A blast from the past with the power of the present. The Korg MS-2000B Analog Modeling Synth opens the latest chapter in the 25-year history of the Korg MS series. With an updated sound set, a sharp new black metallic color scheme, and dedicated vocoder mic, the 44-key MS2000B provides a combination of playability, expression, and sound manipulation that is at once familiar, yet ready to open a new universe of possibilities. Back to the future The 44-key MS2000B comes dressed up with retro-style rosewood side panels and is packed with other great features of the past, including a versatile 16-band vocoder and an arpeggiator offering 6 types of arpeggio patterns. Unparalleled analog modeling power Korg's DSP-driven analog modeling system”-acclaimed in the Korg Prophecy and Electribe-A-”has been refined to produce an incredibly wide range of sounds. From lush to fat to sharply cutting, the awesome sonic spectrum produced only by this DSP technology is harnessed into a compact keyboard or module. All major sound parameters can be accessed in real time from the knobs and switches on the front panel, allowing you the freedom to manipulate and shape your sound as you play.
Awesome waveforms The oscillator section consists of two oscillators and a noise generator. Oscillator 1 lets you select from eight waveforms, including analog staples such as sawtooth and pulse, to unique selections like VoxWave and 64 DWGS (Digital Waveform Generator System) waveforms first featured on the Korg DW-8000. Modulation can be applied to each waveform for an even wider timbral selection and to create movement. Oscillator 2 lets you select from three types of waveforms. In addition to detuning Oscillator 2 relative to Oscillator 1, you can also use it to apply sync or ring modulation to generate complex sounds.
The audio input jacks allow external sound sources to be processed by the internal filters, effects, etc. Sound control The EG (envelope generator) uses familiar 4-stage ADSR (attack, decay, sustain, release) controls to apply time-variant changes to sound parameters. The LFO (low frequency oscillator) allows you to choose from four types of waveforms to apply cyclic changes to sound parameters and can be synced to MIDI clock for cool rhythmic effects. Two EGs and two LFOs are provided for each timbre. The MS2000B provides four filter types: 12dB low pass, 24dB low-pass, band-pass, and high-pass. Resonance is provided and can be set to self-oscillate.
In addition to volume and pan controls, the amp section provides a distortion on/off setting so that even soft sounds can be transformed into aggressive solo parts. The effect section provides up to three effects simultaneously: a modulation effect (ensemble, phaser, or chorus/flanger), a delay (stereo delay, cross delay, or L/R delay), and an equalizer, programmable for every sound. Virtual Patch function allows wildly creative possibilities The MS2000B provides a Virtual Patch function that simulates the patching capabilities of the legendary Korg PS series and MS series synthesizers. Not only EG and LFO but also velocity and keyboard tracking can be used as modulation sources to affect parameters such as pitch, noise level, and pan. You can create four Virtual Patches for each sound.
Mod Sequence function generates dramatic tonal changes The 3-track Mod Sequence function is a step sequencer that applies time-variant change to sound parameters in a way similar to varying the control voltage on analog synthesizers of the past. In addition to the 28 parameters on the front panel, you can also sequence changes to the pitch or step length to create your own riffs and phrases. Using the Mod Sequence to change DWGS waveforms even allows you to simulate wave-sequencing! Cant wait to own it Well I was the somewhat proud owner of an Alesis ION and well that thing is very confusing to program. It goes from menu page to menu page. This seems to be a bit. Well I was the somewhat proud owner of an Alesis ION and well that thing is very confusing to program.
It goes from menu page to menu page. This seems to be a bit less confusing, but with any good instrument, its the know how that makes it sound good. Not bashing the ION here its just my anti-struggle side that made me take it back im sure its an awesome synth. Now I say, bring on the Korg, cant wait to own my own after jamming on it at a local guitar place.
Though the weight of a guitar can determine the sound of it, I can't think of how the weight of this thing can make it less of a synth, isn't it just programs and circuitry that make it tick not the type of wood/metal that makes it sound good. One Trick Pony This synthesizer is a one-trick pony really.It's one trick is the Mod Sequencer, which can be used for very glassy and pretty timbres similar to things you can pull on a Wavestation, but far. This synthesizer is a one-trick pony really.It's one trick is the Mod Sequencer, which can be used for very glassy and pretty timbres similar to things you can pull on a Wavestation, but far more easily.
You'll generally spend over a grand for this effect (Nord Modular, true analog modulars, etc.)However, it's two closest competitors (Alesis Ion and Clavia Nord Lead 2X) maul it like lions in just about everything else (basses, leads, pads that aren't pretty and glassy, brasses, strings, effects, and so on). The Ion is marginally more expensive than the MS2000B, but it has a full four octave keyboard, three oscillators per voice, eight voice polyphony (as opposed to the painful four voices here), dual filters, and four times as many filter options. The Nord Lead 2X is somewhat more expensive, and has much more 'personality' than the sterile MS2000, and is 20 note polyphonic and 4 part multitimbral. Except for it's one trick, the MS2000B is mediocre at best. I'd get it as a 'spice' to an existing setup of synthesizers if I were to buy it, as it's good at it's one trick.
I didn't regret selling mine for a real analog monosynth. This thing rocks! Those who say it is thin and not fat enough does not know how to program synths. Trust me, I know.
I own many analogs and I can make this thing sound just as analog or digital as I want. It's all in the know how. Spend some time with this synth and you will not be disappointed.
Heck, it is a great addition to my Moogs, Oberheims, etc. Besides,you hear it all over everything the band 'Black Eyed Peas' has on the charts so that should be worth making you want one. All around, it's a avery cool synth for the money and it's vocoder alone is worth the price. This synth may sound a little thin at times, but when tweaked, it can produce some serious seriousness. Its sound is very unique and can make good as a standalone or as a compliment to say a Nord Lead or an Ion. The Virtual Patch and Mod Sequence functions are both extremely cool. The vocoder seems a bit silly, but sounds great.
Don't let the presets fool you. This is one powerful tool for creation. Whether you want some funky, high-pitched, Snoop-style melody lines, sweeping, full-motion pads, or a low-down dirty squelch. You could spend 3 years playing this thing every day and still not have any idea what you are doing unless you are a very experienced keyboard/synthesizer musician. I am a guitar player looking for some addition to my sound so I picked this Korg up. And man did I ever get just about any sound that I ever wanted. Its a really cool instrument and is a great buy for someone looking to expand their horizons to their music.
The only thing that I disliked about it.I have owned this instrument for 5 months and still have not been able to find a straight regular piano sound on the synth. Its a cool instrument. Well I was the somewhat proud owner of an Alesis ION and well that thing is very confusing to program. It goes from menu page to menu page. This seems to be a bit less confusing, but with any good instrument, its the know how that makes it sound good. Not bashing the ION here its just my anti-struggle side that made me take it back im sure its an awesome synth.
![Korg Ms2000 Virtual Patch Korg Ms2000 Virtual Patch](/uploads/1/2/3/7/123733715/151891220.jpg)
Now I say, bring on the Korg, cant wait to own my own after jamming on it at a local guitar place. Though the weight of a guitar can determine the sound of it, I can't think of how the weight of this thing can make it less of a synth, isn't it just programs and circuitry that make it tick not the type of wood/metal that makes it sound good. This synthesizer is a one-trick pony really.It's one trick is the Mod Sequencer, which can be used for very glassy and pretty timbres similar to things you can pull on a Wavestation, but far more easily. You'll generally spend over a grand for this effect (Nord Modular, true analog modulars, etc.)However, it's two closest competitors (Alesis Ion and Clavia Nord Lead 2X) maul it like lions in just about everything else (basses, leads, pads that aren't pretty and glassy, brasses, strings, effects, and so on). The Ion is marginally more expensive than the MS2000B, but it has a full four octave keyboard, three oscillators per voice, eight voice polyphony (as opposed to the painful four voices here), dual filters, and four times as many filter options. The Nord Lead 2X is somewhat more expensive, and has much more 'personality' than the sterile MS2000, and is 20 note polyphonic and 4 part multitimbral. Except for it's one trick, the MS2000B is mediocre at best.
I'd get it as a 'spice' to an existing setup of synthesizers if I were to buy it, as it's good at it's one trick. I didn't regret selling mine for a real analog monosynth.
The tone generator of the MS2000 uses a DSP-powered analog modeling system. The analog modeling system acclaimed on the KORG Prophecy, Z1, and Electribe series has been refined to produce an incredibly wide range of sounds. From sharply cutting to powerful and thick, all the awesome sonic power that can be produced only by DSP technology is packed into a compact keyboard or module. All major sound parameters are arranged on the front panel, allowing you the total freedom of manipulating knobs and switches in real time. Powerfully awesome waveforms The oscillator section consists of two oscillators and a noise generator. Oscillator 1 lets you select from eight oscillator algorithms, including basic analog synthesizer waveforms such as sawtooth and pulse waves, to unique selections like VoxWaves and 64 DWGS (Digital Waveform Generator System) waveforms first featured on the Korg DW-6000.
Each waveform can be modified by applying a suitable type of WFM (Waveform Modulation) for an even wider timbral selection and movement. Oscillator 2 lets you select from three types of waveforms.
In addition to detuning Oscillator 2 relative to Oscillator 1, you can also use it to apply sync or ring modulation to generate complex sounds. The audio input jacks allow external sound sources to be used in the same way as the internal oscillators, and even processed by the internal filters, etc. Sound control The EG (Envelope Generator) that applies time-variant change to sound parameters uses a familiar four-parameter ADSR (Attack, Decay, Sustain, Release) configuration. The LFO (Low Frequency Oscillator) used to apply cyclic change to sound parameters allows you to choose from four types of waveform. Two EG's and two LFO's are provided for each timbre.
Speedtouch modem. The MS2000/MS2000R provides four types of filter: two types of low pass filter (-12/-24 dB), band pass filter, and high pass filter. Resonance is provided, and can be adjusted into self-oscillation. The effect section provides a modulation effect (three types), a delay with three selectable types, and an equalizer.
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In addition to volume and pan controls, the amp section provides a Distortion on/off setting so that even soft sounds can be transformed into aggressive solo parts. Virtual Patch function allows wildly creative possibilities The MS2000/MS2000R provides a 'Virtual Patch' function that simulates the patching capabilities of the legendary KORG PS series and MS series synthesizers. Not only EG and LFO, but even velocity or keyboard tracking can be used as modulation sources to affect parameters such as pitch, noise level, and pan.
Mod Sequence function generates dramatic tonal changes The Mod Sequence function applies time-variant change to sound parameters in a way similar to varying the control voltage on an analog synthesizer of the past. In addition to the 28 parameters on the front panel, you can apply time-variant change to the pitch or step length and adjust it in real time.
Back to the future The MS2000/MS2000R is dressed in a retro teal blue body with rosewood side panes and is packed with other great features of the past, like a powerful built-in 16-band vocoder and an arpeggiator with six types of arpeggio patterns. The arpeggiator, Mod Sequencer and LFO's all sync to MIDI for ultra-cool rhythmic effects. Both models allow the panel to be tilted for excellent visibility and easy operation.
Contents. History and features The synthesizer was offered as either a 44-key board or as a rack module, the latter being controlled by an external keyboard controller, hardware sequencer or a computer, making use of the system's very complete implementation. It was intended to bring the sound and basic functionality of the MS-10 and MS-20 back into the keyboard market, but with the updated technology of. The extensive number of onboard knobs and buttons (over 80) could be used to dynamically edit many of the parameters while playing, as well as be used as a control surface for other synthesizers and sound modules. This capability was the attraction of many analog synthesizers of the past and that real-time editability became the cornerstone of contemporary VA synthesizers. At the time of the release of the MS2000, Korg was competing directly with synthesizers such as the and Roland's and JP-8080.
While both of these VA machines were powerful in their own right, they were expensive. Korg had to make some sacrifices to be able to offer the much simpler MS2000 at a more reasonable price.
![Korg Ms2000 Virtual Patch Korg Ms2000 Virtual Patch](https://static.gearslutz.com/board/imgext.php?u=http%3A%2F%2Fwww.superwavesynths.co.uk%2Fimages%2Fscreenshot_tarkus.jpg&h=5f1f1997afbdfa34ca7b0d80f32fc10c)
The most prominent limitation was the synthesizer's of only 4 voices. One feature partially overcame the limited polyphony. If one connected the rack and keyboard together via the MIDI ports, the two devices could be set to produce notes offset to one another, this turning the combined system into a semi-8-voice synthesizer, completely controllable using either of the control surfaces, although it was likely that most players used the keyboard surface as the master control. Synthesis Sounds are initiated in the MS2000 in a somewhat standard synthesizer manner, and then routed in various ways to produce the final sound. All sounds (timbres) in the MS2000 consist of the following steps and path: OSC1/OSC2/NOISE, MIXER, FILTER, AMP, EG, LFO, VIRTUAL PATCH, MOD SEQUENCE, EFFECTS and ARPEGGIATOR.
If the voice mode is Single, only TIMBRE 1 will sound. If the voice mode is Dual or Split, both timbres TIMBRE 1 and TIMBRE 2 will sound. TIMBRE 1/2 OSC1/OSC2/NOISE OSC1 (Oscillator 1) allows one to select from eight different oscillator algorithms, including basic analog synthesizer waveforms such as SAW and PWM, Cross Modulation, and Korg's proprietary DWGS (Digital Waveform Generator System) originally developed for the synthesizer. A signal such as a mic, instrument or line input from the AUDIO IN 1/2 jacks can also be processed. OSC2 (Oscillator 2) allows one to select from three types: SAW, SQU, and TRI. It can also be used as an oscillator for the Sync. NOISE (Noise Generator) produces white noise which can be used for sound effects and introducing harmonic distortions to waveforms.
The 64 single-cycle, wavetable-like internal waveforms that can be used in the oscillator 1. Taken from mid-80's synthesizer, these waveforms allow the creation of bell and electric piano-like sounds.
Also, ring modulation and sync are available as modulation sources to generate sweep and vintage lead sounds. MIXER Used for adjusting the levels of OSC1, OSC2 and NOISE. The combined signal is then sent to the FILTER.
FILTER The FILTER cuts or emphasizes frequency components of the signal from the oscillator, affecting tone and brightness. Three primary types of filtering are available: –12 or –24 dB/oct LPF (Low Pass Filter), –12 dB/oct BPF (Band Pass Filter), or –12 dB/oct HPF (High Pass Filter). Using EG1 to create time-variant changes in cutoff frequency adds a fourth type of filtering.
Trend Micro Virtual Patch
AMP The AMP stage consists of AMP (Amplifier), DIST (Distortion), and PAN (Panpot). AMP sets the volume, and PAN sets the sound's location in the stereo field. Using EG2 can create time-variant changes in volume. Quite harsh tones can be created by turning DIST on, and adjusting the filter cutoff and resonance, higher-pitched rings and tonalities are created with various harmonics layered on. EG1/2 The Envelope Generator applies a time-variant change to each timbre parameter. On the MS2000/MS2000R, there are two standard EG’s for each timbre. EG1 is assigned as the envelope source that produces time variant changes in the FILTER cutoff frequency, while EG2 is assigned as the envelope source that produces time variant changes in the AMP volume.
![Virtual patch bay Virtual patch bay](/uploads/1/2/3/7/123733715/562423255.jpg)
The MS2000's VIRTUAL PATCH module can be used to assign EG1 and EG2 to other parameters. LFO 1/2 The LFO (Low Frequency Oscillator) applies cyclic change to sound parameters. The MS2000/MS2000R provides two LFO’s for each timbre, each with four waveforms. LFO1 is assigned as the modulation source for OSC1.
LFO2 is assigned as the modulation source for the pitch modulation controlled by the modulation wheel. As with the EG's, VIRTUAL PATCH can be used to assign LFO1 and LFO2 to other parameters. VIRTUAL PATCH VIRTUAL PATCH allows the use of not only EG or LFO, but even keyboard velocity (keyboard playing dynamics) or keyboard tracking (the area of the keyboard that is played) as modulation sources which can be assigned to sound parameters for greater freedom in timbre editing and sound creating. Four routings (combinations) can be specified for each timbre.
MOD SEQUENCE MOD SEQUENCE is a step sequencer that lets you apply time-variant change to various sound parameters in a way similar to analog synthesizers of the past. The sixteen knobs on the main panel can be used to set the value of each step and then the sequence is played back. The sound can be further modulated by the arpeggiator and by VIRTUAL PATCH.
Virtual Patch
The knobs can also be operated in realtime, and their movements (parameter values) recorded in each step (Motion Rec function). Since each timbre can have up to three sequences, very complex tonal changes can be obtained. EFFECTS Each program can have a modulation effect, chorus, stereo delay, and equalization. For a modulation-type effect, select from chorus or stereo delay. ARPEGGIATOR The onboard arpeggiator has six types of arpeggio. For a program whose voice mode is Dual/Split, arpeggios can be played on one or both timbres. Since arpeggiator settings can be made for each program, arpeggio types that are suitable for the sound of a particular timbre can be saved and played.
Korg MS2000B MS2000/MS2000R. In 2000, Korg introduced the MS2000 and MS2000R, the latter being a rack-mounted version of the MS2000. The MS2000 is a 44-key keyboard with modulation and pitch-bend wheels, two analog inputs and two analog outputs, all via 1/4' TRS connections and MIDI IN, OUT and THRU connections. The case was painted a dark teal blue color and sided with mahogany rails. In addition to its body, the signal path and parameter list was silk-screened on the face (MS2000 model only), a retro nod to analog synthesizers of the 1970s and 1980s. A 19' rack version was simultaneously released, with a designation of 'R' added to the name.
Korg Ms2000br
MS2000B/MS2000BR In 2003, Korg re-released the synthesizer with some minor changes. The new version was dubbed the 'MS2000B', the 'B' designation given due to its dark grey/black painted body. A few additional patches and demo programs were loaded, but the most significant improvement was the inclusion of a microphone which could be inserted into the new mic input that was added to the top of the keyboard to facilitate easier use of the vocoder. An identically-capable rack version was also released, with the appropriate 'R' designation in the name. It did not come equipped with the mic or mic input, but the vocoder could still be used via one of its audio inputs.