As someone who’s first MIDI keyboard was a KORG – It was extremely interesting to see the context behind the creation of one, as well as the man behind some of the most famous KORG keyboards for the brand. With the introduction of the small and portable MONOTRON Takahashi was able to stamp his influence into the company by making music making more available to the general public. I felt like it was interesting that I had previously used the Volca’s in class without knowing the context, person or environment behind their creation.
As a consumer i didn’t question where the product had come from or how it had gotten to the stage it did. With the development of the monologue, Takahashi had the chance to work with an artist, which is also something i find very interesting – the production of probably of the best synths was made with collaboration with an artist, whilst all the others had been made from an engineering and accessibility standpoint.
In 2017 he left KORG to work at YADASTAR and got a chance to work with Ryoji Ikeda who used a sine wave oscillator to compose a piece using car speakers called ‘A’ using multiple variations of the note, sequence them and into a composition. Takahashis shift from mass production to more rare objects shows a level of SoundArt in and of itself – a shift to more artistic venture.
In 2019, Takahashi started at KORG Germany. I really like the use of mycelium as a alternative to polystyrene – wondering whether or not it could be used for other music making devices. Takahashi talks about the idea of Narcissism vs Commercialism – creating a change of pace from the average profit based music making organisations. Its a breath of fresh air to see someone who’s love for creation takes precedence over consumerism.
ᴉlɐʇʇ∀ sǝnbɐſ – ,ssǝuɥsᴉɟlǝs ɟo ɯɹoɟ lɐuoᴉʇɐɹ ʇsoɯ ǝɥʇ sᴉ ɯsᴉnɹʇl∀,