Everything about the KORG PME-40X (Professional Modular Effects)

[Pepe]

1982
NEXT EPS-1000 Effects Programing System

In late 1982, the Japanese pedal manufacturer NEXT – a sub-division of Morris, known for high-quality acoustic guitars – presented a pedalboard system that operated very similarly to the BOSS SCC-700.

The NEXT EPS-1000 "Effects Programing System" [sic] featured a dedicated mounting area for up to four NEXT compact pedals whose bypass status was managed by a microcomputer controller. It offered eight memory patches to store the on/off combinations of the four effect units. The single pedals were linked using special adaptor plugs. However, unlike the BOSS SCC-700, the EPS-1000 did not allow for flexible signal routing; the effect order was permanently fixed. Changing this sequence was a tedious task, as it required the user to physically dismount and rearrange all four pedals. Interestingly, the NEXT EPS-1000 utilized a patented switching circuit that triggered the pedals by sending pulse signals through the four DC power cables. This clever engineering eliminated the need for complex connectors.


The Japanese brochure explains the electronic switching; picture of the special plug in the "Accessory" column.

Despite this innovation, the practical advantages of using the board over standalone pedals were limited. In a setup with only four effects in a fixed serial order, a computerized controller is arguably more of a luxury than a necessity. With its high retail price, the empty board cost more than most combinations of four actual effect pedals from the same series.

Contemporary reviews reported that the digital switching mechanism caused sporadic glitches. Even worse: the testers regarded most of the effects as harsh and overbearing, making subtle sounds nearly impossible³. Altogether, these flaws severely hindered the system's chances of impacting the effects market.

Today, very little information can be found about the EPS-1000 and pictures are very rare. While the NEXT compact pedals continued to sell for several more years – even appearing as rebranded Fender units – the EPS-1000 system seems to have been discontinued shortly after it was released.


³As reported in articles in the magazines "One Two Testing" from January 1983 and "Electronic Soundmaker" from November 1983.

[Pepe]

1983
honourable mention #2:
ARIA SUPER EFFECTS

In early 1983, Aria introduced its first major line-up of compact effect pedals, the Super Effects. While the corporation had already produced the RE pedal series for export during the '70s – mainly for the European market – these new Super Effects featured a contemporary aesthetic with plain, box-shaped enclosures, designed to make an impact on the worldwide guitar scene.


Aria Super Effects pedals (AD-10 Analog Delay, CH-10 Chorus and FL-10 Flanger).

Some models utilized a "Two Stage" switching system, allowing for a second setting of a key parameter, such as an alternative gain value on the overdrive pedal. On paper, this sounded highly innovative. However, activating the second stage required the footswitch to be held down with significant force. Not only did this turn out to be highly impractical – leading to the feature being abandoned in later models – but the constant pressure also overstressed the die-cast zinc enclosure, making it prone to cracking under heavy use. The extent of this structural weakness is clearly visible in the photo of my CH-10 Chorus; a large section has broken off from the chassis, almost as if a predator had taken a bite out of it.


The Aria CH-10 Chorus that I have owned, the broken part is clearly visible.

How does this pedal series fit into the chronology of early multi-effect concepts? Well, the early Super Effects feature a 7-pin-connector on the rear, hidden behind a rubber cover – strikingly similar to the interface on Nishijima-san's Yamaha PSE pedals that allowed the use of the System Boards. Although no evidence of a corresponding Aria pedalboard can be found in vintage catalogues or online archives, it is highly likely that the development of such a system was initially planned. Aria may have ultimately shelved the idea to avoid marketing a product that mirrored the Yamaha System Boards too closely. When I asked Nishijima-san about this connector, he confirmed he was unaware of its existence.

"I didn't know about the Aria thing, so I don't have any information."
Hiroaki Nishijima

The 7-pin connector on the back of an Aria OD-10 Over Drive.

Pedal nerd information: The Super Effects with the integrated connector on the rear are found on all early versions featuring treadles with an engraved "ARIA" logo. Later units, specifically those with white "ARIA Dual Stage" labelling on the treadle, mostly have a plain metal surface on the back, except for the DC input jack.

[Pepe]

1983
YAMAHA PSE-40A Professional System Effectors (KORG PME-40X Professional Modular Effects)

This brings us to the moment, where the KORG PME-40X – first published as the Yamaha PSE-40A for the Japanese market – finally takes center stage!


KORG PME-40X with the eight modules that were available at its introduction.

The timeline of early analogue multi-effect solutions shows an interesting evolution: from expensive, studio-exclusive rack units (Maxon/Ibanez UE racks) to large floor units with a modular, expandable philosophy (Yamaha PSE System Boards, BOSS SCC-700) or compact, but fixed systems (Maxon/Ibanez UE 300 series, NEXT EPS-1000).

"KORG reinvents effects" was one of the bold advertising slogans. And it was true, because the KORG PME-40X combined all the positive aspects of the previous systems: studio quality effects, easily interchangeable in a modular way, presented in a compact footprint.

This is where the story begins.

[Pepe]

Before examining what is hiding under the hood of the PME-40X, let us have a look at some of its prominent users!

Contrary to today’s impudent clickbait headlines on the internet, denouncing the PME-40X as a failure, it was in fact a very well-received high-quality effects system among amateurs as well as professional musicians. While its identical counterpart, the Yamaha PSE-40A, was rather short-lived, the PME-40X was manufactured at least until 1987, spanning over five years of availability and support by KORG, which is not at all reflecting a commercial failure. New additional effect models were introduced in three batches in 1984 and 1985, culminating in a total of fifteen different modules that caught the attention of guitar, bass and keyboard players of various musical genres alike.

To a certain point, the PME-40X remained a steadfast combatant for advanced analogue technology, standing up to the erosive force of the mid-1980s digital revolution that dominated the world of effects and synthesizers well into the 1990s. Professional musicians from all over the world relied on the PME-40X for defining their signature sound; and some of them still enjoy the easy-to-use pedal system these days.

[Pepe]

MITCH EASTER


As you can see, Mitch Easter has an extensive collection of PME-40X pedalboards and effect modules!

Based in Kernersville, North Carolina, Mitch Easter operates his recording studio Fidelitorium. He gained fame as the producer of the early albums of R.E.M., which were milestones of the jangle pop genre, but he is also a songwriter and musician himself. Besides his current music projects released under his own name, he was the leader of the jangle pop band Let’s Active.

Mitch Easter has been a huge fan of the KORG PME-40X ever since it was introduced on the American market. He kindly supplied some fantastic photos of his extensive collection – including two one-off effect modules – and he shared his view on some of the effects that he likes to use. Many, many thanks, Mitch!

"I do still use the PME-40X, since 1983, I think. In fact, I have 3 of the frame units and quite a few extra modules, but I've never had a Wave Shaper, Dist Wah, or Phaser. (On the other hand, I do have the astounding Octave V and the extremely rare On Tour With KORG case!) I kept using mine when a couple of friends had moved on to other things and gave me their units, which is how I wound up with 3 complete systems.

In the photo you'll see a couple of fakes – the Sidecar and the Wensleydale, which two friends had made for me just a few years ago. I guess somebody had the shells of a couple of non-working units and my friends got somebody to stick some custom electronics in. One of these guys is a graphic designer and he did a pretty good job of copying the graphic style of actual KORG products. This was a testament to the fact that my friends are amused by my dedication to the PME-40X!

The system in the middle is the one I used most recently. It's been fun to re-configure them for various situations. One noteworthy setup was 3 Overdrives and 1 Distortion. Sometimes you just need a lot of pre-set types of fuzz...

The On Tour With KORG case is a real KORG item, which I probably got when I first bought the PME-40X unit. It has, in fact, been on many tours and is still pretty solid, although I need to re-glue the dividers inside."
Mitch Easter

The two one-off modules, the "KWD-701 Wensleydale" and the "KSC-701 Sidecar". The graphics of the mock-ups are astonishingly close to the original ones!


The insides of the rare "On Tour With KORG" case. Apparently, these cases (also for other KORG products) were only distributed by KORG USA.

Mitch also shared his view on the KOD-101 Over Drive, one of his absolute favourite modules for the KORG PME-40X. You can read his comments in the dedicated KOD-101 chapter (to follow!).


Please note: The images and quotes provided by Mitch Easter are used with his kind permission. Please do not re-use or redistribute them without obtaining permission first.

Please feel free to post any questions, contributions and corrections in the discussion thread.