via this auction
Update via Steven Cain in the comments:
"It is actually based off of the MaxiKorg K3 (800DV) from the era. From the same lines as the 700, 700S and 770, the 800DV had an architecture more closely resembling this than any of the other 3 models, mainly in that the controls were set on a faceplate instead of in an organ topping design as the 700 & 700S were. The sliders and switches are the exact same as the 800DV, and if my guess is correct (I have unfortunatly not had the pleasure of playing one) it is in the deep 64' waveform the 800DV offered, a truly floor rattling range, far beyong the standard 32' offered on most synths since."
Original auction description:"The Sound.
This thing is unbelievably fat. It's a one-oscillator monosynth, but they really do not make them like they used to. It has a smooth but slightly gritty sound all of its own. It does not sound like the syruppy-sweet Roland synths of the same era, and it also does not sound like the MS-20 and other MS-series synths that KORG released starting in 1978. The filter is most likely based either on the MiniKorg 700 or the 770 from the same era. There are five selectable waveforms: Triangle, Square, Saw, Pulse and "Phaser". All of them sound organic, alive and FAT. The Triangle wave seems to have some kind of attack transient at the beginning that gives it a girthy bass kick kind of sound. I suspect the "Phaser" form is either PWM or something similar. How it is achieved is beyond me. I have gigged with it live and it sits very nicely at the bottom of a mix. This thing just oozes power. Additionally, even though the keyboard is only 25 keys (two octaves), the user can select three different octave ranges, extending the full range to five octaves. In the higher range, even though it is a "bass" synth, it gives you a great seventies style prog lead--instant Keith Emerson, should you need it. It can everything from singing lead lines to fat bass plucks to duck farts.
Features.This is an idiotically simple synth to use (I mean that in the best way possible). There are no modulation routings, no LFO, minimal envelope control. However, the simplicity is actually a strength. There is no setting that sounds bad. The designers really tuned it right--it's one big sweet spot. There is a "Brightness" switch (Resonance) which is either on or off. There is a full "Traveler" (filter cutoff) slider that is usable enough. No mod wheel here, but a couple pitch up and down buttons. It fits in a suitcase style tolex case and it just looks hip. I loved bringing this thing to performances and opening it up and sticking it on a stand. Though envelope controls are few, there is enough control to shape healthy bass sounds.
Additionally, if you are interested in a MIDI retrofit, there is already a place for a 5-pin MIDI socket. As this was created years before MIDI, you might wonder why. It seems that there may have been a plan for a DIN socket for some type of control, so they punched the hole in the housing of these models but then never used it. It is located right beside the power switch.
Condition.
As should be evident from the pictures, the whole tolex case is intact. It features the letters "TGHS" on the front in white. This is most likely from a high school band, and I do not know the origin. Functionally, it is in 100% working order, which still amazes me sometimes as it is 40 years old."
It is actually based off of the MaxiKorg K3 (800DV) from the era.
ReplyDeleteFrom the same lines as the 700, 700S and 770, the 800DV had an architecture more closely resembling this than any of the other 3 models, mainly in that the controls were set on a faceplate instead of in an organ topping design as the 700 & 700S were. The sliders and switches are the exact same as the 800DV, and if my guess is correct (I have unfortunatly not had the pleasure of playing one) it is in the deep 64' waveform the 800DV offered, a truly floor rattling range, far beyong the standard 32' offered on most synths since.