Korg M1 Music Workstation
Good working order
About This Keyboard
This M1 is in very good shape mechanically with all of the function buttons and joystick working correctly but, as with most used keyboards, a couple of them were a little harder to push than others. Cosmetically it is about average for a used M1 with only a few small scratches here and there but, as you can see in the photos, some of the printing on the face is worn. The screen is bright and clear, all of the keys play well, a new battery was installed, the joystick works well and all factory sounds were restored.
The Amazing Korg M1
The Korg M1 is a 16 voice, 8 part multitimbral, music workstation, manufactured by Korg, from 1988 to 1995. The M1 featured a MIDI sequencer and a wide palette of available sounds, which allowed for the production of complete musical arrangements. Outselling the Yamaha DX7 and Roland D-50, the M1 became the top-selling digital synthesizer of its time.
In its six-year production period, an estimated 250,000 KORG M1 synths were sold, making the M1 Korg's most successful synthesizer until the release of the Korg Triton. The volume of M1's sales allowed Korg executives to buy back Yamaha's share of the company, a deal which had originated in the mid-1980s (though Yamaha kept making keyboard assemblies for KORG, the entire keybed is the same in M1, DX7 and several other KORG and Yamaha synths). The M1 was so popular that it was produced until the end of 1995, long after its successor T-series (the more advanced T1/T2/T3 workstations) were discontinued.
The huge success of the M1 lies primarily in the quality of its sounds. Korg expanded on the Sample & Synthesis idea, formally implemented on Korg DSS-1 in 1986: instead of classic analog subtractive synthesis where simple analog waveforms (square, triangle, saw, etc.) are produced by tone generators (oscillators) it uses overtone-rich complex digital samples of actual acoustic instruments and classic synths of the past, and applies full subtractive synthesis processing: filters, LFOs, envelope generators, digital effects, etc. The resulting sounds were rich, colorful and natural. The ability to layer up to 8 different tones (sounds) on top of each other, split them over the keyboard in any combination, and instant realtime access to crucial parameters such as attack, release, filter cutoff, LFO timing, etc., made the M1 easy to use.