The Korg MS2000 is an analogue modelling synthesizer, combining vintage aesthetics with modern digital technology. Released in 2000, this instrument pays homage to Korg's classic analogue heritage, particularly the MS20 and Mono/Poly synthesizers, while incorporating contemporary features and conveniences.

Design Philosophy & Appearance

The MS2000 features a distinctive vintage-style sloping front panel that recalls the company's early 1980s Mono/Poly, complete with authentic wooden end-cheeks. The instrument's all-blue top panel and overall dimensions (virtually identical to the Mono/Poly) create an immediate visual connection to Korg's analogue legacy. The front panel is densely populated with 35 knobs and 50 switches, providing dedicated controls for nearly every parameter and minimizing the need for menu diving. This hands-on approach makes the MS2000 ideal for real-time performance and quick sound design.

Synthesis Architecture

At its core, the MS2000 follows classic subtractive synthesis design principles. The four-voice polyphonic, bi-timbral synthesizer is built around a sophisticated signal path that includes:

Oscillators: The first oscillator is remarkably versatile, offering seven waveforms including sawtooth, pulse, triangle, sine/cross modulation, vox wave, DWGS (Digital Waveform Generation System), and noise. Each waveform's tonal palette is expanded by two Control knobs. Control 1 typically alters the waveform's response (such as pulse width modulation), while Control 2 generally controls LFO1 depth for modulation. The sine waveform features cross-modulation capabilities, allowing Oscillator 2 to modulate Oscillator 1's frequency for classic FM synthesis tones. The DWGS option provides access to a wavetable of 64 tiny waveforms including basses, bells, voices, guitars, clavinets, pianos, and synthetic sounds. The noise source includes its own low-pass filter with adjustable cutoff and resonance, capable of self-oscillation to produce pure sine waves. The vox wave offers a pure, human-like texture with a frequency spectrum that maintains voice-like characteristics across the pitch range.

The second oscillator is simpler but effective, offering sawtooth, square, and triangle waveforms with an unusually wide 8-octave tuning range. It supports both ring modulation (creating sum and difference tones for clangorous, bell-like textures) and oscillator sync (locking oscillator phases for cutting lead sounds), with both effects selectable simultaneously.

Filter Section: The multi-mode resonant filter offers comprehensive shaping options with 12dB and 24dB/octave low-pass, 12dB/octave band-pass, and 12dB/octave high-pass filter types. The filter features adjustable cutoff frequency and resonance controls, a dedicated ADSR envelope generator with positive and negative depth values (allowing negative envelopes), and modulation via velocity and keyboard tracking. True to analogue design, the filter will self-oscillate when pushed, producing a pure sine tone. The filter's character is described as fat and responsive, equally capable of screaming lead sounds and fat kick-drum tones from the noise generator.

Amplifier Section: The amplitude stage provides standard level and pan controls with a dedicated ADSR envelope generator. Users can choose between the full envelope or a simple gate option. A distortion switch adds grit to sounds, with the amount dependent on oscillator and noise generator levels. The envelope generator offers fast attack times (though not quite matching vintage synths like the Roland SH101) and release times up to approximately 20 seconds.

Modulation: Two nearly identical LFOs provide extensive modulation possibilities. LFO1 offers sawtooth, square, triangle, and sample-and-hold waveforms, while LFO2 provides sawtooth, positive square, sine, and sample-and-hold. Both can sync to MIDI clock with a wide choice of note value subdivisions (displayed as fractions in the LCD). LFO1's depth is controlled by Oscillator 1's Control 2 knob, while LFO2's amplitude modulation depth is controlled by the mod wheel.

Virtual Patch System

The Virtual Patch system functions as a semi-modular modulation matrix, inspired by the patchable MS- and PS-series analogue synthesizers. Each Timbre allows four patching assignments from a selection of sources (both EGs, both LFOs, velocity, keyboard tracking, and two globally-assigned MIDI controllers) to various destinations (pitch, Oscillator 2 pitch, Oscillator 1 Control 1 functions, noise level, filter cutoff frequency, amplifier level, pan, and LFO2 frequency). The system features its own dedicated front-panel area with individual LEDs for sources and destinations, plus depth control knobs for each patch, making it extremely intuitive to use. While the routing options are somewhat limited compared to fully modular systems, they provide comprehensive real-time control and can significantly transform sounds.

Program Structure

Programs come in two mutually exclusive varieties: synth and vocoder. A synth Program consists of one or two Timbres. Single-Timbre Programs offer full four-voice polyphony, while dual-Timbre Programs can be layered or split with polyphony shared as desired (2+2 or 1+3 voice configurations). This allows for creative setups such as layering two Timbres for complex sounds with two-voice polyphony, or splitting a monophonic bass sound with a three-voice chord patch across the keyboard. Each Program includes effects processing and arpeggiator settings.

Mod Sequencer

One of the MS2000's most distinctive features is its three-row, 16-step Mod Sequencer, which emulates pre-MIDI analogue step sequencers like Doepfer's MAQ16/3 and Korg's own SQ10. This MIDI-syncable sequencer can play pitch offsets (±24 semitones) and modulate nearly any front-panel parameter including EG parameters, LFO frequency, filter cutoff and resonance, pan, oscillator controls, and Virtual Patch depth controls.

Global parameters include sequence length (up to 16 steps), playback type (forward, reverse, or forward/reverse), run mode (one-shot or loop), and timing resolution. The Step Length parameter allows individual steps to have positive or negative length offsets, enabling shorter and longer notes for creating actual melodies rather than just repeating patterns.

The sequencer features a Sequence Record function where users can press Record and tweak any valid control knob to automatically assign it to the current row, with tweaks recorded in real-time at up to 16-step resolution. Individual step values can be changed during playback, and the 16 knobs above the keyboard serve as value editors for each step. The Mod Sequencer can operate simultaneously with the arpeggiator, creating complex, evolving textures reminiscent of Korg's Wavestation.

Arpeggiator

The arpeggiator offers a tempo range of 20-300bpm with six arpeggiation types: up, down, two types of up/down, random, and trigger (which rapidly repeats held notes as a chord). Resolution options include quarter, eighth, and 16th notes with triplet variants. A gate time control allows adjustment from staccato to legato, and the arpeggiation can spread over one to four octaves. The swing parameter adds triplet feel with positive values and grace-note effects with negative values. The arpeggiator can be latched (like the Mono/Poly), and in split/layered Programs, it can be assigned to one Timbre, the other, or both.

Effects & EQ

The effects section features a straightforward but high-quality fixed-routing design. A modulation processor offers chorus/flange and ensemble phasing effects with speed and depth controls. The delay processor provides stereo, cross, and L/R delay options, MIDI clock sync capability, and delay time and feedback controls. The philosophy is simple but effective: providing subtle enhancement rather than overwhelming the synthesizer's core sound. The delay processor has one limitation: at very slow tempos with whole-note delay settings, delays can become slightly chopped and curtailed due to RAM limitations.

A 2-band EQ (accessible via LCD) offers low (40Hz to 1kHz) and high (1kHz to 18kHz) frequency bands with 12dB of cut or boost.

Vocoder

The MS2000 includes a comprehensive 16-band vocoder mode. Vocoder Programs use much of the same architecture as synth Programs, though Oscillator 2 is disabled, layer/split options are unavailable, filter function changes slightly, Virtual Patching is disabled, and the Mod Sequencer controls are repurposed to adjust the level and pan position of the 16 filter bands. The arpeggiator remains functional.

Oscillator 1 provides the carrier signal, modulated by audio from input 2 (typically a microphone). Since Oscillator 1 can itself be fed by audio input 1, any external audio can serve as a carrier, vocoded by input 2. The vocoder's filter bank consists of two sets of 16 band-pass filters (one for analysis, one for synthesis) with an envelope follower for each band. Frequency bands range from 125Hz (channel 1) to 5kHz (channel 16), with synthesis filter frequencies shiftable via the filter cutoff control, providing an overall range of 65Hz-8.1kHz. Analysis filter frequencies are fixed. The filter control section offers formant-shifting options (one or two octaves up or down) for vocal character modification. The vocoder design references classic units from EMS, Sennheiser, Roland, and Korg's own VC10.

Audio Input Processing

The MS2000 features audio inputs that allow external signals to be processed through the synthesis engine and effects. External audio can be routed through Oscillator 1, taking the place of a waveform, to be treated with all available synthesis features. This capability extends to both synth and vocoder modes.

User Interface & Control

The front panel layout is logical and tidy, with controls arranged according to signal flow, illustrated by a helpful front-panel graphic. Comprehensive screen-printing provides a complete parameter list. A small LCD with parameter-access switches handles precise editing, Program naming, housekeeping, and the handful of parameters lacking dedicated controls.

Program selection can be accomplished independently of the LCD using a pair of bank-select buttons and 16 illuminating patch-select buttons, providing quick access to eight banks of 16 patches. These same buttons serve as parameter group selectors in LCD edit mode and flash during step sequence playback. When knobs are tweaked, the LCD displays the parameter name and value. An 'Original Value' LED lights when a knob reaches its saved Program value, making it easy to track editing changes.

The 44-note keyboard (F to C range, matching the Mono/Poly) includes standard pitch and mod wheels. While it doesn't transmit aftertouch, the synth responds to incoming aftertouch data. Assignable footswitch and footpedal sockets at the rear provide additional real-time control, with the footpedal configurable to transmit aftertouch and vary selected synth parameters.

MIDI Implementation

The MIDI specification is comprehensive, with knob movements and arpeggiator activity transmitted over MIDI. This allows the MS2000's 35 knobs to function as generic real-time controllers for other MIDI instruments or software synths. Controller assignments can be defined on the MS2000 if target instruments can't be customized. The bi-timbral implementation provides two sounds, each playable on its own MIDI channel. The Mod Sequencer notably does not transmit data over MIDI, as MIDI limitations made this too difficult to implement.

Memory & Storage

The MS2000 provides 128 Program locations, initially filled with a varied factory selection that can be overwritten and restored individually or en masse. Programs can be saved and loaded via MIDI for backup and sharing. The manual includes blank patch charts for documentation.

Global Functions

Global mode provides access to general synth parameters including tuning, user scale (for alternate tuning options), pedal assignments, and MIDI settings. The synth includes no rear power switch; power switching is provided by the volume control.

Sound Character

The MS2000's sonic palette ranges from luminously subtle and delicate to screaming and in-your-face, encompassing fat analogue warmth, spiky FM textures, and numerous other characterful timbres. The filter is particularly praised for its fat, responsive quality, and the overall sound is described as authentic to analogue synthesis while offering capabilities beyond traditional analogue instruments. The vocoder produces authentic, classic vocoder effects suitable for both traditional voice treatments and creative processing.

MS2000R Rackmount Variant

A 4U rackmount version (MS2000R) is available, virtually identical in features and operation to the keyboard version. It's physically derived from the MS2000, resulting in socket placement at the top of the unit (requiring at least 1U gap above when racked). The 16 patch-select buttons can function as a simple keyboard for auditioning sounds.

Technical Specifications

Sound Generation

• Synthesis Type: Analogue Modelling (Virtual Analogue)
• Polyphony: 4 voices
• Multitimbrality: 2-part (bi-timbral)
• Program Types: Synth Programs, Vocoder Programs (mutually exclusive)
• Timbre Configuration: 1 or 2 Timbres per synth Program
• Voice Allocation: Configurable in dual-Timbre Programs (2+2 or 1+3)

Oscillators

Oscillator 1:

• 7 waveforms: Sawtooth, Pulse, Triangle, Sine/Cross Modulation, Vox Wave, DWGS, Noise
• Control 1: Waveform response modification (e.g., pulse width)
• Control 2: LFO1 depth control (or waveform selection for DWGS)
• Cross-modulation: Oscillator 2 modulates Oscillator 1 frequency (FM synthesis)
• DWGS wavetable: 64 waveforms (basses, bells, voices, guitars, clavinets, pianos, synth waveforms)
• Noise source with dedicated low-pass filter (adjustable cutoff and resonance, self-oscillation capable)
• Vox wave: Voice-like texture with voice-characteristic frequency spectrum across pitch range
• Audio input routing: External audio can replace oscillator waveform

Oscillator 2:

• 3 waveforms: Sawtooth, Square, Triangle
• Tuning range: 8 octaves
• Modulation modes: Ring modulation, Oscillator sync (both selectable simultaneously)

Additional:

• Main noise generator (separate from Oscillator 1 noise option)

Filter

• Types: 12dB/octave low-pass, 24dB/octave low-pass, 12dB/octave band-pass, 12dB/octave high-pass
• Controls: Cutoff frequency, Resonance
• Modulation: Dedicated ADSR envelope generator (positive and negative depth values), Velocity, Keyboard tracking
• Self-oscillation: Yes (produces pure sine wave tone)

Amplifier

• Controls: Level, Pan
• Envelope: Dedicated ADSR envelope generator
• Gate option: Switchable between full EG and simple gate
• Distortion: On/off switch (amount depends on oscillator/noise levels)
• Maximum release time: Approximately 20 seconds

Envelope Generators

• Filter EG: ADSR
• Amplifier EG: ADSR

LFOs

LFO1:

• Waveforms: Sawtooth, Square, Triangle, Sample & Hold
• Rate control: Dedicated knob
• Depth control: Via Oscillator 1 Control 2 knob
• MIDI sync: Yes, with multiple note value subdivisions

LFO2:

• Waveforms: Sawtooth, Positive Square, Sine, Sample & Hold
• Rate control: Dedicated knob
• Depth control: Via mod wheel (for amplitude modulation)
• MIDI sync: Yes, with multiple note value subdivisions

Virtual Patch System

• Patches per Timbre: 4
• Sources: Filter EG, Amplifier EG, LFO1, LFO2, Velocity, Keyboard tracking, 2 globally-assigned MIDI controllers
• Destinations: Pitch, Oscillator 2 pitch, Oscillator 1 Control 1 functions, Noise level, Filter cutoff frequency, Amplifier level, Pan, LFO2 frequency
• Controls: Individual depth knobs for each patch
• Interface: Dedicated front-panel section with individual LEDs for sources and destinations

Mod Sequencer

• Rows: 3
• Steps per row: Up to 16
• Global parameters: Sequence length (1-16 steps), Playback type (forward, reverse, forward/reverse), Run mode (one-shot, loop), Timing resolution
• Row assignments: Pitch (±24 semitones), Step length, Nearly any front-panel parameter
• Editable parameters: All EG parameters, LFO frequency, Filter cutoff and resonance, Pan, Oscillator 1 controls, Oscillator 2 pitch, Virtual Patch depth controls
• Step Length parameter: ±6 range (relative to global resolution)
• Recording: Sequence Record function (real-time parameter recording, up to 16-step resolution)
• Real-time editing: Individual step values changeable during playback
• MIDI sync: Yes
• MIDI transmission: No

Arpeggiator

• Tempo range: 20-300 bpm
• Arpeggiation types: Up, Down, Up/Down (2 variants), Random, Trigger
• Resolution options: Quarter, Eighth, 16th notes (with triplet variants of each)
• Gate time control: Staccato to legato adjustment
• Octave range: 1-4 octaves
• Swing parameter: Triplet feel (positive values), Grace-note effect (negative values)
• Latch function: Yes
• Assignment in dual-Timbre Programs: One Timbre, other Timbre, or both
• MIDI transmission: Yes

Effects

Modulation Processor:

• Effects: Chorus/Flange, Ensemble (phasing)
• Controls: Speed, Depth

Delay Processor:

• Types: Stereo delay, Cross delay, L/R delay
• MIDI sync: Yes
• Controls: Delay time, Feedback
• Limitation: Slight clipping at very slow tempos with whole-note delay settings

Routing: Fixed (Modulation Processor → Delay Processor → EQ)

EQ

• Type: 2-band
• Low band: 40Hz to 1kHz, ±12dB cut/boost
• High band: 1kHz to 18kHz, ±12dB cut/boost
• Access: Via LCD menu

Vocoder

• Filter bands: 16 (two sets of 16 band-pass filters: analysis and synthesis)
• Envelope follower: One per band
• Frequency range: 125Hz (channel 1) to 5kHz (channel 16) base; 65Hz-8.1kHz with filter cutoff shifting
• Analysis filter frequencies: Fixed
• Synthesis filter frequencies: Shiftable via filter cutoff control
• Formant shifting: 1 or 2 octaves up or down
• Carrier signal: Oscillator 1 (can be fed by audio input 1)
• Modulator signal: Audio input 2
• Filter controls: Cutoff frequency, Resonance
• Mod Sequencer controls: Repurposed for band level and pan adjustment
• Design reference: Classic vocoders from EMS, Sennheiser, Roland, Korg VC10

Memory

• Program locations: 128 (8 banks × 16 patches)
• Factory Programs: Included, restorable individually or en masse
• Program naming: Yes, via LCD
• MIDI storage: Programs can be saved/loaded via MIDI

Keyboard

• Keys: 44 (F to C range)
• Aftertouch: Responds to incoming aftertouch (does not transmit)
• Pitch bend wheel: Yes
• Modulation wheel: Yes

Control Interface

• Knobs: 35 (dedicated controls for nearly all parameters)
• Switches: 50
• LCD: 16-character × 2-line backlit display
• Program selection: Bank-select buttons (2) + illuminating patch-select buttons (16)
• Parameter access: Dedicated buttons for parameter groups
• Visual feedback: 'Original Value' LED (lights when knob matches saved Program value)
• Patch-select button functions: Program selection, Parameter group selection, Step sequence visual indicator
• Front-panel graphics: Signal flow illustration, Comprehensive parameter list screen-printing

MIDI

• Connections: In, Out, Thru
• Knob transmission: All knob movements transmittable as MIDI controller data
• Controller assignment: User-definable
• Arpeggiator transmission: Yes
• Mod Sequencer transmission: No
• Multitimbral channels: 2 (one per Timbre in dual-Timbre Programs)
• Aftertouch: Receives (does not transmit)

Audio I/O

Inputs:

• Audio In 1: 1/4" jack (line level) - can feed Oscillator 1 or vocoder carrier
• Audio In 2: 1/4" jack (mic/line level) - typically for vocoder modulator

Outputs:

• L/Mono: 1/4" jack
• R: 1/4" jack
• Headphone: 1/4" jack (front panel)

Control Inputs

• Assignable pedal: 1/4" jack (configurable for aftertouch transmission and limited parameter control)
• Assignable footswitch: 1/4" jack

Power

• Type: External PSU
• Switch: Via volume control (no rear power switch)

Physical Specifications

• Dimensions: 737.8mm (W) × 371.3mm (D) × 147.7mm (H)
• Weight: 7.1 kg
• Design elements: Vintage-style sloping front panel, Wooden end-cheeks, All-blue top panel