Korg Micro-X Synthesizer/Controller

Part 1 - In Defense of the ROMpler

Recently there has been a torrent of software products trying to replace the “Workstation” or “ROMpler” synth in your studio. Products like Dimension Pro, Sonic Synth, Hypersonic, and Plugsound PRO want to be the provider of the “bread and butter” sounds for which people used to reach to Tritons, The Motif series, or any of the x80 boxes from Roland (1080, 2080, etc). “Bread and Butter” sounds usually refer to standard rock/jazz/country instruments that build more of the background than the foreground of a piece. Generally these products are met with a collective yawn at industry conventions where the reactions is “oh, another sampled electric piano, how about that.”, meanwhile these boxes are found in almost every studio if only for building demos.

So why spend almost twice as much on a keyboard synth, when there are much less expensive software options? And in fact three of the major DAW platforms come with some sort of “starter” set of sounds already included with their package.

Well here are a few reasons to consider if a hardware alternative might be right for you:

Sounds: Some of the sounds on the Micro-X, which carries its sonic lineage from the Triton and before that the Trinity and M1, are legendary and have been used on many hit records. While the X’s software counterparts have perfectly good sounds, some of the sounds on the Micro-X are great. I’ve never heard a sound on any of the software ROMplers (yes, that’s an oxymoron, just bear with my till I come up with a better term) that make me think “Ok, I am writing a beat with that sound right now”. And while the sample size of the X is microscopic compared to the GB’s of samples that most libraries brag about, the secret to still retaining sonic dominance is terrific programming, especially when manipulated in real-time (aka really played). The effects and controller assignments on the Micro-X are no afterthought but an integral part of the sound, and many of them have been preprogrammed to respond to the controllers built into the X in unique ways beyond the “knob for filter cutoff”.

An example is a favorite Wah-Clavinet sound where the Wah has been programmed to respond to the joystick controller using the setup usually employed for pitch bend (not necessary on a Clavinet) and this makes for a very fun to play and realistic sound. The snapback of the pitch bend makes it easy to get just the right wah rhythm to fit a clavinets fast attack. This is just one of many sounds that are like that. Plus I enjoy the straight ahead name of “Pitchbend Wah Clavinet” which says what it needs to say. And these are not strokes of brilliance from out of the blue (at least not all of them), these have been refined in the lineage going back to the M1. So a lot of thought and usability engineering goes into these sounds plus a lot of user feedback both pro and beginner, and you can hear it, and feel it when you play it. Even with the Micro-X’s diminutive keyboard you feel more like you are playing an instrument, rather than a recording of an instrument.

CPU: Most of the products in the ROMpler replacement category are not huge CPU hogs, since they have the advantage of just using samples rather than emulating Oscillators, and while some have a lot of programmability options, it usually is not to the same extent that you would see on a full-fledged virtual analog synth. Though of course the CPU-usage of a hardware synth is hard to beat, even by the most frugal of virtual instruments. That is, zip, zero, nada.

Ease of programming and total-recall: This is where soft synths used to have the edge, but the current line of Korg synths have executed a near-perfect integration of computer and synth. The Micro-X comes with editor software that can be used standalone or as a VST or RTAS plug-in. And while the Tritons were easy to program, they were easy to program in a “for a hardware synth” kind of way. They were great for people for whom computers just seemed to be another obstacle between them and their music (and they still are) and I talk to them every day.

But the editor for the Micro-X is as slick and easy to use as any software synth, and when used as a VST program, all your edits will be recalled with your project just like a software synth. At the same time, the Micro-X retains much of the front panel ease of use of the Triton without retaining its large, touch-screen (thus lowering the price). For most programs, the parameters that you would most likely want to adjust (cutoff, attack) are already assigned to one of the four knobs for real-time control. And one of the hallmarks of the Korg synths has always been the ability to assign anything to anything. Is doing some in-depth as easy on the front panel as it is with the software? No. But it’s always possible, and I often like to do sound design just on the synth because I stay focused in one place and it keeps me focused on my ears and what they want to hear and not distracted by all the bells and whistles of software.

Reliability and Portability: If I had to hit the stage every night and I had my choice of a Korg synth or a laptop there’s no question I’d take the synth. In the years I have used my Triton it has never had a fatal exception, asked me for a serial number or an iLok key, or started acting funky in a way that I could resolve if I didn’t need to play, NOW. Simplicity and reliability tend to be on the same side of the continuum and while I can’t run Microsoft Word, or build my experimental MAX project on the Micro-X, I can feel more than reasonably certain that it will make noise when I want it to, and not when I don’t.
And while the computer is the most amazing music making tool there available, I don’t expect them to ever get more reliable since programmers always push the edge of what the hardware can do. And if you think you are safe with your MacBook Pro, think again, most of the on-stage crashes and mid-set reboots I have seen have been Macs, just because the vast majority of laptop-live musicians are Apple-based.

Part 2 – Why the Micro-X?

Does this seem like a weird review by now? Does it seem like I am writing an essay on behalf of the Micro-X to get it into the college of its dreams? Ok, of that I am perhaps a bit guilty. But I come from that standpoint because I think something like the Micro-X has the cards stacked against it in this age of the powerful software samplers and gargantuan sample libraries, and it may not be obvious why the Micro-X can be the perfect synth for some people and I want those people to take notice and not be buying more than they need.

Want a little balance? Ok here are some things to know as well:

What I don’t like about you:

If you need a really realistic string quartet sound or orchestral brass sound, the Micro-X won’t deliver. While these sounds sound good in a mix on a pop song, laid bare no one will mistake them for real strings. They just sound too “synth-y”, not flat and random like bad string samples, but not realistic nonetheless. The solo violin actually is a very nice expressive instrument (again, especially when using the real-time controls and a little practice) but I still don’t know if I would use it for that big cadenza in the middle of your next orchestral piece. If realistic strings are what you need you will need to pop for one of the Vienna/Garritan/EastWest string libraries.

Same for electric guitar, which is really true of almost every synth made, even most guitar libraries (The LPC and Bela D Lyrical Distortion being the only exceptions I know of). Of course, the Neptunes launched their career built mostly on the “Funkin’ Guitar” setting on the Triton, I don’t think anybody confused it for a real electric guitar (or probably even knew it was a guitar patch). As far as acoustic guitar, you can actually get pretty far on the X’s nylon and steel string guitars (as long as you put some thought into voicing them like a guitar and not a keyboard). I have heard the pedal steel sound dead on, but dang if I could ever get it to sound that way. I think you just need a lot of practice to get it just right, though probably a lot less practice than learning to play the pedal steel.

Overall, the acoustic instruments on the X’s don’t match their higher priced sample specific libraries but at least match or beat their counterparts (the software ROMpler wannabe’s) in all categories.

The Clavinet and Electric piano sounds on the Micro-X are still the best I have heard including your fancy electric piano libraries, with the possible exception of AAS’s Lounge Lizard giving you a better sound and more flexibility. And even then as I mentioned before, there are a couple of clavinet sounds that I would choose over all others because of their expressiveness.

Synth sounds? No question, the synth sounds on the Micro-X are terrific all around. The analog sounds sound as analog as most of the emulated synths, even on the all-important fat analog bass, or Prophet 5 type brass stabs. Plus there’s tons of Virus type sounds that are thick, rich, nasty, biting, all the things you look for when making electronic music.

The drum sounds are good, especially for electronic music. While the acoustic kits are very workable I don’t think anybody will be confusing them with something like BFD, whereas the various electronica and hip-hop sounds are quite good. And you can build your own kits from the included samples and throw some of the great effects on them to get a whole new set of sounds. Here the depth of programmability over most of the software ROMplers gives it the edge if you are willing to invest the time.

So some good sounds, what else is there to offer? The USB integration means no separate MIDI interface is needed, for either musical data, or for editing. However, unlike the Virus T1, there is no attempt to carry audio across the USB. There are 2 stereo outs (that can be converted to 4 mono) and you will need to plug those into something if you want the sound in your DAW. While this is old school, it’s free of bugs or latency which I can’t say for everybody.

Next, very powerful arpeggiators that comes with a load of well programmed preset programs plus the ability to create your own. The combination mode allows you to either layer sounds, create splits, or set up the Micro as a multi-timbral device with different sounds on different MIDI channels. Some of the combinations in the Dance and World categories sound like completed grooves with some one-finger playing. While I don’t suggest you use these as your material, they do show you how the arpeggiators can be used almost like Micro sequencers for build loop-based pieces.

Additionally the Micro-X includes a vast array of sounds that are unique to the Micro, many of them designed to be played across a greater key range than is possible on the built in keyboard (unless you have lightning fast hands on that octave switch). This makes it a powerful and inexpensive sound expander for players who may already be using a Triton or other larger controllers. And while you get many of the sounds of the Triton, you are also getting a synth that includes an expanded set of Dance and World sounds. So the Micro-X can do a wedding during the day and a remix at night.

The controls on the Micro-X can be used to control other hardware synths or software synths. The general “feel” of the Micro is sturdy with the keyboard not quite the same velvety touch of the Triton but far above the average inexpensive controller. In fact, the Micro-X is roughly the same size as a controller that has an LED screen, so it keeps a frugal footprint making it sweet for studio where space is at a premium (i.e. the corner of the kitchen table).

And one last bit of goodness about the Micro-X is that it shares with the Triton an ease at making new and interesting sounds. Why? Well it’s sort of a weakness turned into a strength. If you listen to the raw waveforms that make up a lot of the sounds, they don’t sound like the instrument all that much, they’re very raw and harmonically full, again the magic is in the programming. Then you take another waveform, similarly abstract, layer them and you have a guaranteed odd sound that may very well be a cool sound (or not, yeah that happens too). Maybe throw some filter and auto-wah on it and you have come up with a very distinctive sound in just a few minutes. This can be a real life-saver when you need something that is clearly unique to bring out a melody or rhythm.

Part 3: Conclusion

I have said in every synth review I have written “No synth is for everyone”. Well there was a time when ROMplers were as close as one could get to a synth that everybody needed. Maybe it wasn’t your favorite or the one that knocked people out, but it was on every song you made, often the bulk of it.

Those days are no more and software synths rule the world, but something like the Micro-X still is the perfect synth for some people. Maybe you want to take a little load off your computer to run your Reaktor ensemble you made. Maybe you are just getting started and working on finding your sound and need a wide array of good sounds that are easy to find without breaking the bank. So you get the Micro-X and your computer and you are off, a nice simple setup that will run on even less than powerful computers. Or maybe you want some of those inimitable M1/Triton sounds but don’t need a big, expensive keyboard. Purchase one of those big, expensive MotifXS’s and the Micro-X will probably be less than some of the expansion boards.

Despite my already having a Triton the Micro-X has snuck its way into my studio. Its great integration (no more scribbling down patches or sysex dumps) and the ability to deep edit easily have made my workflow faster and simpler. The Micro-X got a little lost in the thunder of the Oasys, the Radias and other more flashy releases, but it’s a device that does its job and does it well and you may just find yourself working with it for a big chunk of your creative process when you find out how well it works, and how good it sounds. And at less than $700, there’s a lot of mighty in the Micro.

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