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Specifications
Polyphony
- Monophonic Oscillators
- 2 (Instrument and Synth) Effects
- Distortion Filter - 1; Tone, VCF
cutoff
VCA - 1;
Attack, Decay LFO - None Keyboard
- None Memory - 6 Instrument patches:
Electric
Bass, Tuba, Trumpet, Dist. Guitar, Violin and Flute Control
Cv/Hz in/out; Trig in/out; FM
in; VCF in; 4 fx input Date
Produced - 1981
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An early monophonic
guitar synth (formant design) utilizing a similar pitch to voltage
converter as used on various Korg MS series synthesizers.
Preset voices
- bass, tuba, trumpet, flute, violin, distorted guitar + 5 'synth'
(pulse, saw, square) voices - selected, or stacked via colour
coded plastic buttons on the metal panel enclosure (which resembled,
to some extent, that of the Pearl Syncussion).
External FM input,
VCF freq. mod input, Cv/Hz in's/outs, Trig in/outs. (MS series
compatible)
Attack Decay Attack(ADA)
envelope & for the filter just Attack & Decay. Selectable
'Synth Wah' and distortion
The note tracking
via the prototype pitch to voltage converter was unpredictible
when an electric guitar was used as the trigger source, which,
while this did not endear it to the mainstream user it was targeted
toward, provided pleasing surprises to the experimental musician.
The device was,
however, Korg's brave attempt to develop a commercially viable
device that would expand the realms of sound synthesis to musicians
other than keyboard players. Korg's Pitch to CV Converter, none-the-less,
was a truly remarkable innovation. Elementary waveforms produce
reliable results when used as a source for the converter. Complex
and dynamic waveforms such as those produced by a finger on a
fretboard fail to produce the tracking perfection required. The
'Guitar Synth' as such never really took off, of course. Synthesizer
manufacturer 'ARP Instruments' s eventual demise being catalyzed
by the ill-fated development of the ARP 'Avatar'. Korg, fortunately,
had the resources to weather the storm.
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vintagesynth.com/korg/X-911
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The
Korg X-911 is a very underestimated synth. What it was intended
to be, was a stand alone guitar synthesizer. What it now represents,
in these enlightened times, is an all analog, quite unique, signal
processor/effects unit. Whereas a true guitar synth really requires
its own dedicated pickup arrangement, this unit simply accepts
a standard 1/4" jack input. Just patch your guitar, microphone,
or other instrument into the X-911 and play one note at a time.
Sporting both CV/Trigger inputs AND outputs, these features alone,
make it quite a useful little toy.
The front panel is divided conveniently into semi-preset
traditional sounds, called "Instrument", and more adventurous
sounds with the nomenclature "Synthe". The Instrument
sounds are named Electric Bass, Tuba, Trumpet, Dist. Guitar, Violin
and Flute. The Synthe sounds are designated as graphical waveform
icons (Pulse, Ramp, Square). Every voicing has adjustable parameters,
with most of the Instrument sounds having a filter control, bar
the Violin, which has an envelope control. The Synthe sounds all
have envelope controls, namely Attack and Decay.
The
two sections may be overlaid or used separately, with control
via the central balance slider. Many features such as Portamento,
Interval, Hold etc. are foot switchable via inputs on the front
panel. Naturally, the all important Voltage Controlled Filter
is in residence, as is a Portamento control. Velocity Response/Touch
Sensitivity is controlled by a 3 way switch. All in all, this
unit is ideal for those Soundmeisters seeking to distance themselves
from the all too common sameness of the modern digital era.
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Korg X-911 Guitar Synthesizer