Re: A Little Korg Trivia...

From Kurt Dwight Bleach
Sent Tue, Feb 3rd 1998, 21:46

> To all Korg fans, three little questions:
> - Is it possible to chain two SQ-10 together and make the whole thing work in
> step mode triggered by ONE S-trig signal?

Although I haven't actually tried this, I can't imagine why it wouldn't
work--just put the trig into a multiple and send the same signal to both
SQ's. Conversely, I think you could chain them, using the "multiple trig
out" from one to control the other--I've done this synching the SQ-10 to
the internal sequencer/arpeggiator of an SH-101 and it works fine.

> - Is there a real sound difference between a MS-10 and a MS-20? 

If you're asking for an oscillator for oscillator comparision, I can't
help you here, I don't have a 10. However, you do know that the 10 only
has one osciallator and one filter, right?

> - Is there a real sound difference between a MS-50 and a MS-20? (I've heard the
> MS-50 uses higher-quality VCO and VCF, but does it justify the price difference

Again, the 50 only has one oscillator and one filter (well--there's kind
of a high pass filter on one of the VCA's, but that's a little
different). Having just acquired a 50 (and having spent the last three
days glued to it) I can tell you that I do notice somewhat of a
difference in the quality of the oscillator and filter, particularly the
filter. I don't have the tech specs, so I don't know where the
difference comes from, but there seems to be more range with the 50's
filter, allowing for huge, searing resonance sweeps. Similarly, the
oscillator is definatley a little "richer," when compared one on one
against an oscillator from the 20.

However, you're really talking apples and oranges here: I wouldn't
invest in the 50 because of the slight difference in sound--after all,
the sound of the 20 is amazing, using both oscillators and both filters
in conjunction. The real advantage of the 50 is its modular
capabilities. (Note: this could also be a source of immense frustration
if you've never used a modular and have no idea how to patch a sound
together--you should have seen my bandmate pulling his hair out trying
to get the thing to make any sound at all.) 

For example, with the 20 alone there's no way to modulate the filter
with an oscillator in audio range (only LFO, unless you have other
modular gear to patch into it). On the 50 you can patch the triangle out
of the oscillator, the square out of the LFO (or modulator, at they call
it) and the output of one of the EG's into the mixer, then use all of
this to modulate the filter's cutoff frequency, to get an intense,
constantly moving FM sound. Or, put the mixer's output into a multiple
and modulate the 50's filter and both of the 20's filters
simultaneously. Obviously, with the addition of the SQ-10, the
possibilites are endless.

Once again, though, unless you're familiar with modular gear or really
like to expiriment, I would think twice before putting all that money
out for a 50. 

> (twice the MS-20 price in France)?

I know nothing about Eurpoean prices, but that seems a little off to me,
proportionately. Typical U.S. prices are:
MS-10 - $250 - $350
MS-20 - $600 - $750
MS-50 - $750 - $950 (if you can fine one ;)
SQ-10 - $300 - $450
I can't see paying $1400 (i.e. double the price of a 20) for a 50--hell,
you could get a pretty nice Doepfer setup for that and configure the
thing any way you want (keeping in mind the whole Htz/Volts versus
Volts/Octave problem). Or, for that matter, two 20's!

> My goal is to complete in the most efficient way a MS-20/SQ-10 set-up. 

To fill out the sound a bit and add some flexibility, get at 10.
To fill out the sound a lot and add a bit more flexibility, get another
20 (the redundancy in sound could be overcome by creative patching).
To add a whole other dimension of flexibilty and sonic possibilites, get
a 50 (but for God's sake, don't spend more than you would on a whole
Doepfer system--unless you're a real collector.)