You can choose either mono– or stereo–sourced operation, an improvement on the mono–only E2. Past the waveform models are options that transform the mini–jack input into a potential oscillator source. As before, you’re given control of a single parameter in each oscillator model via the Edit knob so while the exotic cross–mod, VPM, ring modulation and chip oscillators of the other model are absent, I was so pleased to have the regular waveforms I hardly mourned them at all.
#KORG ELECTRIBE REMIXLIVE PLUS#
Each is present in single, unison and sync variations, plus there are four flavours of noise to finish off.
The first 16 oscillator types are familiar from the E2 and cover the essential analogue waveforms, ie. Leaving aside the obvious functional difference between the grey and black Electribes, what else sets them apart? To best answer this, we should begin spinning the backlit Oscillator encoder.
Given this compromise and the lack of MIDI Thru, it would have been a placating gesture had Korg offered soft-thru functionality. Even comparable accessories from Arturia won’t do. It’s hard to fully acknowledge a device as MIDI–compatible when you can’t plug a MIDI lead directly into it, and be careful not to misplace Korg’s adapters or you’re out of the MIDI game entirely. With the exception of the two audio outputs, all rear–panel connections are mini–jacks - even the headphone jack and MIDI In and Out. Again, the underbelly is colourfully illuminated during playback but can be taste–adjusted with a spot of gaffer tape. Happily, the die–cast zinc body and battleship grey rubber pads feel as robust as ever and, unless it’s my imagination, the Sampler’s kaoss pad is slightly more responsive. At least the buttons aren’t black, but I stand by my previous assertion that they are too small for speedy, accurate use. In keeping with the theme of brooding minimalism, all knobs and encoders are as black as the panel, but if you prefer to see where the knobs are pointing, you could fill in the indents with a bit of putty without damaging the aesthetics too much. Such distinctions are less obvious today and where the current ‘Synth’ version is grey and prone to blending into shadows, the Electribe Sampler, which I’ll refer to as just the Sampler or ES2 from now on, is a cool, velvety black. In the colourful, carefree naughties, Korg’s X–marked Electribes, the EMX1 and ESX1, (blue and red respectively) were easily differentiated by appearance and function. With the release of the Sampler, now might be the time that fans of the earlier machines ponder the inevitable question: how many Electribes do I need? Back In Black If you wish, you can export your efforts and arrange them in your DAW or in the included Ableton Live Lite 9. With no song mode or pattern chaining, you’re driven to create musical structures completely on the fly, making creative use of the 24 notes of pseudo–polyphony, a small X–Y pad, knobby control panel and Korg’s motion recording. There are 16 parts with an effect for each, plus a master effect available to any or all. In quick summary, each machine has 250 patterns of up to four bars to capture performances recorded directly from the pads or via the X0X–style sequencer. With that in mind, it would be helpful to scan through April’s Electribe 2 review for a refresher, which will leave us more space to examine the Sampler’s unique attributes, draw comparisons and list the recent improvements that make both more attractive.
Apart from the sampling angle, the two models are so alike in layout and operation that almost everything from the previous review applies. It combines analogue modelling, PCM playback and user sampling in yet another small and stylish metal box. Hot on the trail of Korg’s Electribe 2 is the much–anticipated Electribe Sampler. You know how it is: wait a decade for a new Electribe then a brace pop up in quick succession. The Electribe Sampler may well be Korg’s best Electribe yet.