Korg Inc.

He's like, everybody's going to drink this beer.

The thing I love about it is the mechanism in which they use the beer to control people, which is that Korg keyboard.

And that guy is just like playing like this synthesizer.

It's Max von Sydow and he goes, turn it to level five.

Um, shout out to, uh, Chris President in the comments.

He was asking, "Was that a Korg drum machine? That was, that was a 808 on everything," he said, right?

Yeah.

Yeah.

And anyway, that was my starting point.

And back when I was a lot younger, I bought a keyboard, which was called a Korg WaveStation.

And in its day, it was like, you know, one of the most amazing keyboards.

But it was really expensive.

But what is a synth? What does it look like?

Synth is, it's, it's a Korg synth, which, uh, SH-700.

Um, and a synth is like a kind of, uh, monophonic tone generator.

Yeah.

Okay.

I suppose I should be pleased with the Korg equipment that's getting a battering.

So, yeah, welcome to episode 10 of Detroiters.

Can I just say, I don't think this is a particularly self-celebratory podcast, apart from the very nature of doing a podcast every week where you just talk endlessly.

They shifted the creative palette.

Punk musicians began using cheap synthesizers from Moog or Korg to layer staccato bursts over guitar riffs, as The Clash did on Rock and Roll Music.

And when tape splicing and loop repeats appeared, bands like The Jesus Lizard turned recording into a laboratory for experimentation without needing a professional studio.

The punk aesthetic didn't stay stuck in music halls.

He also worked for, uh, Line 6, and, uh, he also was the president of Modulus Guitars and Basses for eight years, uh, where he, uh, where they worked on and developed the Flea Bass.

So, uh, he also worked at Korg.

So he's, uh, what's interesting is, like I said in the video, it was a guitar that didn't do well, but the designs of it obviously seem to have helped his career.

A lot of, a lot of industry took notice to that, so I thought that was interesting.

In the studio, Mike Score and producer Mike Howlett relied heavily on the Roland Jupiter 8 synth to generate the track's signature bells and synthetic string backing.

To ground the low end, they ran a Korg MS-10 synthesizer through an electro-harmonics clone theory chorus pedal to construct the pulsing bass line.

On stage, the band relied on two Roland SH-101 synths to run the live sequences, while a Roland TR-606 drum machine fired off the iconic electronic pattern that opens the track.

The sonic gamble paid off on both sides of the ocean.