Review: Korg microKorg
Korg’s baby packs a wallop. Brad Watts scopes the micro.
By Brad Watts
22 March 2003
It seems this issue has endowed me with some synths I’m actually keen on. The MicroKorg turned up on my doorstep at about 10 o’clock this morning and I’ve just looked at the time and I’ve managed to waste a good two and a half hours mucking about with this little beauty. What a corker it is!
The microKorg is an offshoot of the technology used in the MS2000 — analogue modelling and multi-band vocoding. What’s neat is that Korg has shoe-horned the whole thing into a keyboard the size of Yamaha DX100 or a Casio CZ-101. Why’s that so neat, I hear you ask? Both were great synths for lugging about for a bit of impromptu sequencing, both ran on batteries and both synths had those tiny little keys that are just so great for playing bass lines. You can stretch your hand across one and a half octaves. The microKorg is the same keyboard size and will run on a half dozen AA batteries. It’s also very light. At 2.2kg it’s a perfect companion to your laptop recording system. It’s even got wooden end cheeks – it’s awfully cute! You could easily screw some guitar strap holders on each end for… well you know what for.
ARCHITECTURE TOUR
The actual synth architecture is a simple affair. Based in DSP, the microKorg offers a maximum polyphony of four voices. It’s mono-timbral, although you can layer two patches for an even fatter sound, but you’ll reduce the polyphony by half. There are two oscillators and one noise generator form the basic building blocks. Your typical saw, square and triangle waves are available along with a ‘vocal wave’ – a waveform that will maintain its harmonic content regardless of its pitch. In addition there are 64 digitally-styled waveforms for timbre creation such as piano and organ tones.These are lifted from the classic DW8000. Oscillators can be sync’ed, pulse width and ring modulated for all your classic analogue imitations. Should that not be enough of a waveform arsenal you can route external signals into the microKorg. Basic filter types are covered with 12 and 24dB/octave low pass and 12dB/octave band and high pass filters. You’ll also find amplitude and filter envelope generators and two LFOs, each offering six styles of waveform. The LFOs can also be sync’ed to the internal arpeggiator or to external Midi clock messages. Modulating parameters takes a typical ‘vintage’ matrix approach. For a bit of gloss there’s a rudimentary effects section that includes EQ, time modulation for chorusing, flanging and phasing, and of course the obligatory delay that can of course be synced to Midi or the arpeggiator.
NEED TO KNOW
VOCODER MODE
Should you be feeling a bit phunky or if you simply can’t sing, bump the unit into vocoder mode. Korg provide a flexible microphone that clips into the keyboard. The mic looks like the type you’d get in a cheap PC accessory store but it works and could be replaced cheaply if you get carried away with the original one. Some gigs just demand swinging your vocoder about by the gooseneck. The rear panel does include a 6.5mm jack input for a better quality condenser microphone. The vocoder consists of eight filter channels with adjustable level and panning for each. One oscillator and a noise generator along with the filter, amplitude and LFO generators as found in the synth section of the unit. Again these are easily synced to the arpeggiator and external MIDI clock.
KNOBS OUT
Build quality is reasonable – considering the price. If you were seriously gigging this unit I’d get a road case made. Korg really should get some fashionably padded gig bags done up for this little monster – something with a little fluorescence to it perhaps. Operation of the microKorg is unusual in this day and age but is very much a return to classic synthesis procedures. Korg has even gone to the trouble of putting old school knobs on it, the type you’d find on an MS10 or MS20 – if you could find an MS10 or MS20 that is. Programming sounds is carried out via two large knobs that select parameters from a programming matrix. Once your big knobs are in the correct position you use the five smaller knobs to adjust parameters. The five parameter knobs double as real-time tweaking controls so, in effect ,you can tweak any parameter at a moment’s notice via seven simple controls. The editing matrix is printed on the front panel so you’ll seldom have to return to the manual.
CLASSIC IN THE MAKING
When it’s all said and done, all this nostalgic reference to old school knobbage is pointless if the sound doesn’t add up. Rest assured, This thing packs a wallop. Korg’s creamy rendition of DSP modelling analogue does a fine job. I stacked the micro monster up against the MS2000R and I reckon the microKorg comes out on top for sheer grunt. For bass this thing is incredible — smooth, precise and very, very analogue. If you’re after a classic in the making, grab a microKorg. Loads of laughs and guaranteed not to disappoint.
RESPONSES