Forgotten Keys FK1 Korg Mini-Pops MP-7 KONTAKT

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Forgotten Keys FK1 Korg Mini-Pops MP-7 KONTAKT
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Forgotten Keys FK1 Korg Mini-Pops MP-7 KONTAKT

Forgotten Keys FK1 Korg Mini-Pops MP-7 KONTAKT

AUDIOSTRiKE 19/02/2015 | 9.7 MB

The Forgotten Keys FK1 Kontakt instrument is a virtual Korg[1] Mini-Pops 7 analogue drum machine from the 1970s. This machine was also branded as the Univox SR-95[2] and Contessa Mini Pops. As a top-of-the-range model it featured 15 sounds and 20 rhythms. The drum sounds were produces using inductor coils (sometimes referred to as tuned tanks) and gave a lovely warm sound. The rhythms could be combined with each other to create new patterns, indeed this is how Jean-Michel Jarre — probably the most famous user of this machine — created the rhythm for Oxygene part 2.


All 15 sounds of the FK1 were carefully sampled in order to get the best signal-to-noise ratio. As the sounds cannot all be isolated in this machine, they had to be triggered manually in circuit using a short pulse. As is always the case here at Forgotten Keys, the relative volume of the sounds have been preserved in order to keep as close to the original sound of the drum machine as possible. Each sound has 8 randomly chosen samples, which is necessary with certain sounds like snare, cymbals and tambourine where a random noise generator circuit is used to produce the sound. The guiro pitch is also not entirely stable so multi-samples work well here too to preserve this effect. Speaking of the guiro, the long and short scrapes of this sound are synced with the tempo just like the real machine.

The sounds are in 24-bit 44.1KHz wav format.


The rhythms on the FK1 are not sampled loops, rather they are exact sequenced re-creations using Kontakt’s scripting engine and trigger the individual sampled sounds when played back. All 20 of the Mini-Pops 7 rhythms as well as the alternate beguine, slow rock and bossanova from the SR-95 are included. The slow rock and bossanova are essentially the same but the cowbell sound is used in place of the rimshot that was absent on the SR-95. The beguine is quite different however. A model switch has been provided that allows you to select between the MP-7 and SR-95 rhythm sets.

The rhythms can be combined just like the original. In fact, more combinations are available due to the fact that 2 rows of rhythm switches are provided rather than the top row/bottom row switch of the original.


The 3 sliders to the left of the interface allow you to add the quijada, guiro and tambourine patterns to any playing rhythm, or indeed by themselves. These are fixed patterns and work in a similar way to the “add voice” sounds that Roland later included on the CR-78.


The Setup tab offers greater control over how the FK1 sounds and operates. There are volume, pan, tune and mute controls for each sound. Incoming MIDI notes can be mapped to any rhythm or sound and outgoing sounds can be assigned to any available Kontakt output. Random tune and volume controls add a little human element to the sounds.

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