Add an onboard sequencer, twin arpeggiators and a dedicated drum arpeggiator, plus a touchscreen, bundled software and computer integration, and it promised much of the M3's considerable charm - but at a dramatically reduced price. From what I was able to piece together from whispered conversations, intercepted carrier pigeons and my trusty crystal ball, the M50 was to be blessed with the high-quality sounds and effects of the M3. When briefed of the existence of a mystery synth from Korg, it was seriously hush-hush - even Google didn't know it existed. Before we begin, you might (as I've just done) enjoy a quick recap of the M3's prowess by revisiting last July's SOS. OK, this sentiment arose more from greed than from any pre-cog ability, but if the TR series was 'Triton Lite', then its replacement, the brand spanking new M50 range, can justifiably be tagged 'M3 Lite' (the M3 workstation was sourced from OASYS technology). I remember ending the TR88 review by suggesting the Triton cow had been milked to death and it was hopefully time to move on to pastures new, perhaps to a spin-off from the mighty OASYS. Korg's budget TR series of workstations was arguably a tad dated when introduced in 2006. The drive to get more bang for your buck was never more acute.

In this climate, few of us would risk sneaking an ultra-expensive new toy past the other half. Prices are rising, credit is being crunched and getting to work on horseback could soon be a serious proposition.

I'm sure most Sound On Sound readers don't need reminding that cash is far from abundant right now. Is there still a place for the workstation in the computer dominated studio of 2008? Korg certainly think so, and they're making a compelling case with their brand-new, touchscreen-equipped M50, offering much of the power of the acclaimed M3 for around half the price.

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