Korg MS-20
| Spec | Detail |
|---|---|
| Manufacturer | Korg |
| Year released | 1978 |
| Synthesis type | Subtractive |
| Architecture | Analog |
| Polyphony | Monophonic (2 VCOs) |
| Notable users | Daft Punk, Aphex Twin, Mr. Oizo |
| Known for | Aggressive filters and the patch bay beloved of electronic artists |
Overview
The Korg MS-20 is a monophonic analog synthesizer released by Korg in 1978. It is a subtractive synthesis instrument, meaning it generates raw waveforms and then shapes them by removing frequencies using filters. The MS-20 features two voltage-controlled oscillators (VCOs), a voltage-controlled filter (VCF), a voltage-controlled amplifier (VCA), and two envelope generators. It is housed in a dark grey metal chassis with a sloping control panel and a 37-note keyboard. A defining feature is its semi-modular patch bay, which allows users to reroute signals and connect external equipment without requiring a full modular system. The MS-20 is known for its aggressive, resonant filter design and its ability to produce harsh, acidic tones as well as thick basses and leads. It was originally sold as a relatively affordable instrument and was part of Korg's MS series, which also included the MS-10 and MS-50. Although it was discontinued in the early 1980s, it has been revived in various forms and remains a popular choice among electronic musicians for its distinctive character. The MS-20 does not include MIDI or digital controls in its original version; it is purely analog and operates on control voltages. Its patch bay uses 3.5mm mono jacks, and it includes a built-in keyboard, a noise generator, a sample-and-hold circuit, and an external signal processor. The MS-20 is monophonic, meaning it can play only one note at a time, but its two oscillators can be detuned or set to different waveforms to create complex sounds. Its filter is a 12 dB/octave design that can self-oscillate, a trait that contributes to its aggressive sound. Overall, the MS-20 is a classic analog monosynth that has left a lasting mark on electronic music.
History & design
Korg released the MS-20 in 1978 as part of its MS series of analog synthesizers. The MS series was designed to offer affordable, semi-modular instruments that could compete with more expensive modular systems. The MS-20 was the flagship of the line, featuring a larger keyboard and more extensive patching capabilities than the MS-10. It was manufactured in Japan and remained in production until 1983. The design team at Korg aimed to create a flexible instrument that could be used both as a standalone synthesizer and as a component in a larger setup. The MS-20's patch bay allows it to interface with other analog gear, such as sequencers, modular systems, and effects. The original MS-20 uses analog circuitry throughout, with discrete components and operational amplifiers. Its filter is based on the Korg 35 filter circuit, which is known for its aggressive resonance and self-oscillation. The MS-20 also includes a keyboard that transmits control voltage (CV) and gate signals, making it compatible with other analog equipment. The instrument was not a commercial blockbuster in its initial release, but it gained a cult following in the 1990s when electronic dance music producers began using it for its distinctive filter sound. Korg reissued the MS-20 in 2013 as the MS-20 mini, a smaller version with the same analog circuitry, and later released other variations. The original MS-20 is now considered a classic, and its design has influenced many subsequent synthesizers. The MS-20's layout is intuitive, with clearly labeled sections for oscillators, filters, envelopes, and modulation. The patch bay is located on the right side of the panel, with inputs and outputs for various functions. The MS-20 also includes a built-in external signal processor that can process external audio through its filters and envelopes. This feature allows it to be used as a filter bank or effects unit for other instruments. The MS-20's design emphasizes hands-on control, with numerous knobs and sliders for real-time manipulation.
How it works
The Korg MS-20 is a subtractive analog synthesizer. It generates sound using two voltage-controlled oscillators (VCOs). VCO1 produces sawtooth, square, pulse, and triangle waveforms, while VCO2 produces sawtooth, square, pulse, and ring modulation. The oscillators can be tuned independently and mixed together. The mixed signal then passes through a voltage-controlled high-pass filter (HPF) and a voltage-controlled low-pass filter (LPF). These filters are 12 dB/octave designs that can self-oscillate when resonance is high. The filters shape the harmonic content of the sound by attenuating frequencies above or below the cutoff point. The filtered signal then goes to a voltage-controlled amplifier (VCA), which controls the overall volume. The VCA is controlled by an envelope generator (EG). The MS-20 has two envelope generators: EG1 is an attack-release (AR) envelope, and EG2 is an attack-decay-sustain-release (ADSR) envelope. EG2 can be routed to the VCA, filters, or oscillators. The MS-20 also includes a low-frequency oscillator (LFO) for modulation, a noise generator, and a sample-and-hold circuit. The patch bay allows users to override internal connections and create new signal paths. For example, the output of the sample-and-hold can be patched to the filter cutoff, or the envelope can be patched to the oscillator pitch. The patch bay uses 3.5mm jacks, and cables can be used to connect various inputs and outputs. The MS-20 also has an external signal processor (ESP) that can convert external audio into control voltages and gate signals. This allows the MS-20 to process external sounds through its filters and envelopes, or to use external audio as a modulation source. The keyboard generates control voltages and gate signals that can be patched to other analog equipment. The MS-20 is monophonic, meaning only one note can be played at a time, but the two oscillators can be detuned to create a thicker sound. The overall signal path is analog, and the instrument does not use digital components or MIDI in its original form. The synthesis engine is flexible and can produce a wide range of sounds, from deep basses to screaming leads, depending on the settings.
Signature sound
The Korg MS-20 is known for its aggressive, resonant filter sound. Its filters can self-oscillate, producing a pure sine wave that can be used as an additional oscillator. When the resonance is pushed, the filter creates a sharp, acidic character that is often associated with electronic dance music. The MS-20's filters are also capable of producing a gritty, distorted tone when overdriven, which adds to its aggressive nature. The high-pass filter can thin out sounds, while the low-pass filter can add warmth and depth. The MS-20's oscillators are stable but can be detuned for a rich, beating effect. The ring modulator on VCO2 can create metallic, clangorous tones. The envelope generators are snappy and can produce percussive sounds as well as slow sweeps. The patch bay allows for complex modulation routing, which can lead to unpredictable and experimental sounds. The MS-20 is often used for bass lines, leads, and sound effects. Its ability to process external audio through its filters makes it a versatile tool for sound design. The MS-20's sound is often described as raw, powerful, and distinctive. It has a character that cuts through a mix, making it popular in genres like techno, electro, and industrial. The MS-20 does not have a built-in sequencer or arpeggiator, so it relies on external gear for sequencing. Its keyboard is not velocity-sensitive, but the instrument can respond to control voltages from other sources. The MS-20's filter design is different from the later Korg 35 filter used in some revisions; the original MS-20 uses the Korg 35 filter, which is known for its aggressive resonance. The MS-20 mini uses a different filter circuit that is designed to replicate the original's sound. The MS-20's sound has been used in many recordings, and it remains a sought-after instrument for its unique character.
Notable users & recordings
The Korg MS-20 has been used by a variety of electronic musicians. Daft Punk, the French electronic duo, have used the MS-20 in their productions. Aphex Twin, the alias of Richard D. James, is known for using the MS-20 in his experimental electronic music. Mr. Oizo, another French electronic artist, has also used the MS-20. These artists are often associated with genres such as house, techno, and electro. The MS-20's aggressive filter sound is well-suited to these styles. While specific recordings are not always documented, the MS-20's presence can be heard in many tracks from the 1990s onward. It has also been used by other artists in rock, pop, and industrial music. The MS-20's patchability makes it a favorite for sound design in film and television. Its distinctive filter can be heard in various soundtracks. The MS-20 has been used in live performances as well, often alongside other analog synthesizers. Its durability and reliability have made it a staple in studios. The MS-20's resurgence in the 2010s, with the release of the MS-20 mini, introduced it to a new generation of musicians. Many contemporary producers use the MS-20 for its classic analog sound. The MS-20 is also popular in the modular synth community, where its patch bay can interface with Eurorack systems. The MS-20's influence extends beyond electronic music; it has been used in hip-hop, ambient, and experimental genres. The MS-20's sound is often emulated in software, but the original hardware remains prized for its unique character. The MS-20 has been used by Korg itself in demonstrations and promotional materials. Overall, the MS-20 has a diverse user base and continues to be a relevant tool for music production.
Legacy & influence
The Korg MS-20 has left a lasting legacy in the world of synthesizers. It was one of the first affordable semi-modular synthesizers, making modular-style patching accessible to a wider audience. Its aggressive filter sound has influenced the design of many later synthesizers, which often aim to replicate its character. The MS-20 has been used in countless recordings and live performances, cementing its place in electronic music history. Korg has reissued the MS-20 multiple times, including the MS-20 mini in 2013 and the MS-20 kit, a full-size DIY version. These reissues have kept the MS-20 in production and available to new musicians. The MS-20's design has inspired other manufacturers to create similar semi-modular instruments. Its patch bay layout and filter design are often cited as benchmarks. The MS-20 is also a popular subject for software emulations, with several plugins attempting to capture its sound. However, many purists prefer the original hardware for its analog warmth and unpredictability. The MS-20 has been used in educational settings to teach subtractive synthesis and patching. Its straightforward layout and clear labeling make it an excellent learning tool. The MS-20's influence can be heard in genres such as techno, electro, and industrial, where its aggressive sound is highly valued. It has also been used in pop and rock music, often for bass lines and lead solos. The MS-20's legacy is also tied to its association with famous artists like Daft Punk and Aphex Twin, who helped popularize it in the 1990s and 2000s. Today, the MS-20 is considered a classic analog synthesizer, and its sound is instantly recognizable to many electronic music fans. Its continued popularity is a testament to its design and sonic capabilities.
Frequently asked questions
Q: What is the difference between the original MS-20 and the MS-20 mini? A: The MS-20 mini is a smaller version of the original MS-20, released in 2013. It uses the same analog circuitry but has a smaller keyboard and chassis. The MS-20 mini also uses a different filter circuit that is designed to replicate the original's sound, but some users note subtle differences. The original MS-20 uses the Korg 35 filter, while the MS-20 mini uses a later filter design. Both are monophonic and have the same patch bay functionality. Q: Can the MS-20 be used with modern equipment? A: The original MS-20 does not have MIDI, but it can be connected to modern equipment using CV/gate converters or MIDI-to-CV interfaces. The MS-20 mini includes MIDI input, making it easier to integrate into modern setups. The MS-20's patch bay allows it to interface with other analog gear, such as modular synthesizers and sequencers. Q: What makes the MS-20's filter sound unique? A: The MS-20's filter is known for its aggressive resonance and self-oscillation. It can produce a sharp, acidic tone that is different from other filters, such as the Moog ladder filter. The MS-20's filter can also distort when overdriven, adding to its character. The high-pass and low-pass filters can be used together to create complex timbres. The filter design is a key part of the MS-20's signature sound and is often emulated in software and hardware. These answers provide basic information about the MS-20's features and usage.