Korg M1

FOB Reference Price:Get Latest Price
US $200 / Box | 1 Box/Boxes 1 (Min. Order)
Supply Ability:
1 Carton/Cartons per Day
Report Suspicious Activity
Quick Details
Place of Origin:
Brand Name:
Model Number:
Black, Workstation:
Packaging & Delivery
Packaging Details
the keyboard is used but in very good and working conditation, i can send this good class packing
Delivery Time
can dilivered in 2 days in pakistan and 14 days for internationa


The Korg M1 is the world's first widely-known music workstation. Its onboard MIDI sequencer

The Korg M1 is the world's first widely-known music workstation. Its onboard MIDI sequencer and palette of sounds allowed musicians to produce complete professional arrangements. Outselling the Yamaha DX7 and Roland D-50, the M1 became the best-selling digital synthesizer of all time, which it remains today. In its six-year production period, more than 250,000 units were sold, making it Korg's most successful synthesizer. Though M1 was not the first music workstation on the market, it was among the first in its class. The volume of M1's sales allowed Korg executives to buy Yamaha's share of the company. The M1's synth engine consisted of one or two digital oscillators per patch. A total of 16 oscillators were offered, leading to a maximum 16-note polyphony (using only single-oscillator patches). This reduced to 8 Note when using double oscillator programs. The basic sample sound was then processed by a simple digital low pass filter, and then fed into the digital amplifier. Envelopes and LFOs, along with keyboard tracking, were the main controllers for those blocks. Because no interaction between the oscillators was provided (unlike Roland's 'structures,' for example), dual-oscillator patches essentially ran the two oscillators in parallel.

The filter didn't offer resonance, but the need for a dramatic filter was diminished by the onboard sample library's wide variety of acoustic, synth, and exotic sounds. The M1's internal 4 MB waveform ROM contained sounds which are in use even today, especially the compressed acoustic piano (used on countless records of the time and later adopted by the dance producers), pick and synth basses, strings, realistic vocal samples, brasses, and acceptable drum kits. For the first time, ethnic and exotic sounds from world locales (particularly Asian) were offered as standard. 

The M1 offered the ability to combine up to eight programs (patches) to play simultaneously on various key and velocity zones. This arrangement is called a 'Combi,' and allowed more complex sounds to be assembled and played via keyboard or MIDI.

The integrated MIDI sequencer allowed up to eight polyphonic tracks to play internal or MIDI sounds simultaneously. The sequencer memory could be shared with the user sound area, allowing 100 user "Program" sounds and 100 user "Combination" sounds with 4,400 sequencer notes or a reduced 50 Program and 50 Combination user sounds with 7700 notes. The sequencer's pattern structure permitted memory saving by using patterns for repetitive regions. Though paltry by current standards, the M1's sequencer offered full track editing and quantization, making it possible to produce high-quality songs entirely on the machine

The M1 offered 2 independent effects engines featuring reverb, flanger, chorus, delay, etc. Previously, most synthesizers offered fixed-function effects blocks, such as chorus or delay, and rarely reverb. When using multiple patches at the same time (in Combi or Sequencer modes), all patches share the same effects blocks. This problem also affected workstations from nearly all manufacturers.

The workstation featured minimalist physical controls, including a 40x2 character LCD, softkeys, a data slider, data entry buttons, and a 4-way joystick. The joystick combined two modulation sources and pitch bend: left/right adjusts pitch bend, up emits MIDI controller 1 messages, and down emits MIDI controller 2 messages. No arpeggiator was offered (a common omission until mid-90's) and the synth enforced patch-based programming instead of performance controls. No disk drive was integrated, so only MIDI SysEx dumps and memory cards provided methods to save sequences and programs outside the keyboard.

All M1 models include 2 slots for expansion - one for sample ROMs and the other for patch/combi ROMs or RAM cards for saving sounds or sequences. Korg offered the MCR-02 128 Kilobit card and the MCR-03 256 Kilobit card for around $80–$150 list, as well as the 4 bank MCR-04 MegaRam card with a capacity of 1 Megabit (128 kilobytes). These cards and the M1's internal memory all use 3V lithium CR2032 cells which lasts ~5 years without needing to be replaced. If the battery dies, sounds and sequences would be lost. Factory Programs and Combinations are not stored in ROM, so the loss of battery power in the keyboard necessitates a data dump from a RAM card, a Factory Preload card, or a MIDI sysex data dump to restore the factory patches.

Because of the success of the M1's sales, an entire market grew around supporting this synth. This included the production of 3rd party manuals, new sounds, training videos, and hardware modifications. "We had more than 50 companies making aftermarket accessories and sounds in 1988" said Korg USA's Dave Goldberg, who then managed the Third Party Developers. "One such product was the Frontal Lobe by Cannon Research", which added more memory for sequencing and a floppy disk drive. Another was the M1 PlusOne, which added an additional 4mb of onboard sample memory.

You May Like
Not exactly what you want? 1 request, multiple quotations Get Quotations Now >>
You May Like