The KORG phase8 is an eight-voice acoustic synthesizer built around Acoustic Synthesis, combining physically vibrating steel resonators with deep electronic control. It has come out of an unusually open development process at KORG Berlin, with Tatsuya Takahashi bringing the kind of playful instrument-thinking KORG fans have heard through plenty of the company’s most characterful designs.
Key Features
- Eight independent electromechanical voices driven by physical resonators
- Swappable resonators with envelope shaping for percussive or sustained tones
- Polymetric sequencer with step programming and unquantised live recording
- Modulation modes, trigger delay, and full parameter automation
- MIDI, USB-MIDI, CV, and sync for modern setups
Every now and then, a new instrument lands that makes you want to clear the desk, turn the lights down, and lose an entire evening to it. Not because it has a bigger spec list, but because it feels like it is doing something genuinely different.
At the centre of phase8 is a simple, exciting idea: sound starts in the physical world. Each voice uses an electromechanical system to excite a resonator that actually vibrates, meaning the instrument naturally reacts to touch, air movement, damping, and acoustic feedback. The electronics give you the precision you want from a synth, but they are guiding behaviour, not faking it.
That philosophy lines up neatly with the open approach taken by KORG Berlin across the design phase. Rather than sanding away quirks until everything behaves like a plugin, the instrument feels like it has been allowed to keep its personality. In a world where “clean” and “perfect” can become the default, phase8 leans into responsiveness and the tiny variations that make a performance feel real.
The other big story here is the legacy of Tatsuya Takahashi. If you have spent time with modern KORG instruments that prioritise immediacy, fun, and a sense of discovery, you will recognise that mindset. phase8 feels like that same design thinking, but pushed into new territory where the sound source is not a circuit or a model, it is a vibrating object you can physically interact with.
The resonator system is also built for experimentation. phase8 includes thirteen chromatically tuned steel resonators, and you install eight at a time. That might sound like a limitation on paper, but in practice it is an invitation. You can treat it like a fixed “voice set” for a session, or build alternate tunings and scales by swapping resonators. Envelope control then determines how each one behaves, from tight percussive strikes through to long, ringing sustained notes that evolve in a way digital sustain rarely does.
On the rhythmic side, the polymetric sequencer is where phase8 starts to feel like a performance machine. Step programming is there for the structured stuff, but unquantised recording lets you capture human timing without fighting the grid. Per-voice step skip makes it easy to set up patterns that drift against each other, turning eight voices into something closer to interlocking percussion and tonal elements than a conventional polyphonic synth part.
Automation is handled directly on the panel. You can record movement of the physical controls into a sequence, which suits the whole concept of phase8 as a hands-on instrument rather than a set-and-forget box. Add in modulation modes, including pitch-dependent options, plus trigger delay for shifting feel, and you get the sense that this thing is built for people who like patterns that move and breathe.
Then there is the physical playability. Touch the resonators, pluck them, tap them, mute them, or introduce a found object to change how they respond. The AIR slider controls how much acoustic interaction is emphasised, letting you go from subtle body resonance through to more obvious “this is a physical object” behaviour.
Even with all that experimental DNA, integration is straightforward. MIDI, USB-MIDI, CV, and sync options mean phase8 can sit inside a DAW setup, a modular rig, or a hybrid live system. External MIDI gear can trigger notes in the instrument, and the sequencer can also drive external instruments, which makes it feel less like a standalone oddity and more like a new voice you can actually build a rig around.
phase8 reads like KORG taking a big swing, and it is the kind of swing that gets musicians excited. It is not trying to win an analogue versus digital argument. It is quietly walking past that argument and getting back to the fun part.
Presale Exclusive Package with Limited Resonators
The phase8 presale exclusive package includes three selected limited-edition percussive resonators. Created through experimentation beyond the standard chromatic set, these resonators are designed for open-ended, tactile sound exploration—each offering its own distinctive percussive character.
Available exclusively as part of the presale package. More Info Here: phase8.korg.com
Catch up on all the announcements HERE – NAMM 2026
KORG KAOSS PAD V Brings Touch Performance Back with More Depth Than Ever
The KORG KAOSS PAD V updates that idea for modern creators, expanding the touch workflow with dual-touch control, a new Voice FX engine, and an integrated USB audio interface built for live rigs, studios, and streaming setups.
Key Features
- Dual-touch X/Y pad performance for controlling multiple parameters at once
- New vocal processing including harmonies, vocoder, and pitch shaping
- Dedicated Hi-Z input for guitar and bass
- Expanded sampling and looping tools with BPM-synced performance options
- Program editing, preset saving, and modern connectivity including MIDI
There is a reason the KAOSS Pad became such a studio and stage staple. It made effects feel playable. You did not automate. You performed.
The big headline feature is dual-touch. In practical terms, this means you can move two points at once, shaping two parameter relationships simultaneously. It is the difference between a single dramatic sweep and an evolving performance where texture shifts under your fingertips. For producers, it makes sound design feel less like scrolling and more like playing. For performers, it opens up transitions that feel alive rather than pre-baked.
Connectivity has been modernised in a way that actually suits how people work now. Being able to run mic, line, and USB audio together is a huge quality-of-life upgrade for hybrid setups, livestream rigs, and anyone who is juggling multiple sources without wanting a separate mixer.
The vocal angle is also much bigger this time. The Voice FX engine adds real-time vocal shaping, and the inclusion of vocoder-style processing points directly at performers who treat voice as an instrument rather than a pure lead line.
Guitarists and bassists get a dedicated Hi-Z input, meaning the KAOSS PAD V can act as a quick performance processor without extra boxes. Touch control suits time-based effects and rhythmic modulation especially well, so it is easy to imagine ambient swells, glitchy repeats, or thick reverbs being “played” rather than dialled in.
The sampling and looping side is where KAOSS PAD V leans into the remix and live-building world. Capturing loops, overdubbing layers, and keeping timing tight are all fundamental to performance sampling, and the inclusion of BPM-synced tools helps it stay musical rather than messy. Step Hold, slicing modes, and multiple playback options suggest a device that is comfortable doing more than just sweetening a signal.
There is also an emphasis on customisation. Editing programs, saving presets onboard, and adjusting pad behaviour gives performers the chance to treat it like their own instrument, rather than a generic multi-FX. Even the pad-LED customisation matters more than it sounds, especially on darker stages where the KAOSS becomes a visual performance surface as much as a sonic one.
KAOSS PAD V feels like it is trying to be the centre of a performance table again. Not a nostalgic reissue, but a genuinely modern take that acknowledges creators now record, stream, perform, and post content from the same rig.
Catch up on all the announcements HERE – NAMM 2026
KORG microAUDIO 22 and 722 Turn the Interface into a Creative Tool
The KORG microAUDIO 22 and microAUDIO 722 are compact USB-C interfaces offering 24-bit/192kHz capture, hands-on control, and creator-friendly features like loopback. The 722 goes further by adding a genuine analogue filter based on the miniKORG 700S, bringing sound-shaping into the interface itself.
Key Features
- Studio-grade capture with 24-bit/192kHz audio for modern recording
- Two-channel mic, line, and Hi-Z inputs with phantom power
- Built-in dynamics tools including noise gate, compressor, and limiter options
- Loopback and mobile connectivity for streaming and content creation
- microAUDIO 722 includes analogue filtering with MIDI control
A lot of audio interfaces chase transparency, which is great right up until you want something to push back a little. Sometimes “clean” is the goal. Sometimes you want a touch of character in the chain, especially when you are tracking instruments that benefit from movement and tone.
microAUDIO 22 is the clean, straightforward option. It is aimed at creators who want an interface that feels easy, quick, and solid, without unnecessary complexity. The emphasis is on clarity, headroom, and a layout that encourages you to record now rather than troubleshoot.
microAUDIO 722 is where things get spicy. By integrating the analogue filter from the miniKORG 700S, the interface becomes part of the sound design chain. That is a big deal if you track synths, guitars, bass, or even drum machines and want a physical tone-shaping stage that is not just another plugin window.
The filter includes low-pass and high-pass modes plus bypass, and it can process both input signals and audio returning from the computer. That means you can route DAW playback through the filter for resampling, or treat it like a hardware insert for any source that needs movement. Add MIDI control and you can automate filter sweeps or sync behaviour into a set.
The rest of the feature set is very “creator-first”. Loopback is built for streaming, sampling, and quick content capture without awkward routing. USB-C also points to mobile workflows, letting musicians track, stream, or sketch ideas from a phone or tablet setup.
Dynamics processing is built in, including noise gate plus compressor or limiter options, and the fact that these can apply to input signals as well as computer playback suggests KORG is aiming at tidy, controlled results for both recording and streaming contexts.
Software bundling also matters here. Alongside KORG’s own tools like Filter Ark, the package includes familiar production staples such as Ableton Live Lite, Native Instruments Komplete Select, and iZotope Ozone Elements. For newer producers, that sort of bundle can genuinely speed up the first “good sounding” result.
Filter Ark itself is pitched as a big creative extension, modelling classic filters from the KORG MS-20, KORG Polysix, miniKORG 700S, and the ARP Odyssey, while adding modern filter types and deeper modulation options. That combination of heritage and modern flexibility mirrors what microAUDIO 722 is doing in hardware.
Taken together, microAUDIO 22 and 722 feel like KORG treating the interface as a musical object again, not just a box that moves audio in and out of your computer.
Catch up on all the announcements HERE – NAMM 2026
KORG Liano LIVE! Makes Livestreaming Feel Like Part of Practice
The KORG Liano LIVE! is a slim digital piano designed for livestreaming, bundling a mic, stand, mixer-style controls, speakers, and USB audio and USB MIDI connectivity so creators can go from playing to posting with minimal friction.
Key Features
- All-in-one livestream-ready design with mic and mixer controls
- One-cable USB-C connection for audio and MIDI workflows
- Dedicated ON AIR mute control for streaming situations
- Built-in rhythms and sound effects to make streams more dynamic
- Battery-powered portability for practice and performance anywhere
A lot of people can play, but hesitate to share. Not because they do not have the confidence musically, but because the gear and setup can make the whole thing feel heavier than it should.
The vibe here is simple: remove the barriers. Liano LIVE! ships with the essentials that normally slow people down, including a mic and stand setup, and it is designed so your signal path feels obvious. Connect to a phone or computer, hit the button, and you are basically ready to roll.
The ON AIR button is a small detail that becomes huge the moment you actually stream. Instant mute control is the kind of thing you only appreciate after you have had a delivery arrive mid-performance, or your room mate decides to run a blender at the worst possible time.
Reverb controls are independent for keys and mic, which is also very “real world”. Vocal ambience and piano ambience are rarely the same thing, and being able to manage that quickly without digging into menus makes it feel more like a performance tool than a tech gadget.
Liano LIVE! also builds in rhythm patterns and one-touch sound effects. That can be a creative lift for livestreams, especially if you are playing solo and want a sense of structure, transitions, or quick moments of surprise. It is also a gentle nod to the content world, where engagement matters and variety helps.
Portability is a genuine highlight. It is slim, lightweight, and battery-powered, which makes it flexible for home practice, shared spaces, collabs, or even street-style performance and content capture. That matters for creators who do not want a permanent studio corner just to make a video.
The speaker design is tuned for a satisfying standalone experience too, which is important because not every session needs to be a stream. Sometimes you want to practise, write, or play without plugging anything in.
Software bundling leans into the learning and creator angle. The included Skoove trial supports learning and improvement, while KORG Module and KORG Gadget 2 Le expand mobile sound and production possibilities. A TuneCore discount also makes sense in this ecosystem, nudging players toward releasing rather than only practising.
Liano LIVE! feels like KORG acknowledging that for a lot of musicians, sharing is now part of playing. The goal is not to turn everyone into a streamer. It is to make streaming feel less intimidating when the moment is right.
Catch up on all the announcements HERE – NAMM 2026
KORG’s MetroClip Clip-On Metronome Introduces a New Way to See Tempo
Ahead of NAMM 2026, MetroClip rethinks the humble metronome by shifting the focus from sound alone to visual timing, combining a highly visible 3D display with a clip-on design that keeps tempo exactly where musicians need it.
Key Features
- Highly visible 3D visual display that stays clear from any angle
- Three visual display modes for different playing styles
- Clip-on design for music stands, instruments, or clothing
- Adjustable ball-joint for precise viewing angles
- Wide tempo range and flexible beat settings
Metronomes are essential, but they are rarely elegant. They fall off music stands, disappear behind charts, get buried under notification pop-ups on phones, or simply cannot be heard once a room fills with sound. MetroClip was created in direct response to those frustrations, offering a practical alternative that fits naturally into real-world practice and performance.
The defining feature of MetroClip is its 3D visual display. Rather than relying on a flat flashing LED, the display creates a sense of depth that makes tempo readable even from the side. This means players can stay focused on their score or ensemble while still maintaining a strong visual connection to the beat.
For musicians who struggle to hear a click in loud environments, or who find constant audio cues distracting, this visual-first approach feels like a genuine shift in how timekeeping tools can work.
MetroClip offers three distinct display modes, each designed around different musical needs.
Bounce Mode uses a moving light that behaves like a conductor’s baton, making tempo feel physical and intuitive. Flash Mode lights the entire display on each beat, with clear differentiation between strong and weak beats, making it especially easy to catch in peripheral vision. L/R Mode mimics the motion of a traditional mechanical metronome when the unit is used horizontally, offering a familiar visual rhythm many players already understand instinctively.
Switching between these modes allows MetroClip to adapt just as easily to solo practice as it does to sectionals or ensemble rehearsals.
Placement is often the biggest issue with metronomes. MetroClip’s clip-on design solves this neatly. It can attach to the edge of a music stand, the bell of an instrument, or even the collar of clothing. This keeps the display in the player’s natural line of sight, whether sitting, standing, or moving.
For marching rehearsals or performances that involve motion, this flexibility is especially valuable. The tempo stays visible and audible without forcing players to constantly glance away or reposition equipment.
The integrated ball-joint mount allows for quick and precise angle adjustments. Fine positioning is easy, meaning the display can be aligned perfectly with a player’s posture and instrument setup. This small detail makes a big difference over long practice sessions, where comfort and consistency matter.
Despite its compact size, MetroClip delivers a crisp and clearly defined metronome sound thanks to a specially designed enclosure and piezo speaker. When audio cues are needed, the click cuts through busy rehearsal environments without becoming harsh or overwhelming.
The unit also supports a wide range of rhythmic settings, including accents from zero to twelve beats, eighth notes, triplets, shuffle feels, and sixteenth notes. Combined with a tempo range of 30 to 300 BPM, it covers everything from slow technical practice to high-energy performance tempos.
Visually, MetroClip keeps things minimal. Its clean, refined design feels at home in practice rooms, rehearsal halls, and on stage. It does its job without drawing unnecessary attention, which is exactly what a good metronome should do.
Ahead of NAMM 2026, MetroClip feels like a thoughtful response to how musicians actually work. By letting players see time as clearly as they hear it, it quietly sets a new standard for what a modern metronome can be.
For more NAMM2026 releases Click Here – NAMM 2026
