From its introduction in 1978, the KORG MS-20 analog synthesizer has developed a devoted following for its distinctive sound and extremely flexible programmability. Long a favorite of players and producers looking for unique sounds and textures, the MS-20 has been used in genres ranging from ’70s and ’80s synthpop, jazz fusion and prog rock to contemporary EDM and electronica artists. In this article, we're going to dive into some of the history of how this iconic monophonic analog synth was developed, why it is such an enduringly popular instrument, and look at some artists and songs that show off its capabilities. Along the way, we want to pay a little tribute to designer/engineer Fumio Mieda, who went from designing the original Uni-Vibe pedal, to laying the foundation for virtually all KORG analog and analog-based synthesis to date. So, grab your patch cables, and tune up those oscillators—we're going in.

Table of Contents

What's So Cool About the KORG MS-20?
   The KORG MS-20's Dual Filters
       KORG 35 Filter Module
       Versatility of Filter Design
   Dual Envelope Generators Shape Dynamics
       EG1
       EG2
   MS-20's Power Patchbay
       Interconnectivity
       External Signal Processing
The History of the KORG MS-20
   A Timeline of the MS-20's Development
Current KORG MS-20 Reissues and Relatives
   KORG MS-20 Mini
   KORG MS-20 FS
   KORG Nautilus AT
   KORG Monotron Delay and Duo
   KORG Modwave MKII, Wavestate MKII and Opsix MKII
   KORG KingKORG NEO-VA
   KORG Volca Kick Bass Percussion Synth
Who Uses the KORG MS-20—15 Essential MS-20 Featured Tracks and Albums
Patching It All In

What's So Cool About the KORG MS-20?

The KORG MS-20 is celebrated for its robust sound design framework, featuring two oscillators with ring modulation and envelope generators, which contribute to its powerful and dynamic output. At the heart of its distinct sound is the revered KORG 35 filter, known for its aggressive resonance and characteristically rich, warm tones that continue to influence music production today. The filter underwent revisions from an early, more aggressive model to a later version optimized for a better signal-to-noise ratio, though both are beloved by musicians and featured in the modern MS-20 FS. The evolution of synthesis terms, such as the transition from "modulation generator" to what is now commonly referred to as an LFO, mirrors the MS-20’s developmental history, and its adaptation to changing musical landscapes.

Pictured: KORG MS-20 at the Vintage Synth Museum in Los Angeles, California

The KORG MS-20's Dual Filters

The MS-20 features two filters—high pass and low pass—which are pivotal in shaping its sound. The high-pass filter allows frequencies higher than the set cutoff frequency to pass, effectively reducing lower frequency content and adding a thin, sharp quality to the sound. Conversely, the low-pass filter allows frequencies below the set cutoff frequency to pass, which can warm up the sound by softening higher frequencies.

KORG 35 Filter Module

Central to the MS-20’s character is the KORG 35 filter module, which is known for its aggressive resonance. When the resonance, labeled "Peak" on the MS-20 (synth terminology in the early and mid-’70s was still being refined) is increased, the filters can self-oscillate, producing a distinct, singing tone that is highly musical and often used as a performance effect.

Versatility of Filter Design

The MS-20’s filters are capable of deep, squelchy behaviors, making them perfect for creating powerful bass sounds and piercing leads. The ability to switch between early and late versions of the filter module in newer reissues allows users to choose between a more aggressive, but less predictable sound, or a cleaner, more stable output.

Dual Envelope Generators Shape Dynamics

The MS-20 is equipped with two envelope generators—EG1 and EG2—each offering different capabilities that enhance its expressive potential. EG1 is primarily used for modulation purposes, like controlling the pitch or filter cutoff, while EG2 typically handles the amplitude shaping of the sound.

Pictured: KORG MS-20 Mini Control Panel

EG1

This is a simple hold/release envelope, which is perfect for creating looping envelopes or controlling the level of modulation applied to a parameter over time. The added trick here is the delay feature, which allows you to specify how long before the modulation the envelope generator controls will kick in.

EG2

The second envelope generator has a more complex ADSR (Attack, Decay, Sustain, Release) envelope, which is instrumental in shaping the dynamic character of the sound from sharp staccato to long, sustained notes. Once again Fumio Mieda's design adds the extra little bonus of a hold control, which specifies how long a note is held after attack before the rest of the envelope (the DSR part) begins to work its magic.

MS-20's Power Patchbay

One of the most distinctive features of the MS-20 is its semi-modular design, highlighted by its patchbay. This component allows for the routing of signals in ways not hardwired into the synthesizer’s architecture, providing users with a level of customization typically found in fully modular systems.

Pictured: KORG MS-20 Mini Keybed and Patchbay

Interconnectivity

The patchbay features various points for connecting the internal components, like oscillators, filters and envelope generators, in unique configurations. Users can patch these components together in non-standard ways, leading to innovative sound creation that pushes the boundaries of traditional synthesis.

External Signal Processing

The MS-20’s patchbay also allows for external signals to be brought into the synthesizer’s signal path, processed through its filters and envelopes. This capability makes the MS-20 a powerful tool for live performance and studio work, where it can function as a sound processor for other instruments or audio sources.

The combination of dual filters, dual envelope generators and a flexible patchbay makes the KORG MS-20 a powerhouse of sonic potential. Its ability to create everything from aggressive basses and leads to complex rhythmic textures and drones has secured its place in the pantheon of classic synthesizers. The MS-20 not only shaped the music of its time but also continues to influence contemporary artists and producers, who find its distinctive sound an endless source of inspiration.

The History of the KORG MS-20

The development of the KORG MS-20 runs parallel with the career of KORG's Fumio Mieda. Coming to KORG in the late 1960s, fresh off his development of the original Uni-Vibe, Mieda could be considered KORG's secret (or maybe not-so-secret) weapon in their pioneering development of synthesizers for the masses. We were fortunate to have the chance to have a long-distance conversation with him about his career, both as it pertains to the development of the MS-20, and to much of the rest of KORG's substantial synth presence.

As Mieda recounts the early days of the MS-20's development, we see how it was linked closely with KORG's ventures into polyphonic and ensemble synthesis. Mieda explains, "The technology behind the MS-20 began with the prototype synthesizer announced at the All Japan Audio Fair in November 1970, developed as a new type of electronic organ. This instrument had an organ-like shape and included two monophonic synthesizers and an organ sound source. This prototype is likely the first synthesizer introduced in Japan."

Pictured: Fumio Mieda Demonstrating the KORG MS Series

The MS-20 was conceived both as an affordable way to get synthesis into the hands of more musicians, and as a teaching tool. Mieda explained, "The MS-20 was designed to introduce the fun of sound creation—especially the fun of creating sounds through patching. Once users understood the patching process, they could use any synthesizer. It was positioned as an affordable synthesizer that prioritized enjoyment over sophisticated music production." This philosophy guided the MS-20's design, making it accessible to a wide range of users, from students to professional musicians.

As mentioned above, the 35 filter was a key part of the MS-20s sonic signature, and its capability to go from smooth to brash was one of the factors that helped make the synth a breakout success. Originating in the KORG PE-1000 Polyphonic Ensemble, the filter had a resonance control added for the PS-3100, a fully polyphonic, semi-modular analog synth also developed by Mieda. The PS Series, consisting of the PS-3100, 3200 and 3300, was, in many ways, a proving ground for many of the features that Mieda incorporated in the MS-20. When we asked Mieda about the evolution of the filter, he said, "The PE-1000 was primarily designed to mimic acoustic instruments, so it had a more subdued VCF. Adding resonance to this circuit during the development of KORG 35 led to a more stimulating sound, which unexpectedly became a characteristic sound of the MS-20. Initially, it [the gritty quality of the filter] was not intentional. While KORG 35 can heavily distort waveforms with deep resonance, it also produces unique sounds not found in general VCFs."

A second, less noisy, but less rambunctious version of the filter, the circuit was modified to improve the S/N (signal-to-noise) ratio, which resulted in a somewhat more polite sound. Not everybody was happy with this design change. Mieda notes, "Since many users preferred the aggressive sound of the earlier filter, the MS-20FS reissue model was equipped with both types of VCFs, allowing users to select either one upon powering on."

An interesting, but short-lived, project was the so-called "Big MS-20." Mieda described it enthusiastically, saying, “The idea was proposed by our distributor in Germany, Meyer, for use in teaching the ‘physics of sound.’ The concept was well-received, and about 30 units were produced for other distributors. We also used it in our synthesizer courses. The Big MS-20 used the same circuit board as the regular MS-20, but there were two sizes, with the larger one featuring built-in speakers.” To the best of our knowledge, only three examples of this synth still exist.

Pictured: KORG "Big MS-20" Education Model

Mieda also highlights how the MS-20 influenced subsequent KORG synthesizers: "The MS-20 was distinguished by its easily understandable patch panel that visually represented the instrument's form and signal flow ... It demonstrated how much synthesizer circuits could be simplified, setting a precedent for developing a wide range of products in a short period. The momentum from the MS-20 development also led to related products, such as the X-911 guitar synthesizer."

When KORG began work on recreating the MS-20 as a virtual instrument in the early 2000s, the sometimes unpredictable nature of early analog synthesizer circuits made the task a challenge, and once again Mieda was called upon to oversee the project. "The most challenging part was the non-linear processing of signals," he said. "The MS-20's filter, in particular, involved complex distortions that were not covered in traditional electronics textbooks, making it difficult for software developers to model the characteristics accurately. However, since it was our product, we had the accumulated know-how and a well-preserved original MS-20, which helped us achieve a faithful reproduction."

Pictured: Fumio Mieda with the KORG MS-20

Mieda's final thoughts on the legacy of the MS-20 show "legacy" was never really a consideration. As with all great products, it was the gestalt of what it was—not the plan for what it could be—that makes it continue to be a go-to synth for so many artists, producers and composers. As Mieda modestly says, "We never imagined that such a short development project—from concept to production in just six months—would result in a long-lasting product with many derivative models. Longer development periods can lead to more opinions, hesitation and technical obsolescence. The development of the MS series may have been influenced by the ‘timing’ when the market and technology were mature enough to make bold development decisions. The later-born monotron and similar products were innovative ideas that I couldn't have conceived with my old-fashioned thinking."

A Timeline of the MS-20's Development

• Late 1960s–Early 1970s: KORG, founded by Tsutomu Katoh, begins exploring synthesizer technology. Fumio Mieda, an engineer with a passion for electronic music, joins KORG and plays a crucial role in developing early prototypes.
• 1973: KORG releases its first synthesizer, the miniKORG 700, designed by Mieda. This monophonic synthesizer lays the groundwork for KORG’s future analog synthesizers.
• 1977: KORG releases the PS-3100, a polyphonic analog synth that had, essentially, a full synth (VCO, VCF, VCA and EG) for each of its 48 keys. Many of these concepts are adapted and simplified as Mieda leads the development of the MS-10, a monophonic analog synthesizer known for its simple design and powerful sound. It becomes a precursor to the MS-20.
• 1978: KORG introduces the MS-20, designed by Mieda and his team. It features dual filters, dual envelope generators and a semi-modular design, quickly gaining popularity for its unique sound and flexibility.
• 1979: The MS-20 gains further recognition as a reliable, affordable synthesizer for both professional musicians and enthusiasts. Its distinctive filters and rugged build make it a staple in studios and live performances.
• 1983: Production of the original MS-20 ceases as digital synthesizers begin to dominate the market. Despite this, the MS-20 remains a cult favorite among analog enthusiasts.
• 1997: The resurgence of interest in analog synthesizers leads to a renewed appreciation for the MS-20. KORG releases the MS-2000, a virtual analog synthesizer that pays homage to the original MS-20.
• 2004: KORG launches the MS-20 Legacy Collection, a software emulation of the original MS-20, bringing its iconic sound to the digital realm.
• 2013: To celebrate its 35th anniversary, KORG releases the MS-20 mini, a faithful reproduction of the original MS-20 at 86% of the original size. Fumio Mieda oversees the project, ensuring the mini retains the original’s character.
• 2014: KORG releases the MS-20 Kit, a full-size, build-it-yourself version of the original MS-20. This version allows enthusiasts to assemble their own MS-20, further cementing the synth’s legendary status.
• 2020: KORG introduces the MS-20 FS (Full-Size), a full-size reissue of the original MS-20 available in four limited-edition colors. Once again, Fumio Mieda is involved in ensuring the authenticity of the reissue.
• 2021–Present Day: Still widely used by musicians and producers, both in its original and reissued forms, the MS-20 is cherished for its unique sound and flexible design. Fumio Mieda’s contributions continue to inspire new generations of synthesists.

Current KORG MS-20 Reissues and Relatives

While a vintage MS-20, if you can find one, commands a premium on the used market (and our used and vintage departments are always a good place to start looking, if finding one is your jam), KORG has a wider variety of hardware synths, both reissues and descendants of the original that can feed your need for the raunch, grit and constant path of discovery that is analog synthesis. If you're more of a software type, the virtual versions (iMS-20 for iPad and the KORG Legacy Collection for Mac and PC) are available directly from the appropriate app stores. Here's a quick overview of what's available at Guitar Center.

KORG MS-20 Mini

The KORG MS-20 Mini, a faithful reissue of the original MS-20, retains the analog circuitry and physical patching capabilities, but in a conveniently compact package that won't crowd your studio or stage rig.

Pictured: KORG MS-20 Mini Analog Monophonic Synthesizer

KORG MS-20 FS

The KORG MS-20 FS is a full-size reissue of the MS-20 that offers both the early and late versions of the KORG 35 filter, allowing users to switch between filter types, depending on whether they want aggressive grit or smooth sweetness.

Pictured: KORG MS-20 FS Analog Synthesizer

KORG Nautilus AT

This extraordinarily powerful music workstation, the KORG Nautilus AT, includes a full digital emulation of the MS-20, providing a modern take on the classic sound within a versatile keyboard.

Pictured: KORG Nautilus AT Workstation

KORG Monotron Delay and Duo

The KORG Monotron Delay and Duo pocket-sized analog synths include scaled-down versions of the MS-20 filter, delivering classic analog tones with both portability and affordability.

Pictured: KORG Monotron Delay Analog Ribbon Synthesizer

KORG Modwave MKII, Wavestate MKII and Opsix MKII

The KORG Modwave MKII, Wavestate MKII and Opsix MKII incorporate advanced wave sequencing and FM synthesis capabilities but maintain the lineage of the MS-20 through the inclusion of modeled filters and inspired interface design.

Pictured: KORG Opsix MKII FM Synthesizer

KORG KingKORG NEO-VA

A virtual analog synthesizer that features 18 modeled filters, including those from the MS-20, the KingKORG NEO-VA provides a broad range of sounds, including many reminiscent of the full MS-20, though with more modern controls and polyphony.

Pictured: KingKORG NEO-VA Synthesizer

KORG Volca Kick Bass Percussion Synth

The compact KORG Volca Kick Bass Percussion Synth focuses on bass and kick drum sounds using an MS-20 resonant filter, showcasing the filter’s versatility and impact on electronic music production.

Pictured: KORG Volca Kick Percussion Synthesizer

Who Uses the KORG MS-20—15 Essential MS-20 Featured Tracks and Albums

"Da Funk," by Daft Punk (1995)

This track features the MS-20’s raw analog sound, which helped define Daft Punk’s revolutionary approach to electronic music.

"The Big Jump," by Chemical Brothers (2005)

Utilizes the MS-20 for its gritty bass lines and atmospheric effects.

"Girls," by The Prodigy (2004)

Showcases the MS-20’s ability to deliver punchy, aggressive leads.

"I Ran," by A Flock of Seagulls (1982)

This new wave hit made extensive use of the MS-20 for its futuristic soundscape.

"Los Niños Del Parque," by Liaisons Dangereuses (1982)

Features the MS-20 in a pioneering EBM track.

"Bunker Soldiers," by OMD (1980)

Demonstrates the MS-20’s versatility in a post-punk context.

Blade Runner Official Motion Picture Soundtrack by Vangelis (1982)

Although Vangelis used a variety of synthesizers, the MS-20 was one of the instruments employed to create the iconic and atmospheric soundscapes of the Blade Runner soundtrack.

Plastic Beach by Gorillaz (2010)

Gorillaz used the MS-20 to craft some of the distinctive, analog synth sounds on Plastic Beach. The album blends various genres, and the MS-20’s versatility was a key component.

Mr. Hands by Herbie Hancock (1980)

Hancock, a pioneering jazz musician known for integrating electronic instruments into jazz, used the MS-20 on Mr. Hands. The album blends jazz with funk and electronic elements, and the MS-20 contributed to its innovative sound, particularly in tracks like "4 A.M."

"Port of Entry," by Weather Report (1980)

Keyboardist Joe Zawinul used a plethora of synths over the years, but the distinctively edgy sound of the MS-20 is prominently featured on this track from their 1980 album Night Passage.

Signals by Rush (1982)

The MS-20 was used here to create some of the more aggressive and experimental sounds that complemented the evolution of the band's progressive rock style.

Selected Ambient Works Volume II by Aphex Twin (1994)

Aphex Twin, a pioneering artist in electronic music, frequently used the MS-20 on this album. Its rich, analog textures contributed to the album's eerie and atmospheric soundscapes.

† by Justice (2007)

The French electronic music duo Justice made heavy use of the MS-20 to craft the distorted, powerful basslines that became the hallmark of their debut album.

Reflektor by Arcade Fire (2014)

Much of the gritty rawness of this album comes from multiple layers of MS-20.

Nite Versions by Soulwax (2005)

The MS-20 was used by Belgian electronic rock band Soulwax on this 10-song remix album. Its raw, punchy sound played a significant role in the album’s electro-rock vibe.

Patching It All In

The KORG MS-20 remains a monumental figure in the landscape of synthesizer design, with an impact resonating in contemporary models and music genres alike. As we explore and celebrate the MS-20’s contributions to music and technology, its story serves as a testament to the creativity and innovation that drives the evolution of musical expression. For those interested in learning more about synthesizers or looking to add a legendary piece to their setup, our knowledgeable Gear Advisers, both in store and at our Call Center, are ready to assist with expertise and insights.