Korg Electribe EA1 & ER1. In all the fuss about last month's launch of the Triton keyboard, you'd be excused for having overlooked Korg's other new products - - the diminutive Electribe EA1 synth and ER1 beatbox.
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As Chris Carter discovers, however, you won't be able to ignore them for long.. With hi- tech music products, it often seems there's never a good time to buy, as there will always be something better just around the corner. And if you thought now was a safe time to buy that fab new dance workstation, you may yet have to reconsider, as Korg have decided to add even more choice to an increasingly crowded market. Their latest babies are the Electribes, a two- voice synthesizer and beatbox based around their physical modelling technology (as seen in the Z1 synth), each incorporating effects, external audio inputs and a pattern- based sequencer. Shared Interests. As you can see from the pictures, the two Electribes have a lot in common visually, and much of this similarity extends to their user interfaces, programming method and general layout.
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In all the fuss about last month's launch of the Triton keyboard, you'd be excused for having overlooked Korg's other new products -- the diminutive Electribe EA1 synth and ER1 beatbox. The electribe sampler featuring KORG's latest technology. The electribe sampler has been reborn with cutting-edge technology inherited from popular KORG products such as the KingKORG, kaossilator, kaoss pad, and taktile.
In each case there's a large 3- digit LED which shows the current Pattern or Song you are working within, and is also used to display general housekeeping parameters. These are accessed using a 5x. Even with such a basic display, there is plenty of visual feedback to help keep track of what's going on, especially since every button illuminates.
Connections abound on both machines, and include audio inputs, a headphone socket, MIDI In, Out and Thru and a socket for a 9. V wall- wart power supply (unfortunately batteries are not an option). The Electribes are approximately 1.
They're compact enough to sit on a desktop, next to a turntable or in a DJ bag. The EA1 contains two independent programmable monosynths, with independent mono outputs and effects, while the ER1 rhythm synth is a 6- voice stereo beatbox offering two sample- based voices and four physically modelled ones. Both provide built- in pattern- based sequencing along with plentiful helpings of real- time control, including a Motion Sequencer which allows (some of) your real- time knob movements to be recorded within a song. Analogue Model. For now, the ER1 can wait its turn, as I'll start off with a more detailed look at the EA1 Analogue Modelling Synthesizer. In terms of sound generation, the EA1 contains two independent programmable monophonic synthesizers, each of a straightforward two- oscillator design and combining traditional analogue features such as portamento, oscillator sync, and ring modulation with more unusual features like Decimation (bit reduction) and distortion. The full parameter list for each of the EA1's synths is as follows: Oscillators Osc 1 waveforms: Saw, Pulse, Triangle, External Audio.
Electribe S Mkii Manual Mar 2, 2015. One of the main reasons for the ES1 / mk2 was that it was fixed 32Khz which was a I have seen the new electribes and the sample Volca, but they are getting I'd also download an. Manual. No word. Information is of interest to users many companies and winavr the manual use.Here we see a description Korg electribe er1 mkii manual. Manual and SD. £300 Korg electribe SX ESX Korg electribe Es-1 MkII sampler. £75. Fully working. Details about Korg Electribe ES-1 Rhythm Production Sampler.
Osc 2 waveforms: Saw, Pulse, Triangle. Osc 2 Pitch Offset (variable over four octaves). Osc Mod: Ring Mod, Sync, Decimator. Osc balance (between 1 & 2). Portamento. Filter Cutoff.
Resonance. EG Density. Decay. Amp Level.
Distortion. Effects Type (Chorus/Flanger, Delay). Depth. Time (controls chorus/flanger speed).
The synths in the EA1 are based around the analogue modelling technology used in Korg's Z1, and in this incarnation are laid out in a standard VCO- VCF- VCA- EG configuration. As you can see from the features list above, they offer a reasonable arsenal of controls and parameters to play with. The frequency range of the oscillators is wide, though Osc 1's isn't as great as that of Osc 2.
Strangely, in their raw state the waveforms all sound vaguely samey: the ring modulator and sync settings, on the other hand, sound as you would expect from an analogue synth, and the Decimator imposes a down- sampled, grungy edginess to the waveform. The filter is a good approximation of an analogue low- pass type that sounds more 'Japanese' than 'American' (or more Korg/Roland than ARP/Moog). Although it can be persuaded to self- oscillate, when doing so it displays some uneven peaks and troughs while sweeping. But, all told, not a bad filter. The envelope control is a bit of a let- down, though. The Amp section isn't envelope- controllable at all - - it's either on or off - - and the filter control is severely limited, offering just an EG Int knob (envelope depth) with a centre null/off position and negative control to the left and positive to the right.
This is coupled with a simple Decay control, and although there's no attack control one can be approximated using negative depth values with longer decay settings. Because there is no Amp envelope control, however, there is always a slight blip at the front of the sound. The EA1's distortion is another on/off effect and works well enough, though it could hardly be described as subtle. There are, however, some redeeming features in the rest of the effects section. The Chorus/Flanger effect is basic, with only two controls, but sounds fine. The Depth parameter both controls the depth of the effect and introduces feedback at the higher settings, while the Time control (or speed in this case) ranges from the very slow to the ridiculously fast (0. Hz- 5k. Hz) - - which is actually fast enough produce audio- frequency (and hence audible) oscillation.
As you can imagine, at the higher speeds this produces some beautifully crazed and over- the- top manipulations. The other principal effect is Tempo Delay. Again, Depth controls two parameters (delay depth and feedback); with the Time knob set to minimum, the effect is like a flanger, while its maximum setting produces delays of a second or more. As the delay is synchronised to the pattern tempo the delay times will vary in accordance with the pattern speed, so at high tempos the maximum delay available will be shorter than at slower speeds. It's worth noting that because each synth has its own effects section some wonderfully syncopated bouncing echoes can be programmed.
Gripe Water. One gripe I have with many of the synth controls (and this also applies to the effects) is the sensitivity and stability of the knobs. The Osc 2 Pitch Offset is very sensitive, which admittedly makes sweeping the oscillator over four octaves very fast, but also makes it very difficult to fine- tune. The centre detent stop position rarely settles on the same tuning, sometimes locking on but sometimes gently drifting. The same applies to the Effect Time control: although it was great fun to almost randomly warble the sound at the slightest touch, sometimes I just wanted to set a particular delay time with no hassle.
Something which helps to alleviate this pet peeve of mine, though, is a useful feature called Original Value. This is just a single LED that glows whenever a control you are editing settles on its previously programmed value, which is useful if you are trying to go back a few editing stages without actually reloading a whole sound.
Original Value works on all the knobs until you save the current settings to memory. All synth settings are saved as a pair (Part 1& 2) within an associated pattern: the pattern doesn't have to contain any sequenced notes, but all patterns will contain synth setting information and Parts can be freely copied and exchanged with other Patterns. Vintage Model. It may not be a Minimoog or SH1. EA1 can still hold its own in company. Including not only two oscillators per synth but two synths, and some interesting modulation options into the bargain, is pure genius and makes up for some of the EA1's shortcomings.
Coupled with the effects, the overall combination is very versatile and quite powerful. This is shown in some of the presets, which include some wonderfully deep and powerful bass lines and all manner of weird, wonderful and wacky synth tones and patterns. Hand on heart I couldn't say the EA1 is absolutely 'vintage', but it's definitely close to the cutting edge. Horror of horrors, though, there's no LFO modulation for the oscillators, not even over MIDI - - maybe that's to come in the EA1 Mk. Pattern Sequencing. The 1. 6 illuminated rubber buttons along the front are used for playing the synth voices (when this mode is activated using the Keyboard button) and also for editing, selecting, moving and deleting Parts, Patterns, Events and Songs.
There are also two Transpose buttons that allow you to transpose individual notes across six octaves. Patterns can be as short as 1. In Step Edit mode there are options for adjusting note Pitch and Gate times and inserting Rests and Ties, though there's no option for velocity control. When the sequencer is running the 1. Part are playing, providing a useful guide when editing individual notes within a pattern. The sequencer section defaults to real- time loop recording mode and is easy to use in the extreme.
Pressing the Record button (the large one on the left- hand side) makes it glows red, puts everything into record standby mode, and sets the Play/Pause button flashing green. Press the Play/Pause button and real- time looped recording begins. You now play your notes using the keyboard buttons (or external MIDI keyboard). As you play, you can switch back and forth between the two synths, hold down the erase button and relevant note to delete bum notes and mistakes, and even engage the Motion Sequence feature and record a little knob- twiddling at the same time. The Motion Sequencer is an adaptation of a feature I first came across in Boss's DR2. Dr. Groove drum machine, and in the Dr. Groove you could record most of the knob movements within a pattern.
With the EA1, however, you can only record a single knob or button activity for each synth voice. Once you've recorded your knob movements there are two playback options: Smooth plays back pretty much what you recorded, while Trig. Hold quantises the motion to the nearest 1.
Steps. Song construction is also a straightforward affair. There are two input options: Step programming and Event programming. Step mode is just a matter of assembling a song by selecting the appropriate pattern at each step until you have assembled your complete song.