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Digital Subscriptions > MusicTech > Jul-18 > KORG Prologue

KORG Prologue

One of the big announcements from NAMM 2018 was the arrival of Korg’s flagship Polysynth, offering a new spin on analogue. Dave Gale investigates…

£1299 8 VOICE £1739 16 VOICE

Contact Korg | www.korg.com

So here it is! The one we’ve been hoping and waiting for! A full size analogue polysynth from Korg, following their tremendous form over the last couple of years, with their various entry level synths and the Volca range.

DESIGN FACTOR

Enter the Prologue, which as the name suggests, boasts something on a slightly grander scale, and with the design ethic that Korg have come to be recognised for.

The Prologue is available in either an 8 or 16 voice form, with the 8 voice offering a 4 octave, full sized keybed, while the 16 voice offers an additional octave, taking it to five. The keyboard is highly playable and velocity sensitive, with no aftertouch, but with a perfect synth action which is quick, but ever so slightly dampened in response. The handsome wooden end cheeks straddle each end of the keybed, and herein might lie a small issue for those who choose to gig with this keyboard. The top and bottom C’s are a little exposed, which is slightly reminiscent of the vintage Arp Odyssey design, and in common with the early Odyssey, may well be prone to getting knocked or caught as it goes in and out of a case or box. Don’t get me wrong, it looks stunning, but I get the sense that the exposed end notes might be asking for trouble if gigged with regularly.

Sharing design aesthetics with it’s cost effective siblings, the control panel sweeps away in a little arc, with what feels like a beautifully engineered black front panel. There is no hint of pot wobble here, merely an oozing sense of quality, which invites the user in from the outset, to dial in and tweak at will. The pots have a lined indentation on top, to indicate pot position, making it very easy to see its exact location. Pitch and Mod wheels are placed on the left of the panel, just above the keybed, and while fine, they don’t quite offer the same quality as the rest of the adorned fascia. There’s a tiny bit of lateral movement here, but you only really sense this because of the excellence found elsewhere. Around the back, MIDI is available via conventional MIDI sockets and USB, while there is also Sync I/O on mini-jacks, to play nicely with Volcas or modular. You’ll also find a built-in power supply and pair of 1/4” audio outs; this is an analogue beast, and it’s in stereo!

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About MusicTech

He’s the man who revolutionised modern film scores with a creative approach to music-making, sonic experimentation and sound utilisation that helps some of the biggest directors to tell their stories. This month we’re overwhelmingly honoured to speak to one of the greatest composers on the planet: Hans Zimmer. In our ten-page interview we talk to Hans about his recent work with Spitfire Audio – co-creating a remarkable assortment of production and studio tools – as well as his incredible career in soundtracking. Elsewhere this issue, Dave Gale takes us through the legacy of the vocoder, we report on this year’s Superbooth show in Berlin and speak to its progenitor Andreas Schneider about his views on modular synthesis and its integral place in the music technology world. We’ve also got our usual tutorials, tips and reviews. Enjoy the issue!