MICROKORG SOUND EDITOR PROBLEMS PATCH
These simple design choices render the MicroKorg one of the most approachable matrix-based synths ever, even if the choice of patch selection by category feels a bit clunky. In edit, its ‘pass-through’ mode works splendidly, the display flashing a reminder of the stored value you must reach before the knob will work. One of its great strengths is having every parameter printed on the panel, in text marked for either Synth or Vocoder. Given the ubiquity of the MicroKorg, I suspect most SOS readers will have encountered one at some point, but for those recently arrived from the Planet Nibiru, we’re talking about a compact (524 x 232mm) four-note polyphonic synth/vocoder with a credible-sounding analogue-modelling engine that’s bolstered by digital waveforms, an arpeggiator, delay and modulation effects. The upside of this is that patches created on an original (and the MS2000) are 100 percent compatible. Indeed, all the enhancements that grace the XL model - increased polyphony, PCM samples and richer, more complex synthesis - are abandoned in favour of the earlier spec. A few quick A/B comparisons were sufficient to establish matches in all other areas, meaning it’s a step back to tiny, bouncy keys rather than the improved action of the XL. The MicroKorg dates from happier times when important inclusions such as MIDI Thru were common, even on ‘budget’ instruments. For obvious reasons it’s very slightly heavier than the original and as before will run off six AA batteries.
MICROKORG SOUND EDITOR PROBLEMS FULL
At full volume you can easily dominate the average lounge, although the speaker doesn’t always handle chords without distorting.
When placed on your lap and given loud, low notes, the resulting vibrations could be a fun alternative to a TENS machine. This is set in a plastic enclosure in the bowels of the instrument and the sound therefore seems to emerge from the synth’s whole body. Interestingly, there isn’t a grill for the speaker. one you need to physically press for every power up. For a start, the current power supply doesn’t fit the classic and the S’s power switch is a ‘soft’ type, ie. When vocoding, I’m afraid I mostly kept it in position with my lips, so apologies to whoever plays the review model next.ĭeeper examination reveals a couple of subtle changes. Sadly he’d lost the mic so I can’t report whether the ‘drunken worm’ supplied with the new model is authentic. I was less impressed by the wobbly condenser microphone, though, so borrowed a pal’s original MicroKorg for comparison. The cream panel with its gold graphics and text looks plush, as do the white knobs and performance wheels.
Korg have hardly tampered with the externals at all, adjusting only the colouring, which is even more attractive than the limited-edition gold and brown model from a few years back. Might these be enough sweeteners to prolong the MicroKorg’s success? White Noise The speaker is the most obvious difference, but the S also has double the patch capacity and a set of convenient favourite slots. Therefore the MicroKorg S (for Speaker) does not replace the original but slots in between it and the XL+. Whether it’s classic guitars or classic synths, it’s hard to deny that many jobbing musicians prefer continued production and gradual evolution to the endless cycle of starting over. Despite the release of the MicroKorg XL (with its superior synthesis but subdued retro interface), Korg have reverted to the model that started it all, bringing it up to date with a stylish white look and white knobs. Korg’s MicroKorg is the world’s best-selling synth, and the 2002 hit that shows no signs of fading away. How do you follow the best-selling synthesizer of all time?