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Digital Subscriptions > MusicTech > Feb 18 > KORG Kross 2

KORG Kross 2

In a world going modular-synth mad, Andy Jones gets nostalgic about workstations which are very much alive 30 years after his first encounter…

£599 STREET

B ack in the day – and this is somewhat revealing my age – when I first got into synthesisers, the digital workstation was the all-new synth fashion statement and my first gear purchase. Analogue synths had come and largely gone and everyone was clammering for thousands of sounds, effects, onboard sequencing… basically, everything in one box.

Three decades later, of course, the world of the synth has changed beyond all recognition. Now, instead of one box to do it all, people want hundreds of boxes (modular), or complete analogue mono synths, or virtual analogues, soft synths or analogue polys. Analogue is very much the beating heart of the synthesiser once more – whether real or virtual – but not everyone wants it.

There are still those who want a great and varied range of sounds, some that emulate real instruments and some that sound out of this world. They want a scratch-pad sequencer to get ideas down while on the road and they also want a decent amount of effects, maybe even some sampling. “Yeah, and while you’re there, make it dirt cheap, too,” they may well ask. The Korg Kross is an update of a very successful workstation from Korg and it does all of the above and a little bit more besides…

Key features

J Synthesiser workstation

Over 1,000 sounds

EDS-i Enhanced Definition Synthesis-integrated sound engine

120 notes of polyphony

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About MusicTech

In this issue, we’ve amassed the ultimate collection of professional advice on all things music; whether that's creating, recording, mixing, mastering or everything in between. Compiled from our interviews with such luminaries as John Leckie, Tony Visconti and Gary Numan, we’ve also got tips and alternative approaches from our (both pro and amateur) music-making audience. We hope this feature provides some inspiration for your creative studio endeavours. Also this issue, we chat to Catherine J Marks, a producer with some seriously impressive credits to her name and a nominee for this year’s MPG Producer Of The Year. We also spend some time with The Flashbulb, whose beautiful studio in the natural tranquility of Georgia is a thing to behold. We wrap up our A-Z series with Gear4Music, which is chock full of all the key terms and techniques that you need to know. We’ve also got our usual vast array of reviews and hands-on tutorial content, as well as an extensive guide to creating music on the move with an iPhone or iPad. We hope you enjoy the issue…