Designing Joy: an Interview with Korg.Berlin CEO Tatsuya Takahashi

via Perfect Circuit

"Tatsuya Takahashi, widely known as 'Tats', is a name that resonates loudly among sound synthesis enthusiasts and professionals. Over the last decade, his innovative mindset has been instrumental in resurrecting the popularity of analog synthesis, crafting a unique sonic landscape that blends tradition with novelty. Takahashi was been the creative engine behind some of Korg's most celebrated modern instruments, including the Monotron, the Volca series, and the Monologue and Minilogue synthesizers."

You can find the full interview at Perfect Circuit.

The following a few excerpts.

"I do have a guiding philosophy. I need to talk about the values that are present now, and how different they are from when I started. Obviously, I was naturally drawn to music tech, I have always loved circuits, instruments, and synthesizers. So initially, when I started working at Korg, which was my first "real" job after working in restaurants and bars, I was entirely focused on doing my job well.

As you mention, this period coincided with the revival of analog synthesizers, and I like to think that I played a role in that amongst other members of the industry. However, back then, it was more about doing well in my job and fulfilling my passion. The vision or the philosophy wasn't as defined then as it is today.

Now, at 40, I have a different perspective. I look back at the 23 products I worked on while in Tokyo and try to understand what made my job fulfilling. Apart from my affinity for design, art, music, and the very act of creating—of being and doing, I realized that there was also an important external element that stimulated me, and that was the joy that the users derived from my designs." "If you look at the MS-20, there were very few people involved in that project. The people responsible for the specs, the electrical design, the mechanical design, and the manual were probably the same two or three people. They just operated using general design principles.

Such an approach brings a certain consistency and purity to the product. Of course, if you are working on a complex product like a workstation keyboard, you need a large team to cover all the layers. However, I romanticize this early era of hardware design where everything was unified. If you look at an old Siemens mic pre, everything from the latch that takes it out of the rack to a three-dimensional puzzle of transformers and vacuum tubes to electrical, mechanical industrial design—all these considerations combined together. It is the same idea here, we try to break the boundaries between different disciplines and just see it as one thing."

"Korg.Berlin is nearly three years old, and we are a subsidiary of Korg Inc. Our function is to conduct R&D for new musical instruments. We diverge from the main office in that we have a different product planning procedure. We work directly with things, and we try in physical form what ideas might work. By the nature of that, we are a bit more explorative.

Our operation specifically aims to do things differently from the way it is currently done in Tokyo and Asia as a whole, including the manufacturing infrastructure. Having spent a wonderful decade building mainly analog synthesizers, it was important for me personally to do something different here. The team in Tokyo carry on with that work, and they are super good at it. So there is no point in us doing the same thing. That is why we need a different approach, a different technology, a different appeal, and consequently, we need a different branding. That is why we have our own logo, and we identify ourselves as Korg.Berlin. These are some of the things that make us different.

Looking into the future, we feel that some form of this acoustic synthesis that we unveiled at Superbooth this year will be at the core of our forthcoming products, or even multiple product lines."