Review: Arturia Minifreak

‘What is it with these crazy frogs?’ It’s one of the first questions I asked myself after unboxing this synth. And no, I’m not making some non-PC reference to Arturia’s Gallic origins, I’m referring to the frogs on the UI. Three of them. Progressively pudgier.

The short answer is: the frogs designate the octave range of the arpeggiator. Why frogs? I don’t know and I don’t much care. But I like it. 

What the frogs do tell me is this synth is designed for creativity and spontaneity, and doesn’t take itself too seriously. In fact, Arturia itself calls the Minifreak a ‘Spontaneous Algorithmic Synthesizer’, and fair enough, too. (‘Algorithmic’ refers to the synth’s two digital sound engines, which are coupled to an analogue filter section.)

FAMILY FREAKS

Minifreak presents as a member of the same freaky fraternity as Arturia’s hugely successful Microfreak. The UI, the sound engines, the filter (inspired by the gutsy 12dB/oct SEM filter) all bear the family resemblance… only the Minifreak has a little more of everything, it seems. The 37-note mini keybed replaces the steampunk PCB ‘keys’ of the Microfreak — which I consider a ‘difference’ rather than an ‘improvement’, as the PCB approach definitely scratches a different itch. The three FX engines are a big upgrade (Microfreak is FX-free). More control pots fill the extra real estate afforded by the width of the keybed. The oLED remains resolutely tiny. The mod matrix has been expanded and there are a full 16 buttons to manipulate your arpeggiator/sequence. So much is now within reach without any need for menu diving. There’s a Shift button but you’ll rarely need to resort to it. Some of the biggest differences are around the back. Minifreak’s I/O includes MIDI DIN sockets and L/R outs (just like the best of the Beatles, the Microfreak is mono). 

The oLED display may be tiny but the natty graphics compensate. For example, the animated graphics denoting the oscillator types, and the three filling flasks of the oscillator modifiers and FX section are instantly recognisable when text and numbers might otherwise require some cross-eyed interrogation. The pots are very responsive, instantly corresponding to feedback on the oLED. The user interface is a delight.

MAKING PATCHES

Minifreak might initially present as a fun-loving, hit ’n’ giggle synth but there’s enough depth to keep programmers satisfied. That said, even the C++ synth nerds will enjoy just how straightforward Minifreak is. It invites interaction. If you don’t know much about the cycling envelope (Arturia’s way of having a dual-function extra envelope/LFO), that’s okay, the controls are in front of you and demand to be played with. Combine the knobs with the tiny but satisfying oLED display and there’s more than enough feedback. Of course, at this price you can’t expect touch-sensitive pots — not something I missed particularly, given how responsive the controls are.

To summarise: there’s enough pot-per-function knobbage to make methodical and forensic sound design possible, if that’s how you roll, and enough ‘what the heck does this do?’ buttons to make happy accidents occur more regularly than a ‘non spontaneous’ synth.

Sonically, MiniFreak is just as capable of extreme annihilation and as it is the sort of delicate filigree timbres that could bring a grown man to tears. The algorithms, filter, FX and modifiers provide that sort of variety. It’s impossible to say if the Minifreak has a sonic sweet spot because it’s so versatile.