MIDI, so create another Combination
    with the desired effects and change the Comination over MIDI.
    
    Good luck,
    Errol

    
    Sounds interesting, but..
    
    on my CUBASE Disk is a demosong for the M1. This arrangement sent
    at first some SysEx-datas (is it right ?!) to the M1.
    After this the effects and the combinationname changed.
    How is it possible to do this change ?
    
    Mac_Goetz
    

    Yes, what it sent was a combination change. Each program, combination
    and song has an effect setting programmed into it. It is a part of the
    program, combination or song it belongs too, just like the PCM sample
    is part of program. You have to think of the effects setting as part of the
    program, combination or song and not as something seperate.
    
    So the sys ex data simply changed the combination and you hear the
    effects that is programmed into that combination. This works the same 
    on most if not all synths, effects are part of the patch/program. Well
    at leat on the M1 and U220.
    
    Hope you understand what I am trying to say.
    
    Errol