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Korg | EX-800 |
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Description | At a time when Roland was doing well with their Juno-series, KORG countered with a poly-synth of their own in 1983 with the Poly-800. The Poly-800 was comparable to the Juno-106, at the time, with respect to the fact that musicians now had access to affordable programmable polyphonic analog synthesizers (it listed for under $1,000) with memory storage, stable DCOs (digitally controlled oscillators) and a new state-of-the-art technology called MIDI (although there was no SysEx implementation yet). The Poly-800 is an eight-voice instrument (two more than the Juno series) with 64 memory patches (half of what the Juno-106 offered) and up to 50 editable parameters! Like the Juno, the Poly-800 had one DCO per voice, although it did feature a Double mode in which the oscillators could be stacked up for a fuller sound and only four voices of polyphony. The analog filter is a 24dB/oct low-pass which is shared by all voices (the Juno has separate filter chips for each voice). There's also a stereo chorus effect, chord memory, a simple built-in sequencer, three digital envelope generators (for the oscillators, the noise generator and the filter), and a funky joystick used to adjust the pitch, modulation and the filter. Unlike the Juno, which was still a “studio” instrument, the Poly-800 was built for the performer. With a light-weight plastic case (only 10 lb.), a couple low-profile sliders/knobs and only 49 keys, the Poly-800 can run on batteries and has guitar strap pegs so it can be worn like a keytar. A less common reversed color keys model was released for a unique look as well. The EX-800 is the table top version of it's Poly 800 synthesizer keyboard. The unit sounded and featured the same structure as the keyboard with some differences in the front panel. The buttons are larger square shaped as opposed to the keyboard's thin and longer ones. 3 knobs controlled the volume, tuning, and, speed control for the LFO and sequencer. |
| Brand | Korg |
| Model | EX-800 |
| Device | Synth |
| Type | Desktop |
| Engine Type | Analog |
| Engine | DCO |
| Voices (max) | 8 |
| Oscillators | 1 |
| LFO | Sine wave only w/ speed & delay and route to osc. or filter |
| Noise | Y |
| Engine Detailed | 1 DCO per voice (2 when doubled). 1 Noise generator. |
| Filter (VCF) | One 24 dB/oct low-pass resonant filter |
| Envelope (VCA) | 3 ADBSSR Digital Envelope Generators: DCO, Noise, VCF |
| FX | Stereo Chorus, Chord Memory |
| Memory | 64 patches |
| Sequencer | 256-step polyphonic sequencer with MIDI Start, Stop and Clock. |
| Keys | 0 |
| Key type | N/A |
| Velocity | N/A |
| Aftertouch | N/A |
| Midi | I-O-T |
| Extra info | Sysex included. |
| Produced: | 1984 - 1984 |
| Legend: | Obvious | Y: Yes, N: No, N/A: Not Applicable | |
| VCO | Voltage Controlled Oscillator | DCO | Digital Controlled Oscillator |
| LFO | Low Frequency Oscillator | Sub | Sub Oscillator |
| VCF | Voltage Controlled Filter | VCA | Voltage Controlled Amplifier |
| Velocity | As with a piano, the harder you hit a key, the louder the sound, unlike most organs which always produce the same loudness no matter how hard you hit a key. | Aftertouch | Pressing a key after you activated it. Channel Aftertouch, no matter which key, it will send a Channel message. Poly Aftertouch, sends the pressure per key instead of the whole channel. |
| Values for OSC, LFO, Filter, Envelope are per voice unless stated otherwise. | |||
