While the market of low-budget synthesizers has never been so flourishing, Korg launches a performance synth conceived for live applications that require spontaneity and real-time options. Let’s step into the details…
3 pm on a gray autumn Saturday. Thick smoke fills the dark rehearsal studio when a hoarse voice raises from behind the drum kit…
“Hey, let me know when you are done turning knobs and playing with your touchscreen so you can finally give us some Rhodes and finish your synth solo!”
– I’m almost done, I just have to insert a program into the 2nd channel, edit a keyboard split and adjust the FX sends because I need an overdrive for the piano and a subtle delay for the solo part…
– What? A short delay? You’ve been setting your gadget there for hours. We’ve played only five songs and we still have 25 to go! We must pack our gear in two hours, drive 60 miles, mount again, make the soundcheck and start the show at 9 pm tonight…
– OK, I’m ready. Three, four, dzoiiiiiiing!!!
– What’s that chord you’re playing? Don’t you know “All by myself” is in A sharp?
– Darn, I forgot to transpose! I hate A sharp: too many black keys! Wait a minute guys, I just have to push the edit button, browse the transposition page… hm, wait, where is it? On the MkII, it was the 8th on the third-level to the right, but with the MkIII, it’s…
– I’m gonna kill you! I can’t stand your black and white keys, your cables hanging around, your twisted keyboard stands that keep on ripping my car’s leatherette seat covers…
Many keyboard players have experienced this when they still don’t master their brand new workstations yet, in spite of several weeks dedicated to getting to know their instrument. Complexity overcomes spontaneity! But what options do we have left, except for stacking several synths to have everything at our fingertips and edit splits and layers faster than Keith Emerson can play a fill over a five-octave keyboard or Jim Morrison can drink five bourbons… The Korg PS60 aims to be the answer: compact, quick, affordable, fully packed with ready-to-use sounds, and very editable. Let’s see if it holds true!
The PS60 is a very compact five-octave keyboard with the Korg-typical pitchbend/modulation joystick placed above the keys. Not very long nor heavy at all, due to the fact that it’s made out of plastic with a very nice and glossy finish. On the other hand, you’ll have to protect the device to take it on the road because it’s no tank… On the front panel there are many controls spread over a quite unusual layout. From left to right, you’ll find the joystick with a Hold key that allows you to hold the value corresponding to its position on the modulation axis, i.e. you can lock the return spring that brings the joystick back to the center position. You’ll also find a volume control and a key dedicated to Leslie simulations for organ sounds. But it has a fixed assignation… There’s also a row of keys for octave and half-tone transposition. Well done! Just above that, you’ll find a control section to store/recall performances pushing only one or two buttons. In the middle, a small 2×16 character, gray-blue LCD is placed above the selection keys for mode and performance selection.
But the most original section is clearly the control field’s right section. It allows you to select, turn on/off and mix on the fly two sets of six separate sound layers. In order to do that you get six rotary controls, 12 program-change keys, six channel on/off keys, a quick-edit selector for four parameters (volume, octave and two FX sends), and a split control section. You can quickly stack six program layers. When you activate the split key, you get two sets of six layers on both sides of the split point. The six parts are sorted by category: acoustic piano, electric piano, organ, strings, brass, and synth. Further on to the right, you’ll find nine controls and two keys that allow you to edit directly the two master effects and the global EQ to adapt the sound to the music. Once you are satisfied with the results you can save everything in no time. There’s no need to say that the handling is very easy and practical. But as you will see later on, the PS60 is not only a spontaneous stage keyboard but also a really comprehensive synth.
Now, let’s take a quick look at the rather spartan rear panel: external PSU connector (normal for a low-budget product), on/off switch, stereo analog out, MIDI in/out, and a pair of multifunction foot controllers. Nothing revolutionary for today’s standards… The minijack 1/8″ headphones out is on the front panel. Nice! Let’s close this short overview by noting that the five-octave keyboard is velocity sensitive but it doesn’t support aftertouch, and it sports half-weighted keys with better quality than its competitors in the same price range.
The PS60 uses a sound synthesis based on samples taken from the M3/M50 series in a compressed PCM ROM equivalent to 49 MB at 16 bits/48 kHz. You get 120 voices of polyphony and 12 simultaneous channels of multitimbrality. The unit always works in performance mode, which means that it always uses an arrangement of one or two sets with six sound layers. Each layer includes one of the 512 internal programs, including 440 factory-loaded ones. Each program includes a small demo to be chosen from 383 audition riffs which cannot be programmed. The sound samples provided with this review use these riffs to allow you to get a quick overview of the pop/rock oriented sound possibilities.
You’ll find some multisample acoustic pianos in different stereo variations (with or without sustain pedal and different tempered tunings) and a piano from the M1: typical sounds of older Korg workstation generations that cannot come close to the level of multisamples used by modern workstations. The multisample electric pianos sound much better, especially two Fender and one Wurlitzer sampled with three velocity steps. The Clavinet sounds are ok, especially thanks to the FX section. You get eight electric organs, which cover most music styles from smoky jazz to spellbinding gospel and distorted rock.
You’ll also find two strings sections from previous Korg workstations: a very wide stereo ensemble and a small, slightly aggressive section. Choirs are well represented with four pop and classic multisamples provided in three variations. Brass sounds do not have an homogeneous quality. On the one hand you have the very nice, stereo pop section, the trumpet, trombone, French horn, flute, and clarinet sounds, but you also have three miserable saxophones. Even though the guitar & bass category doesn’t belong to the six instrument families on the front panel, you’ll find acoustic/electric bass and guitar sounds all the same. Bass guitars sound pretty good but guitars are disappointing: dead attacks, short held notes, audible loop points. However, the excellent amp simulation effects save the day… You also get about 50 different waveforms in different variations (sawtooth, sinus, impulse and DWGS & VS waves) — tradition is not a meaningless word at Korg. On the other hand, you won’t find any drum kits; it’s a pity since they are sometimes very convenient…
Now let’s take a closer look…
The PS60 offers an interesting concept at a very affordable price. You get a rather good pop/rock sound selection that, honestly speaking, cannot compete with big workstations or high-class stage keyboards. The same applies to the sound synthesis parameter set that requires an external piece of software (which is provided, luckily). One thing that sets the PS60 apart from all those high-end, sophisticated products is that it is clearly superior when it comes to quickly stacking, splitting, mixing and editing different sound layers during live performances. This will appeal to nomad musicians who want to avoid damaging their budget and their back!
- Short learning curve
- Well though-out direct-access controls
- Good sound quality
- A real synth with multimode filters and modulation matrix
- FX section with one insert per voice (except for strings)
- Editor/library manager included
- Quality standard dynamic keyboard
- Very easily readable LCD
- Compact size and light weight
- Rewritable OS
- Reasonable price
- Limited direct access to some sound synthesis parameters
- Rather annoying menu browsing
- Only 20 performance memories
- No sequencer nor arpeggiator
- Keyboard without aftertouch
- No drum sounds nor kits
- Construction a bit fragile
To read the full detailed article see: Korg PS60 Review