There were two inclusions that were crucial to the astonishing success of the M1. Like the D-50, the M1 also boasted a full range of effects - and even multieffects - that could be used by its two built-in processors. Where the D-50 relied on sampled attacks and novel loops, the M1 offered up a then-burly 4MB of meticulously multisampled real-world instruments that actually made it sound like you were playing the real thing. The result was the M1, which did nearly everything the D-50 did and more, with class, sophistication and refinement. With the D-50 selling like hot cakes, it was only natural that Korg would up the ante by tapping once again into sample playback technology. Korg, too, had dabbled in sample-based synthesis back in 1985 with their DW-6000 and DW-8000 units, both of which contained a handful of single-cycle sampled waveforms that were pumped through filters, envelopes and even - on the flagship model - a built-in digital delay.
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