Microkorg Piano Patch

1. Free Microkorg Patches
2. Microkorg Piano Patch
3. Microkorg Editor

By Paul NagleThe hugely popular Microkorg — the world's best‑selling synth for the past few years, according to its makers — has gained what Korg describe as a 'big brother'. Will it repeat the success of its sibling?The latest keyboard from Korg is a fine example of a mysterious Eastern art‑form known as 'extracting maximum return from R&D”. With keen Japanese ingenuity, a generous portion of the R3, Korg's vocoder‑equipped, portable synth derived from the powerful Radias 'module plus keyboard' package, has been shoe‑horned into petite, Microkorg dimensions. The resulting Microkorg XL, with its minimal, retro style resembles a scaled‑down model of a classic electric piano — but its sound engine is firmly rooted in the tradition of the Radias. (See and for more on the Radias and the R3).Weighing in at a mere 2kg, this is a keyboard to secure firmly when playing outdoors. If the goal was to make the smallest self‑contained synth around, Korg have planted one firmly in the net. An external PSU is provided, but the XL can run quite happily from six AA batteries, further boosting its 'take me out' credentials.

However, be careful when tossing it into your rucksack. I'm not confident the knobs — especially those big, wobbly ones for Genre and Category selection — would long endure rough treatment. Generally, I felt the moulded black-plastic body looked more classy on the screen or page than it does up close.With any instrument of this size, producing a playable keyboard is going to be a challenge, and I was intrigued to see how the new 'Natural Touch' version performed. Its 37 miniature keys are chunky and square, with the black notes squeezed in slightly, donating a fraction of the available width to their white brethren. The keyboard action is very light — far lighter than the mini keys of my Yamaha CS01 synth, for example.

But if you can adapt to this, you have three full octaves in a package just 55cm long. A sprung octave transpose switch further expands the range.In common with the earlier Microkorg, there are no pedal inputs of any kind.

OK, so you're unlikely to attempt Grieg's Piano Concerto on this keyboard, but a sustain pedal is valuable for so many other purposes, not least when combined with an arpeggiator. The remaining connections are pretty much as you'd expect, with all audio handled via quarter‑inch jacks (that's a stereo output pair, a headphone socket and an external input). Adjacent to the input is a switch to determine whether it or the included XLR mic will be the external source used. A USB socket is your means of direct computer interfacing (about which more later) and MIDI is catered for by just two sockets: Thru has been omitted.The original Microkorg's geeky panel text and cryptic characters have been superseded by the XL's moody amber display. Commonly‑used parameters are accessed via a simple matrix in which a six‑way switch lines up a row of options for tweaking via three small knobs. The top row is for user‑assignable functions. In the factory patches, these are typically to sweep filter cutoff, adjust filter envelope amount, or maybe boost an effect parameter, but there's a wide array of choices available.

The second row is dedicated to key filter parameters and a row for the amplitude envelope is next, followed by another for effects. The penultimate row contains three of the most commonly‑used arpeggiator functions: type, latch and gate time.If you're thinking that this sounds simplistic, the sixth row takes a bellyflop into the deep end. Labelled 'Full Edit', this opens up every page, parameter and value.

If you're already a dab hand at keyhole surgery you'll feel right at home, but for us lesser mortals there are a heck of a lot of options to plough through, including a multitude of synthesis pages, complete with virtual patch cords, arpeggiation, effects and EQ. It doesn't end there either, because Full Edit is also the window to the MIDI and Global setup pages, utilities, controller remapping and more.Ploughing through all of this with the XL's small and not‑terribly-precise knobs can severely test your patience. Fortunately, the Exit/Shift button, combined with the Octave transpose switch, generates single-value increments or decrements. This is loads of help and even though it doesn't transform editing into a wholly joyful experience, it does give you the tools to get the job done.

For live performance, the knobs have a 'Catch' mode, avoiding sudden jumps in value that would otherwise occur when you mess with a stored patch. I'm not sure how much messing the no-frills interface invites, though.

Indeed, with space at a premium, a tempo knob for the arpeggiator felt less justifiable than, say, a button for arpeggiator latch.The rear panel features a 9V power port and on/off switch, USB port, MIDI In and Out. The audio I/O is all on quarter‑inch sockets and includes an audio input with attendant level control knob, stereo audio outputs and a headphone out.Since the Microkorg XL's closest relative is the Korg R3, it is with the R3 that I will draw the most comparisons. Architecturally, they are quite similar. Both feature eight voices of Radias‑sourced synthesis driven by MMT (Multiple Modelling Technology) that can generate analogue, formant, VPM (Variable Phrase Modulation) or digital waves, as well as processing external audio. Patches consist of either one or two timbres, which may be layered (in which case the polyphony is halved) or divided into two separate keyboard zones.

Alternatively, a patch can operate as a bi‑timbral sound source via separate MIDI channels. This adds up to a very capable sound engine, and it's probably a good idea to refer back to September 2007's R3 review (see link at start of this review) for a full refresher. The physical differences between the two synths are evident, leaving us free to summarise the Microkorg XL in terms of its losses and, in some cases, gains.As per the R3, two oscillators are processed via two filters, one being smoothly variable between low‑, high‑ and band‑pass modes. Korg's filters sound silky smooth and can be configured for serial, parallel or individual oscillator processing. In common with the Radias and R3, oscillator one is the more feature‑rich and contains the XL's most significant addition: a new combined PCM/DWGS wave generator.

The waves on offer include, amongst others, a sampled acoustic piano. I found it slightly weird to play piano via the diddy keys, but when rigged up to a larger keyboard, the piano, short and clunky though its samples are, cut through rather well.

Other waves include strings, organ, guitar, electric piano and brass — a collection designed to give the XL considerable scope.Modulation sources and routing follow the familiar path that Korg have trodden for some years. There are two LFOs and three envelopes, with a six‑way modulation bus to govern how they hang together. For overdrive simulation, the adding of sub‑octaves, decimation, and so on, Drive/Waveshaper continues to be a superb tool. Should you wish to waddle into the realm of the morbidly obese, Unison mode stacks and detunes up to four voices, rattling speakers and disturbing pacemakers in a way that seems somehow totally uncharacteristic of a keyboard this size.Not every R3 delight has made it onboard unscathed. Sadly numbered amongst the missing are its modulation sequencer, comb filter and formant motion. Formant motion is a cool way to capture audio input and store its imprint for later use, while the R3's modulation sequencer can really energise pads and arpeggios. The effects section has taken a bit of a battering, too — but we'll come to that later.

Before then, a final item of good news: the XL gains a selection of nine alternate scales, including one User Scale. These are ideal for those who like to stray away from the Western, well‑tempered path.The Microkorg XL's main panel. As you can see, the position of the knobs is hard to discern from above — though it's nothing a dab of paint won't fix.It's hard to imagine any user, new or old, getting lost on the Microkorg XL. There are 128 patches on board, selected by two large knobs: Program Genre and Category. These offer eight genres, including House/Disco, Jazz/Fusion, Drum & Bass/Breaks and Favorite (sic), while eight categories encompass Lead, Bass, Vocoder and so on.

For the full range of patches, a bank A/B switch performs the necessary multiplication.Looking directly downwards, it's not always clear where the knobs are pointing to — but I guess a felt tip or dot of paint would soon put that right. I share Paul Ward's reservations about the usefulness of fixed genres and categories (as expressed in the review of the original Microkorg, ) but, as before, you are free to store any type of patch into any location.I felt that 128 patches wasn't wildly generous by today's standards. If hardware synths are to retain their desirability, they surely can't afford to be complacent in this area.

Fortunately, the patches chosen are a good representation of what the XL is capable of. Expect to encounter deep and throaty basses, howling, trashy leads, parpy brass and smooth, mellow pads. And no Korg in recent years could be unleashed without ear‑catching dance‑oriented synths and cunningly programmed arpeggios. Bundle in a plethora of fine vocoders, organs and pianos (you won't find an acoustic piano in the R3 — or even the Radias!) and I doubt anyone will find the Microkorg XL sonically underpowered.The Microkorg XL has a two‑band equaliser plus two master effects, each with up to 17 different Kaoss‑pad derived algorithms.

This is one area where the XL feels like the R3's poorer relation, especially when you realise it doesn't possess a reverb! Warm and airy reverberation has been a Korg trademark for so long it's practically ubiquitous.The effects include a variety of delays (including a decent tape-delay simulation), which can be coaxed into delivering some impressions of boingy reverb. Putting aside my reverb gripes, though, other effects you'd typically expect are present and serviceable. Alongside the phaser, flanger, distortion, filter and decimator, you'll encounter old friends such as ring modulation and Grainshifter.

The latter isn't some large, hungry bovine creature, it's a short sample and loop processor that's ideal for when you've invited Dr Weird to tea.Naturally, MIDI clock sync is implemented throughout, whether for delay time or within the various modulation effects.I've long been a fan of Korg gear; the ESX1 Electribe and Radias are amongst my 'desert island' essentials, so I was surprised not to feel more love for the Microkorg XL. I think this was mostly due to the build quality and a keyboard action that never quite reconciled with an RRP MSRP in excess of £400 $700. I suppose the XL is small enough to be viewed as a desktop module that just happens to have a basic keyboard attached — for jamming around the house and programming — but personally, I'd consider stretching a little further for an R3 instead. However, if size and battery operability are deciding factors, the XL becomes much more attractive.In the end, simplicity and portability are what it's all about; the fact that the Microkorg XL also sounds rather good might see it matching the popularity of the previous Microkorg — who can tell?

The vocoder is a major plus, and with a useable microphone included, you're ready to produce highly intelligible or seriously twisted results right out of the box.At times I found it genuinely perplexing that such a wide range of quality tones could be spurted from a keyboard this small and light. So even if, at the current price, the Microkorg XL doesn't tick all the boxes, it's definitely more of a synth than it appears. Few companies have embraced self‑contained miniature synths with an enthusiasm to match Korg's. The Alesis Micron and Novation Xiosynth could be worth a look, though; both have full‑sized keys and the Xiosynth boasts MIDI controller and audio interface capabilities — and even battery power.

But it is the imminent Akai Miniak that could really shake things up. Information suggests that it's based closely on the Micron, boasts a 40‑band vocoder with central microphone, features effects that include reverb, has a sequencer and arpeggiator, is multitimbral and ships with over 600 presets. Although not available as I type this, it is forecast to cost below £500, so is potentially very tempting. The 16‑band vocoder deserves a special mention, not least because the included XLR microphone dominates the synth visually, standing proudly erect at the centre of proceedings. Getting going is no more complicated than plugging in the mic, selecting a vocoder patch and letting rip. The input level is shown as a simple bar-graph on the display and the only slight downer is the vocoder's resource consumption: when it's active, polyphony drops to just four voices.The vocoder is your ticket to a funfair world of robot voices, choir‑like tones or eerie whispers.

Even non‑vocoder factory patches respond well to voice‑driven articulation. Simply push the dedicated Vocoder button and stand by for voicebox‑treated synth solos, bellowing arpeggios or living, breathing bass lines. I'm not massively fond of computers for tweaking my synths, but I found Korg's editor/librarian for the Microkorg XL to be an essential tool. It's surprising that this vital program isn't supplied on CD with the synth, but to sweeten the download, Korg have included a bunch of converted MS2000, MS2000B and Microkorg sounds in the package. This is jolly kind, if yet another reminder that there are only 128 memory slots to work with.I mentioned that you can edit individual parameters using the panel's Full Edit mode, but it's so much friendlier and more intuitive when everything is presented on a computer screen (especially when working with a patch featuring two timbres).

The program's graphics are clear, bright and metallic — a far cry from the R3 editor's dour and gloomy brown.Finally, when downloading the editor I recommend that you also grab the latest USB driver from Korg's site. This provides full MIDI connectivity, and I am pleased to report no communication difficulties whatsoever with my venerable studio computer. Usually, this ageing PC refuses to talk to any of my Korg gear, but on this occasion everything went swimmingly. All contents copyright © SOS Publications Group and/or its licensors, 1985-2019. All rights reserved.The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents.

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In this interview(with Sound On Sound, Timbaland's engineer Chris Godbey talks about the process and gear used to make Timberland's tracks, saying, 'Tim has some keyboards with him with loads of sounds in them, mainly the Open Labs Miko, which is in essence a PC with a keyboard attached to it, and for 20 percent of the time he'll use some other keyboards, mostly the Microkorg samplers, on which he also has a bunch of sounds.' In this video with.FACTmagazine., at:10s Alix says '. I rely a lot obviously on hardware - lot of synthesizers. Use a lot of the virus(got a little phatty(there. JP 8000(Juno-106(SH-101(down there. 'Re–amping and distortion are likewise more important to Craig Potter's own keyboard sounds than experimentation with synthesis or sampling.

'I don't have many old analogue synths, I have a few, but I usually just use piano and bits of organ,' he says. 'I suppose I'm just a big fan of distortion, really. I distort everything! Piano distortion I love. We just chuck a 58 or a 57 in the piano and then we run that out, make sure there's plenty of doors in the way so it doesn't feed back, crank it up through an amp — I love that sort of thing.

So it is basically piano that I play, bit of organ, some synths. We've got the Microkorg we used for the bass on 'Bones Of You' and we've got a Nord, little bits and bobs.'

Luke Weiler of Positive Mental Trip has never played any synthesizer live. However you can clearly hear the Korg Microkorg on many tracks on “the black and white album“(2017) and on “the squirrel.”.(which is a demo that will become a final version that will appear on the forthcoming 2019 PMT album “Love Never Dies”. The Squirrel. Will be the 1 st Positive Mental Trip song that really features the microkorg as the main instrument giving the song its mojo. Luke Weiler plays every instrument on the track as of now but in its finality we will see about special guests. Analog modeling and multiband vocoding in a compact, portable instrument.With 37 keys and 128 user-rewritable programs, the Korg MicroKORG Synthesizer/Vocoder is perfect for the musician looking for a serious yet affordable synthesizer.

It provides powerful synthesis with the same dual-oscillator DSP synthesis engine found in the MS2000, and offers a wider selection of waveforms than most other modeled synths. It also has an 8-band vocoder with many advanced features, a full range of effects, and a flexible arpeggiator. 2 audio inputs let you process other instruments through it.

Free Microkorg Patches

Also serves as a compact MIDI controller. Comes with its own microphone.Powerful synthesisThe microKORG boasts the same dual-oscillator DSP synthesis engine found in Korg's critically acclaimed MS2000 and offers a wider selection of waveforms than any other modeled synth. Oscillator 1 features a total of 71 waveforms. These include traditional analog waves like saw, pulse, sine and noise, plus more unique choices like Vox wave and cross wave. Together they provide a cool selection that can be modulated to produce an extensive range of timbres.

In addition, 64 exclusive DWGS waveforms from Korg's classic DW-8000 enable the microKORG to reproduce a broad collection of imitative sounds. Sounds like bells, electric pianos, guitars, basses and more that would be difficult reproduce on an analog synthesizer. You can also apply Ring and Sync modulation from Oscillator 2 to create the kind of complex timbres that are the true sign of an advanced synthesizer.Four filter modes are available, offering -12 dB (2-pole) low pass, high pass and band pass configurations plus an extra steep -24 dB (4-pole) low pass setting. All include resonance. Two classic ADSR envelope generators and two MIDI-syncable LFOs provide the power to shape your sounds. Add a Virtual Patch matrix that lets you create advanced modulation settings-routing the Mod Wheel to control filter cutoff or pulse width, using an LFO to control panning or amp level, etc.-and you have performance that is unheard of from a synthesizer in this price range!Classic vocodingThe microKORG includes an 8-band vocoder with many advanced features. You can capture and 'freeze' the formants of your voice, and then play it across the keyboard, or shift the formant frequency to make your voice sound male, female, like a child or just plain wacky!

Microkorg Piano Patch

Best of all, the microKORG comes with its own microphone so you can start having fun right away.A full range of effectsThree types of modulation effects (chorus/flanger, phaser, ensemble), three types of delay effects (stereo, cross, L/R), and a two-band equalizer add the finishing touch to the microKORG. The delays can be synchronized with the arpeggiator or to an external MIDI clock-a great feature for live performances or for laying down tracks. All effects can be edited to create your own, unique sounds.Great sounds and expressionKorg has used all of the microKorg's synthesis power in the creation of 128 great-sounding presets. They cover a wide range of the latest musical styles plus many vintage favorites. Sixteen vocoder Programs are also included.

The Pitch Bend wheel, Modulation wheel, and five other knobs provide flexible realtime control over filter cutoff, attack, release and other important parameters. The Edit Mode allows you to fully edit the existing sounds, or to create your own new ones.Flexible arpeggiatorSix types of arpeggio patterns (UP, DOWN, ALT1/2, Random, Trigger) are built in, with control over tempo, gate time, swing, and up to a 4-octave range. You can turn individual steps on or off within a pattern, providing the feel and functionality of a step sequencer.Audio inTwo external audio input jacks are provided, so you can run other instruments, CDs and more through the microKORG's filter and effects, allowing you to process sounds in truly creative ways.A compact MIDI controllerThe microKORG's compact size is perfect for the musician or DJ looking to add a synth to his or her setup when space is tight. It's also a great choice for use in a computer-based music setup. The five realtime knobs on the front panel can transmit MIDI messages (control changes), so they can be used as controllers for software synthesizers. Use the 37-note velocity-sensitive mini-keyboard for controlling other gear or for recording and editing with your sequencer.

And thanks to battery-power, the microKORG is the ultimate portable controller when used with a laptop computer!Clear control and classic looksThere's no complex menu structure-all parameters are located on the panel for easy access to any function. A large dial and LED illuminated buttons provide easy program selection even on a dark stage. With its beige-gold body, wooden side panels and retro-influenced design, the microKORG has a look that's both vintage and funky.

This is the small synth everybody loves. Its easy to use interface makes music composition a breeze. Fat juicy sounds emanate from this unit, but though the arpeggiator is useful, I wish it had a sequencer built into it. If you can have only one synthesizer and can't spend over $500, this is the one for you.

Microkorg Editor

It will take me years to explore all the possibilities.I own the limited edition gold version.I keep diving deeper and deeper into it and can't reach the bottom. Korg makes some of the finest synthesizers in existence at affordable prices. I used to have this one years ago (until my friend plugged it with a wrong DC block). It was my first hardware synthesizer and I must say it was astonishing for the price that days.

It was 2 OSC's, in-built arppegiator and vocoder. Design is really retro-oriented (including wooden side-plates!!), while the later XL version looks more modern (and is very different; my synth-geek friend told me this baby is much better and versatile than the XL version) The controls are actually obvious, but I find them unconvenient for real-time tweaking.

The synth is nice, but I won't buy another one, for my current needs a monophonic microbrute is much better.P.S. I told you I burnt it down. The man from the workshop told me Microkorgs are equippedin the most cheap way in terms of security and is not foolproof, so the entire motherboard was killed by a single wrong plug-in. He also told it wouldn't happen if KORG added at least a few-dollar fuse to the power circuit. Unfortunately, they didn't. Be careful if you choose this device. This synth is (in my opinion) the best way you can introduce yourself to synthesizers without going out and spending exuberant amounts of money.

My one major complaint is that it's not the most user-friendly when it comes to making your own patches. It is very much a preset machine. I'm sure there are some people who are perfectly fine with that, and that definitely lends itself well to a live setting, but I personally would prefer a synthesizer that's more dedicated to making your own patches. However, that does not change the fact that this is a well-built and fantastic sounding synth.