Review: Korg SV-1

IN GEAR

Let’s forget the showroom semantics now and have a look at what’s really going on with the SV-1. The controls across the ‘dashboard’ are very simple – this is a performance keyboard after all. From the left is a master volume knob, followed by a three-band EQ section comprising ‘low’, ‘mid’ and ‘high’ tone adjustments – this can be bypassed completely. Following this is the pre-effects section for access to tremolo, vibrato, uni-vibe, boost, compression and a vox-wah function that can be controlled via an expression pedal. Two knobs provide control over each type of effect – labelled ‘speed’ and ‘intensity’. Here again this entire section can be bypassed.

Up next is the amp modelling section, also defeatable and offering a selection of six amplifier types and a drive control. Amp models include an ‘organ amplifier’, tweed, overdriven, and AC30 designs. What’s interesting here is that the modelled amps work in tandem with a vacuum tube-assisted circuit to better recreate the sound of a valve amplifier. The tube circuit also includes a low voltage power amp-style circuit, a ‘solid-state simulation of an output transformer’, and a dummy speaker circuit to simulate the varying impedance of an actual speaker. All this adds up to a closer rendition of a keyboard plugged into an amp, which, of course, is what you’re after with a performance-based, vintage-style keyboard. However, I must say, that the 12AX7 valve under the clear plastic cover seems a little tacky for mine. I don’t know about you but I’m a little weary of tubes in glass windows with lights behind them at this juncture. Sure the tube is doing something, but does it actually help to have it in your line of vision? More to the point, does it sound any more ‘vintage’? I doubt it.

MOTOROLA

So, following across from the amp modelling section of the dashboard are eight patch recall buttons. Again, in the spirit of easy on-stage use, these are numerically marked and backlit into the bargain. Eight recall buttons may seem like too few to some players – I guess it will depend entirely on your approach.

Saving a patch to these locations is referred to as a storing a ‘favourite’. To the right of these favourites are two knobs for flicking between the sounds available from the instrument. These are six-position knobs, the first labeled: E.Piano 1, E.Piano 2, Clav, Piano, Organ, and Other; the ‘Other’ section containing Solina and ensemble-style string sounds. The second knob chooses between six variations within each genre. In practice you simply choose sounds with these knobs, apply EQ, amp modelling and any amplifier-based effects you see fit, along with the appropriate dose of modulation and reverb (which we’ll get to in a moment) and then simply save the setup to any of the eight ‘favourite’ buttons. Storing a favourite works just like programming your car radio – hold down the button until it flashes, then press the button again to store the sound. It couldn’t be any simpler.

Saving further patches is only possible via the included patch editor software, and this connects seamlessly to your PC or Mac via USB. This connection also acts as a MIDI conduit, so there’s no need to use a separate MIDI interface. There are also MIDI ports for normal connection to a typical MIDI-based system.

HYDRAMATIC

Getting back to the onboard effects section for a moment, the first of these deals with time-modulation effects. Here again, choosing an effect is via a six-position knob, with effects including phasing, flanging, chorus and a rotary Leslie emulation. Speed and intensity controls are all that’s required here, along with a button for switching between slow and fast rotary speeds. Finally, at the right-hand end of the keyboard are the reverb and delay effects, consisting of hall, plate, room and spring reverbs, and tape or stereo delay. The latter delay type has a tap-tempo button below it. It’s a shame the tap-tempo button doesn’t adjust the tape-delay tempo as well.

UNDER THE BONNET

Bear in mind that all the adjustments possible via the front panel of the SV-1 are broad brushstrokes to a sound. For finer and more comprehensive editing parameters you’ll have to dive into the supplied editing software. For example, the tape-delay section can have time, feedback, tone, low-frequency damping, and mix adjusted – none of these parameters are available on the deck. In the modulation effects section you suddenly gain access to feedback, width, chorus types, rotor and horn speed, and acceleration for the Leslie effect, pre-delay for the reverbs, and the stereo delay can be set to tempo and bar divisions. When it comes to the amplifier simulations there’s a choice of speaker cabinets (10 styles) and the amps themselves have gain and master volume, presence and three-band EQ. Even the EQ section suddenly offers up control over the mid section frequency point. There’s even a final dynamics processor/compressor that doesn’t make an appearance on the dashboard. Besides giving access to all these extra parameters, the SV-1 editor further allows backup and retrieval of countless other patches beyond the eight stored in the ‘favourites’ section.

In terms of the sound engine, the SV-1 offers 80-note polyphony, enough for any two handed player to not have notes disappearing when least expected. The unit is not multi-timbral, however, so it’s a one-sound-at-a-time machine. It will run in a ‘local-off’ fashion, enabling you to use the SV-1 as a master keyboard for a sequencing system. There is plenty of modern MIDI functionality though; the unit receives MIDI clock messages, transmits and receives aftertouch information.

IN THE STRAIGHT

In terms of being a player’s keyboard I think Korg has done a great job with the SV-1. It’s very easy to pull up a sound and get straight into it. There are no menus, screens, or dual function buttons to learn, the outputs are presented as both unbalanced jacks and balanced XLRs, and there’s a stereo input for adding another synth or keyboard, or another playback device – yet another useful feature for the gigging keys-player.

There’s such a lot going for the SV-1 in fact that the only problem I can see really is that some won’t be able to come to grips with the look of it. So far, opinion is quite divided here at AT – it seems I’m the only one that likes the big red monster’s look. Aesthetics aside, the SV-1 is an incredibly easy keyboard to use, and I believe there’d be a stack of keyboard players out there who’d appreciate such ease of use.