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With that said, the marketed number of 72 sounds isn’t exactly accurate. This semi-textured feeling gives off a more premium vibe, and also adds a bit of slip-resistance, which is something people with sweaty hands will appreciate. The white keys have a synthetic glossy acrylic top, whereby the black keys use a matte black finish. How the keys feel is the most important aspect, and while this action is more than a decade old, it still remains one of our personal favorites. While some might bemoan the keys being purely plastic, I find that they feel just as good as the hybrid wooden keys found on Roland and Yamaha’s similarly priced stage pianos.
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The keys are made in Miyama, Japan, and feature a graded action, meaning keys at the lower end are heavier than those in the upper range. These are tried and true actions that we’ve praised multiple times prior. The same keys are also found on the original SV-1.įor reference, the same keys are also used in Korg’s cabinet-style digital pianos, so while their age might imply that they’re outdated, don’t be fooled. Much like most of Korg’s other high-end instruments, the SV-2 uses Korg’s RH3 keybed, which is the exact same keybed found on the Korg Grandstage we reviewed previously.
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The problems I have with the controls are some unintuitive design choices.įor example, if you have a 3-voice sound designed using splits and layers, mixing each individual sound’s volume isn’t straightforward, as you need to push down on the equalization knobs for a second before being in mixing mode, which seems clunky. The straightforward nature of the Grandstage is something we liked, and having an added layer of retro-styling does add to the novelty factor. If you’ve tested out the Korg Grandstage, you might find yourself having a sense of deja-vu, and that’s not a bad thing.
#Korg m1 software review manual
You don’t need to have the user manual with you to use this keyboard, and that inherent intuitiveness is something I really do like. With a focus on hands-on control, the front panel is laid out in a way that makes a lot of sense. The control scheme is also well-designed overall. This isn’t visible from the audience, but I do suggest being extra careful when moving it around, as MDF boards aren’t known for being very sturdy. While the rest of the body is generally sturdy, its underside uses cheap-feeling particleboard, the same materials used in the original SV-1. The big flaw in build quality I mentioned is the bottom of the SV-2. It’s hard to say how long the tube will last, but even the SV-1 averages multiple years before needing servicing, so you should be in good hands. While it’s still somewhat of a visual gimmick, the warmth it adds to the audio signal is worth it. This time, the tube tends to run less hot, with the illumination effect being strictly LED-based. With the SV-2, the tube seems to have been improved. Especially since it was prone to breaking down over time (as you’d expect from any valve tube). On the original SV-1, many debated as to whether the tube actually affected the audio signal (it did), but many saw it as a simple cosmetic gimmick. The other defining feature of the SV-2 is the tube valve located to the left of the front panel. The distinctive retro styling isn’t just for show, as these controls have a good amount of heft and feedback to them, making every movement precise and tactile. The same sense of quality is retained with the knobs and buttons. The curved surfaces feel great to the touch, and it overall feels like a solid product, that should withstand the test of time.
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The body is primarily metal, and there’s a nice glossy sheen that emulates the look of the original SV-1.