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Korg's synthesizers have always been a substantial part of my rig ever since I began playing keyboards and experimenting with synthesis back when I was bright-eyed 8 year old child.
The DW8000 was the first ever Korg synth to grace my rig sporting a rich fruity filter, a creative palette of cyclic DWGS waveforms and Aftertouch.
This synth claimed the title of being the first synth ever to have an onboard digital delay effect. You'll still see the DW8000 in my studio even today - a classic machine which oozes character and innovation.
With the beginning of the 90s, after a memorable period with Korg's ubiquitous M1, Korg's compact-yet-powerful 05R/W entered my life and became the primary sound module for my first computer-based MIDI sequencing setup. The 05R/W's superb effect processing power coupled with 32 voice polyphony and an inspiring assortment of onboard PCM waves was the palette for my early adventures into Industrial-tinged Electro Body Music which later drew me into the inspirational sounds of early trance and rave music of 1993/4. Around 1993, in my hometown of Perth Western Australia, I formed our city's first-ever live performing dance music trios, Sensory Overload. Although we had a few other timeless synths of the day, the 05R/W, along with the mighty Korg WAVESTATION EX (driven by genius Wavesequence programmer, Jamie Side), and later, the mighty Korg Prophecy MOSS synth (lovingly played by Brendan Slaven aka Ele-Mental) formed the core of our sound. With the combination of these instruments we had all bases covered!
Later in the 90s, I continued performing as a soloist under the moniker, Jase from Outta Space (JaseFOS to some), embracing genres as diverse as Tech House, Acidic Techno and later, Drum'n'Bass and Breaks, often playing support sets for many touring international acts at dance parties and festivals. Korg synths were always at my side: my battle-scarred DW8000 is living proof!
I'll never forget my first encounter with the original Mono/Poly, in its rich analogue splendor, when working in a collaborator's studio back in the mid 90s. This was my first taste of the depth of bass tones and pads possible only with analogue synths, not to mention being one of the few 4 VCO analogue synths in existence even today. Mono/Poly's oscillator effect section yielded jaw-dropping, angular tones and its unison mode delivered basses which moved air like I'd never felt before.
Around 1998, with the fruition of affordable DAW systems, I began recording my first tracks which were released on limited-run vinyl and various underground Australian CD compilations. In 2001 I recorded my first attempt at a pop-oriented vocal piece which would later become a seminal dance music hit, "Do What U Want", featuring vocalist, Claire Vanderboom (aka Claire Skies). Do What U Want, although starting life as somewhat of an experiment, developed a life of its own after Infusion (about to break large on the international scene) created two remixes, one of which was promptly released on Ministry of Sound Australia's "Clubbers Guide" (2003) followed by inclusion on James Holden's Balance005 compilation. Several other remixers worked on Do What U Want including Perth's Dave Dean, Spain's Clubbervision, the UK's Navigation Records. White label and Bootleg vinyl releases later emerged with support from top international DJs including Sasha and Digweed. The piece later drew the attention of Max Graham of Shine Music (Canada) who, along with Martin V, created remixes which would eventually reach the dizzy heights of inclusion on DJ Tiesto's mix compilation, "In Search of Sunrise 4" in late in 2005.
Nowadays, with my workflow being primarily soft-synth and DAW based, it has been truly been a pleasure to see classic Korg synths return in the form of the original Korg Legacy Collection, KLC-1. Korg's Component Modeling Technology set the benchmark for all other native-based soft synth developers to emulate and finally put to rest the reputation soft synths gained early 2000s as being poor sonic cousins to their hardware counterparts.
I later learned Korg was developing the Mono/Poly for ANALOG EDITION 2007 and couldn't contain my excitement. The sound of Mono/Poly, updated with modern conveniences of total recall, extended polyphony/unison, an off the hook modulation matrix and the workflow possibilities afforded by modern day CPUs, was a tantalizing concept. I auditioned to be part of the Mono/Poly sound development team and, from the first moment it entered my life, it dominated EVERY project since with often 10 or more instances running in real-time!
This love affair with Mono/Poly continues today and I've since developed a fresh bank of 128 exciting patches. This bank is designed to satisfy the professional "player" keyboardist with lush pads, deep subsonic basses, and expressive keys. The bank will also appeal to the cutting edge, avante-garde dance music producer with brutal arpeggiated sequences, ear-melting leads and creative sound effects. The Mono/Poly in virtual form has seen me realize pads I've heard only in my dreams and leads to drive dance floors into a frenzy. Whether you make dirty electro, cutting edge pop music, R'n'B, damaging drum and bass or boutique glitch electronica, there's something for you in this sound bank.
Korg's Mono/Poly in virtual form is a phenomenal instrument and I'm proud to offer this signature sound bank as a gift to ANALOG EDITION 2007 owners the world over.
p.s. Designed specially for use with controller keyboards having Aftertouch.
(The Korg DW8000 spoiled me all those years ago!)
Date : December 21, 2007
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