Korg's new SQD1 is the company's first dedicated MIDI sequencer, but from a glance across its front panel and a quick look at its spec sheet, you'd think they'd been making them for years. What's more, the price is right.

It's been said before that books furnish a room, but these days, much the same can be said of computer technology. The accompanying photograph, taken in a ground-floor maisonette on the outskirts of the university city of Cambridge, shows how a piece of scintillating new technology can transform an otherwise mundane sitting room into a stimulating living environment. The technical marvel is the Korg SQD1, and it should be available from a variety of retail outlets early this coming autumn.

In a non-domestic furnishing context, the SQD1 is a two-track dedicated polyphonic MIDI sequencer, the first such machine to carry the Korg name, and a timely entrant into what's been a fairly quiet sector of the hi-tech musical instrument market. It has a 15,000-note memory and an onboard disk drive for more permanent storage of your work. The disks are of the 2.8" Quick Disk variety, and each one of them holds around 15,000 notes per side — I make that 30,000 in all — which can be accommodated in up to five songs (sequences) per side. Any sequence may use memory up to this 15,000 note maximum but, obviously, at the cost of putting any more sequences on the same side of that particular disk.

Before you get as far as wishing to dump to disk, it's quite likely that you'll want to record a sequence into the machine. This can be done in either real time or step time, a section of the control panel being devoted to each with accompanying sections for Play Only, Edit and Data Transfer. These are presented in a column down the left-hand side of the front panel, and are associated with eight function switches whose purpose changes in accordance with the current mode of operation.

One of the reasons the SQD1 blends in so well with contemporary styles of interior decor is that it is more than a little stylish on its own. This isn't just coincidence, either, because the Korg's aesthetics actually perform a useful ergonomic function. For instance, the SQD1's layout puts multifunction and operation switches along two sides of a grid that tells you what they do in the various modes available, so that although switching from one job to another is still a far from pleasurable procedure, it's a lot smoother than it is on a lot of machines. Beneath the function switches are six more buttons which behave in a manner not totally dissimilar to those of a tape recorder, and are labelled appropriately. However, seeing as these switches also serve the disk drive and one or two auxiliary purposes when necessary, there's a second set of labels below.

Turning our attention momentarily to the rear panel reveals a MIDI In, two MIDI Outs, Sync In and Out (at Korg's 48ppqn rate), Tape Sync In and Out (on 3.5mm jacks), Click Out (also on a 3.5mm jack, providing a duplication of the metronome that emanates from somewhere within the unit), Play/Stop and Record footswitches (quarter-inch jacks), and six DIP switches governing the selection and filtering of MIDI data. More specifically, the first of said DIP switches (I know they're cheap, but they're terribly fiddly - if only there was some EEC legislation banning them) you can configure MIDI Out information to include what's incoming as well as what's being transmitted from the sequencer. This is a nice feature if your controlling keyboard has only one MIDI Out and you want to play another synth or expander as well as input data to the SQD1. The last of the offending DIPs facilitates routing of MIDI information internally to the Quick Disk, or out over the MIDI bus, as required.

The unit comes ready equipped with a mains lead which works well, invoking, with the collaboration of the mains switch, a cheery HELLO from the display and instant entry to Play mode. Of all the alternative modes you might want to be in at this point, Play must occupy a position at the very bottom of the list, due to a complete absence of information within the machine. Time, then, to select a more suitable alternative. Assuming this is the first time you've removed the SQD1 from the fashionably furnished lounge and attempted to utilise it to any musical end, you probably won't have any previously prepared disks to load. Thus, your mode choice lies between Real Time Record or Step Time Record.

Opting for Real Time Record alters the display message to End and automatically selects a 4 beats-per-measure configuration, the Main as opposed to Sub track for recording, MIDI Channel I and no resolution (ie. quantisation). Naturally, all these default values can be altered subsequently. The beats-per-measure value actually determines the number of beats in a bar, and the SQD1 can be persuaded to give between 2 and 8 of these, in spite of LEDs that are denoted only 2-5. This apparent miracle is achieved by holding down the appropriate multifunction switch and using the REW (Down) and FF (Up) buttons, which also look after incrementation and decrementation of things. Should you opt for a value in excess of 5, two of the LEDs will light to give a total numerical value of the parameter, so that 4 + 2 = a beats per measure value of 6. Orwell was wrong.

The choice of Main Track is consistent with the operation of the SQD1 as a two-track recorder, the normal way of loading data being to record your first track on Main and your second on Sub. If you're happy with the second track you bounce Sub onto Main, thereby amalgamating the two and clearing Sub for the next overdub. Any of the full range of 16 MIDI channels can be selected and stored as part of the sequence. It's also possible to change the channel mid-track if you want to, so the music on that channel needn't be played by the one synth for its entire length.

In Real Time mode, the absence of any resolution allows you to retain all your timing mistakes/nuances, unaffected by the influence of technology. However, should you wish to correct your alcohol-impaired dexterity in the interests of restoring some semblance of musicality, the SQD1 offers five timing alternatives: quaver, triplet quaver, semiquaver, sextuplet semiquaver, and demi-semiquaver. And all of these are only as far away as the appropriate multifunction and Up/Down switches.

"Layout - Multifunction and operation switches run next to a grid that tells you what they do in the various modes available."

Having committed the first part of next week's Top 40 Breaker - complete with MIDI channel, patch-change, pitch-bending, modulation and pedal sustain information - to the machine's memory, it may please you to listen through it, to make sure it's the perfect rendition you hope for or the sloppy, ill-timed performance you fear. Either way, it's nice to know this can be done without recourse to the Play mode, as the Play switch functions admirably in both Real and Step Time Recording modes. If recording is interrupted or a drop-in is in order, it can be resumed simply by positioning the required bar number in the display and going back into Record. The count-in occurs as before and recording can recommence, the new data overwriting any previous information on the way. The time signature is also open to modification at any point without leaving Recording mode, simply by halting the recording, altering the beats-per-measure value and resuming the recording.

The metronome starts as soon as you press the Record button and sounds on each beat, the first beat of each bar being accented while the display gives a visual count-in for one bar. This done, recording begins. The display gives a bar and beat count up to a maximum of 9999 bars, regardless of the adopted time signature.

If you thought that was logical, try this: recording is initiated by prodding the Rec button or a footswitch connected to the relevant jack, while tempo is determined by the position of a rotary pot marked, strangely enough, Tempo. Perceptively avoiding the criticism that would otherwise accompany the arrangement, Korg have provided a switch that alters the subject of the display, the alternatives being Location (which is generally the most informative), Avail Note (which gives the total number of remaining notes available), and - you've guessed it - Tempo.

Fine, but what about a bass Tine? Easy. The Reset button returns you instantly to the start of the piece, you move to the Sub track and repeat the recording procedure. The first track will then play back obediently whilst you're doing this, lest you forget the key or where, precisely, the middle eight began.

Recording subsequent tracks is where the fun really starts. Having satisfactorily recorded the first two tracks, it's necessary to bounce them together onto the Main track in order to free the Sub track for further overdubs. This is achieved painlessly in both Recording modes by holding down the Bounce multifunction key and pressing the Reset (Enter) button. The bounce is then executed and FINISH appears in the display to indicate successful completion of the operation. Successive recordings and bounces follow suit in the same way, until your magnum opus is finally complete.

To help you on your way to this end, there's a thing called Edit mode. In it, a Copy facility allows any bar to be added to the end - but only the end - of the sequence. Positioning the bar in question in the display identifies it as the one to be copied - a practice the SQD1 encourages you to use liberally. Holding the Copy multifunction key and pressing the Enter button does the rest. Similarly, the Insert function allows the insertion of an empty bar at the point indicated in the display.

In a similar manner, you can also Delete a bar, remove the contents of a bar with the Blank function, or Erase from any point to the end of the song.

"Facilities - Recording in step time on the Korg is as fully polyphonic as it is in real time — which isn't always the case."

The mysterious arrow does not, as I had originally hoped, point to a compartment containing a lot of money or the secret of eternal youth, but instead signifies a back step, should you accidentally enter a bum note or a redundant rest (yes, it can be done, even in step time).

Thankfully, recording in step time is as fully polyphonic as it is in real time - and that isn't always the case. Step-time recording necessarily provides three options not found in real time, but don't fret: all of them are accessed in the same way as the other multifunction facilities.

The additional commands are displayed as Tie, Rest and an arrow pointing off the panel to the left. Both Ties and Rests are of equal length to the notes as determined by the resolution setting, but they can be repeated until they're as long as you want them to be. For instance, a semiquaver becomes a quaver with one tie or a crotchet with three.

For argument's sake, let's say you fancy obviating the need for all the post-performance removal of extraneous noises by inputting everything in step time. If you do, the SQD1 has plenty in its armoury of facilities to make your dreams come true. Selecting Step Time Recording mode brings you to a similar position to the Real Time starting point, in that there's a 4/4 time signature default and you start off on the Main track. Additionally, the SQD1 defaults to semiquaver resolution. Logically enough, this means there are two recording steps per quaver, but all the resolution options are open to you should you require them.

Reaching the end of your endeavours is a reassuringly satisfying feeling, and the sensible thing to do at this juncture, if you haven't already done it, is to save all the information to disk. SQD1 does not accomplish this of its own volition as Yamaha's QX1 does; how, when and where you save is entirely your own decision. As there's no power-down memory retention, it's advisable to keep the situation well in hand, as a rushed departure to the pub could cost you more than your driving licence. So the Kronenbourg will have to wait, but not for too long as dumping to disk is quite easy, if a little slow. A previously unused disk requires initialisation before use and, to this end, an option is included amongst the Data Transfer commands - no need to buy ready-formatted disks here (remember the Mirage?). This done, you're ready to make your dump, as it were. Pressing the Save key brings up a SAVE prompt in the display, and pressing the Enter button whilst holding down one of the multifunction switches (numbered 1-5) kicks off the saving procedure and tags your song with the relevant number for the disk directory and future retrieval.

To establish what's already on a disk, there's a function called Song that displays numbers of songs previously saved. There's also a back-up facility that lets you take the complete contents of one side of a disk into the SQD1's memory and regurgitate it onto a fresh disk - a nice touch.

Now, as a regular, curry-eating, heterosexual E&MM reader and SQD1 owner, you can be secure in the knowledge not only that you've written your first Number One, but also that it's safely saved and backed-up on five 2.8" disks. Given that, you've probably been busy - most likely arranging for the two girls who'd received your rock star chat-up routine at the local wine bar last week to sing backing vocals on the single. But as we all know, plans like these always contain unpredictable and unwelcome flaws. The people in Korg's R&D department have obviously encountered similar difficulties themselves, as they've pre-empted your next problem: tuning. In your enthusiasm for your work, you've recorded it all in the wrong key. But all is not lost. Thanks to Korg's foresight, transposition is available over six semitones sharp and five semitones flat. A sigh of relief is in order.

Moving back to the subject of disks, the Load procedure is much the same as that for saving: selecting Load brings up a LOAD prompt that requires you to press Enter whilst holding down the desired song number. The girls are impressed. Play mode allows looping of the song as well as the option of playing back either the Main or Sub tracks separately if required.

We've already seen that the Korg SDQ1 is a magnificent addition to the visual aesthetics of even the most modest contemporary home interior. As a MIDI sequencer it's pretty good, too. It holds more notes than any of its immediate competition, while only the Yamaha QX1 - at a getting on for £2000 more - provides a built-in disk drive that gets round the attendant frustrations of dumping to cassette tape. It's a shame there are only two tracks, but the SQD1 shares a flexible MIDI channel assignment system (with two of its most immediate rivals, the Roland MSQ100 and Yamaha's QX7) that gives you something approaching a 16-channel recording system if your keyboard setup is suitably equipped. And by comparison with most if not all of the competition, the SQD1 has a control layout that makes recording successfully with it a rewarding experience, not a black art. Well done, Korg.