Korg MicroKorg 2 review: Better, not best
Introduced in 2002, female MicroKorg became one of the best-selling synthesizers of all time. But a lot has changed since then. Over the past 22 years, Korg has actually tried to update this early 21st century classic a few times, but they still haven’t quite caught up to the way the original did. The paradoxical name is MicroKorg XL, MicroKorg S (added speakers and not much else), and MicroKorg XL+ (just an upgraded MicroKorg XL) cannot dethrone the OG. But Korg is hopeful MicroKorg 2 will be the true successor to the crown.
MicroKorg 2 is an improvement over the original in almost every way, that much is clear. What’s less clear is whether Korg has a winner on its hands, or whether MicroKorg 2 is just a tedious attempt to cash in on a classic. There are so many great smaller compilations out there these days, I’m not sure this is the answer for everyone.
Modern sound
One of the biggest changes from the original MicroKorg is the audio engine. At its core, the MicroKorg 2 is a virtual analog synthesizer (it’s digital but intended to sound analog), just like its predecessor. But the range of its sound-shaping powers is much wider. In addition to standard waveforms such as sine and saw, the MicroKorg 2 also has a configurable noise source and access to a PCM sample library that can be used to add transients to the beginning of a patch, respectively. similar to what you might find on classic ’80s Roland synths like D-50. The MicroKorg 2 also has three oscillators (instead of two on the original) and a continuously variable multi-mode filter.
MicroKorg 2 is also a multi-timbral synthesizer with twice as many voices (eight versus four), compared to its predecessor. This gives it the ability to create complex layered patches (e.g. simultaneous arpeggios and accompaniments) or lush extended chords. Add to that an expanded six-slot mod matrix with more sources and destinations, along with a wider selection of effects, and you’ve got a tool that clearly goes beyond its name.
Photo: Terence O’Brien
What’s really impressive is that it’s much more powerful but also much easier to program than the original version. While the genre-based patch browsing and large knobs remain, the confusing system where you’re forced to look up parameters on a giant table when trying to adjust presets or create sounds from the beginning is no more. The MicroKorg 2 doesn’t have a dial for each function, but the 2.8-inch screen and contextual buttons make it much easier to find your way around.
In fact, I would say that building patches on the MicroKorg 2 is actually a lot of fun. This is certainly not what anyone ever said about the original.
Navigation is not great
However, genre-based patch navigation seems outdated. It was suspected in 2002 and now seems downright strange. The way it’s broken down — four categories with eight banks and eight programs within each bank — feels unnecessarily complicated. Additionally, out of the 256 slots, only 64 are reserved for user patches, which is frustrating for those who like to customize for live shows. That being said, if there isn’t a giant knob with the words “hiphop” and “trance” around it, is it really a MicroKorg?
Photo: Terence O’Brien
