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Because no interaction between the oscillators was provided (unlike Roland's 'structures,' for example), dual-oscillator patches essentially ran the two oscillators in parallel. Envelopes and LFOs, along with keyboard tracking, were the main controllers for those blocks. The basic sample sound was then processed by a simple digital low pass filter, and then fed into the digital amplifier. This reduced to 8-note polyphony when using double oscillator programs. A total of 16 oscillators were offered, leading to a maximum 16-note polyphony (using only single-oscillator patches).
#KORG M1 MANUAL PATCH#
The M1's synth engine consisted of one or two digital oscillators per patch with sampled acoustic waveforms are stored in memory. Roland's SuperNatural, Yamaha's AWM (advanced wave memory) and KORG HI (hyper-integrated) are more recent examples. The S&S synthesis, under different names, is used by many major synth makers today, but of course lower cost of electronic memory and faster processors allow to store much higher quality and longer samples and apply more signal processing. Ability to lay up to 8 different tones (sounds) on top of each other, split them over the keyboard in any combination and instant realtime access to crucial parameters such as attack, release, filter cutoff, LFO timing, etc., made M1 as easy to use. The resulting sounds were rich, colorful and natural.
#KORG M1 MANUAL FULL#
Korg expanded on the S&S (sample and synthesis) idea, initially implemented by Roland in D-50: instead of classic analog subtractive synthesis where simple analog waveforms (square, triangle, saw, etc.) are produced by tone generators (oscillators) it uses overtone-rich complex digital samples of actual acoustic instruments and classic synths of the past, and applies full subtractive synthesis processing: filters, LFOs, envelope generators, digital effects, etc. The huge success of M1 lies primarily in quality of its sounds. The M1 was so popular that it was produced until the end of 1994, long after its successor T-series (the more advanced T1/T2/T3 workstations) were discontinued. The volume of M1's sales allowed Korg executives to buy Yamaha's share of the company, a deal which had originated in the mid-1980s. Though M1 was not the first music workstation on the market it was among the first in its class. In its six-year production period, more than 250,000 units were sold, making M1 Korg's most successful synthesizer and the best selling synthesizer of all time.