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(More customer reviews)The MicroKorg XL is really a MicroKorg in name only. Whereas the original MicroKorg shared a synth engine with the MS-2000, this one uses the engine found in the R3 and Radius. This is not necessarily a bad thing as those are fine sounding synths, but you'd be better of with a synth like the R3 (which is about $100 more). Although the MicroKorg XL has a cool, faux-vintage look, the construction of the board is pretty shoddy and I doubt it would be good for carting away to gigs or traveling with. It's made from rather cheap, weak feeling plastic unlike the far sturdier R3 or original MicroKorg. Also, while the sound editing is arguably better than the oddball matrix on the original MicroKorg, it pales when compared to the easy editing on a R3. Basically, this is not a bad board soundwise, but you'd be better off saving $100 with an original MicroKorg or putting in an extra $100 for an R3. The MicroKorg XL is not a happy medium, and makes compromises that do not benefit the synth user.
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Joining the ranks of the top-selling originals microKORG and R3, the 37-note velocity-sensitive Korg microKorg XL Analog Modeling Synthesizer with Vocoder offers Korg\'s legendary analog modeling, along with an ergonomic interface, in a lightweight and portable keyboard. The microKorg XL employs full eight-voice multi modeling technology, a 16-band vocoder, on-the-fly parameter editing and USB MIDI connectivity, all packaged with the great-feeling Natural Touch keyboard action.The MMT (Multi Modeling Technology) sound engine is descended from the RADIAS/R3 synthesizers, while the dual effects processors come down from the famous KAOSS line. The black key/white key proportions have been adjusted for easier chording; the key response has been improved for rapid-fire soloing. Together with a sound-bending vocoder and six-pattern arpeggiation, microKORG XL packs a powerful sonic punch.The eight-voice MMT synth engine offers traditional analog waveforms plus a total of seven algorithms, including formant waveforms, noise, and PCM/DWGS waves for those vintage keyboards and strings. Cross-modulation, unison stacking, and VPM (Variable Phase Modulation) let you create sounds that would be impossible for a conventional PCM synthesizer. Sync and ring modulation make it easy to create complex and powerful sounds. Two multi-mode filters, a drive/waveshaping circuit for distinctively distorted sounds, and EG and LFO for creating time-varying tonal change, provide plenty of parameters for serious synthesis. Virtual Patching brings it all together.
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