![]() ![]() The top panel also houses a dedicated XLR mic input for the spiffy little gooseneck dynamic mic that comes with the microKorg XL – far superior to the dopey little computer mic that came with the original, which I’ll hasten to point out, is not a discontinued model. Check out the photo and you’ll see what I mean. ![]() Apparently what Korg means by ‘natural’ is that the keys are like piano keys, only smaller. What’s also inviting is the miniature 37-note ‘natural’ keyboard. The entire look and feel is undeniably old fashioned – kind of like driving a Chrysler PT Cruiser (the turbo not the standard). #KORG MICROSYNTH XL PATCH#You know, the drum machines with a Bossanova options like ‘swing’, and ‘foxtrot’…ĭoubling these patch locations to a total of 128 is a bank select switch, again reflecting the ’70s era with a silver barrel-style rocker switch. Some will no doubt deride the use of such tacky categories, but this is no doubt all part of Korg’s retro styling: a humourous attempt to acknowledge the tacky screen-printing of ’70s-era electronic instruments. The genre nomenclature includes musical sub-classes such as ‘House/Disco’, ‘Rock/Pop’, and the predictably old-school ‘Jazz/Fusion’ – whatever fusion is… I still don’t know for sure. The patch knobs on the XL are actually eight-position switches that arrange sounds into genres with the first knob, and sub-categories on the second. The top panel controls are incredibly simple: two large (and again suitably retro-looking knobs) select the patches, while six smaller knobs control volume, arpeggiator tempo, and patch editing or real-time parameter control. The black casing is reminiscent of the old pressed-metal housings of synths like the Roland SH-09 (ironically), complete with a pseudo ripple-effect paint job. The overall aesthetic of the new ‘XL’ model is also definitively retro in its persuasion. But that didn’t stop the microKorg becoming something of a cult machine – and possibly contributed to the little tyke’s appeal. ![]() It looked a bit shabby to me the microphone gooseneck in particular, seemingly deriving its aesthetic from a computer parts swap fair. The unfortunate thing was, the vocoder could only muster eight filter bands, and overall the microKorg looked like something made by Casio in the ’80s (not that there’s anything wrong with that!). The original microKorg utilised the synthesis engine from the MS2000, and housed identical vocoder capabilities. So it was without even the teeniest skerrick of trepidation that I opened the box to the microKorg XL, the successor to the original wooden-cheeked keyboard of the same name. The M3 reawakened me to Korg’s modus operandi, as did the Analog and Digital Legacy plug-in collections – pretty much the only soft-synths I use these days. Regardless, I’m constantly blown away by Korg’s lush sounds and relatively avant-garde designs. Paradoxically, I’ve owned far more Roland and Yamaha synths over the years the only Korg I’ve ever forked out for being the Poly61 many moons ago. Long-term readers of AT will be aware of my affection for Korg gear. Korg may not be the biggest synth manufacturer on the planet – that accolade would probably be awarded to the winner of a coin toss between Roland and Yamaha – but Korg is arguably more innovative than its big brothers. Korg’s little blighter grows up – but it’s a cutie all the same. ![]()
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