Behind The Scenes At Korg Berlin With Tatsuya Takahashi

This video, via FACT, features Korg synth engineer Tatsuya Takahashi offering a behind-the-scenes look at the development of the new Korg Berlin.

Takahashi is the CEO of the new Korg Berlin. In his earlier role as Chief Engineer of Analog Synthesizers at Korg, Takahashi helped create the Monotrons, Volcas, Korg’s ARP and MS-20 reissues, the Minilogue and more.

He’s joined in the video by COO Maximilian Rest. Rest is the founder of Berlin-based E-RM, maker of the Multiclock sync device.

Korg’s vision for the new subsidiary is for it to be an ‘engineering playground for musical instruments and accessories’.

See the Korg Berlin site for more info.

12 thoughts on “Behind The Scenes At Korg Berlin With Tatsuya Takahashi

    1. Tats is a bright light indeed. hoping this studio can make some hits and find good partners in real live music as well as the engineers they need.

    1. Volca Drum is the only Volca I’ve like so far, and the only one I own. Add a bit of compression and distortion on the audio out and it sound fucking lovely.

  1. Futuristic Korg machines that will facilitate the entire process of sonic sounddesigs-making in close relationship with music making and searching (researching) facilities to be able to make the most lucid choices of particular frequenties, overtones, waveforms, scales/modes, modal mixtures, even visualising with ‘oscilloscopic art’-approaches and cymatic visualisation-screens seems to me something necessary for the future of electronic music instruments.

    Each sounddesign and maded routing and configuration of all used parts of the synthesizer build in fact – in an invisible way – an entire new ‘virtual’ electrophonic music-instrument’. Make that ‘invisible virtual new instrument’ also more visible so the performing musicians of it becomes more able to understand better in which way it can become more human ’embodied’ and what kind of controllers can articulate different micromusical parameters of it ‘in the fly’ or ‘on the run’ and make all this kind of controllers much more available maded in the nearest reach of this musicians fingers, foots and other parts of the human body that can become Involved’to!play the music of the Future.

    Incorporate also algoritmic music making facilities and the way a music composer incorporate his individual approach of sounddesign and music composition insofar he can construct his own dashboard of his Nautilus.

    And don’t forget the implementation of polyphonic aftertouch and a ribbon in new generations of upcoming Korg synthesizers. Yamaha did it decades ago with the cs-serie and now the Chinese synthesizer manufacturing company with the Hydrasynth ‘did it’. And Behringer will make clones of all kinds of this iconic synthesizers.

    I think your new buidling in Berlin needs to become a nonstop interactive space between electronic and acoustic music instruments composers, musicians, musicologists, engineers and performing musicians to get all fresh air coming from the four corners of the Big Blue Planet and this for building a totally new generation of iconic synthesizers.

    And yes : let it be Japanese!

    And let it be Korg.

    1. Really good embedded system engineers with mixed signal experience don’t tend to sit around unemployed for long. Hopefully, they’re hiring the guys who’ve left Behringer.

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