Review: Korg Minilogue

ANATOMY OF A VOICE

Minilogue’s voice architecture comprises dual VCOs, each offering saw, triangle and square waves with a waveshaping control specific to each. The Square wave waveshaper varies the duty cycle of the waveform which, combined with the LFO, provides pulse width modulation. With Triangle and Sawtooth waveforms engaged, additional harmonics are progressively introduced.

Both VCOs have four selectable octave pitch settings as well as fine control over two octaves in one-cent increments (±1200 cents). The VCO section also features oscillator cross modulation, hard sync and ring modulation which can be engaged in any combination. Vital for tonal interest, VCO2 can be modulated by the second envelope in tandem with cross modulation, sync and ring modulation. Still, it does feel like an opportunity was missed to create thick complicated sounds at the VCO level. The (single) LFO can only simultaneously modulate the wave shaping for both VCOs by the same amount. Independent modulation amounts would have been ideal!

Before hitting the VCF stage, the signal flow enters a mixer providing a means for balancing VCO1, VCO2 and a noise generator. The VCF low-pass filter sports two- or four-pole flavours that have a sweet and clean sound. Self-oscillation is easily introduced with the resonance set above 70%. The VCF modulation controls include the amount and polarity of the second envelope, and hard stop settings for key-track and velocity response. While the filter’s wide range produces plenty of textures, I did hanker for the added thickness of a drive stage.

Post-VCF, the signal enters a digital delay circuit with an auxiliary high-pass filter. While tweaking the rate in real-time invokes wild pitch modulations that get caught in the feedback circuit, I found the available delay rates a little short. With higher feedback settings, there was a definite onset of rising background noise. I found myself mostly using it to subtly add weight to sounds. Re-routing the integrated high-pass filter was very useful for shelving subsonics and even providing band-pass filtering in conjunction with the VCF.

MODULATION MATRIX

In common with many modern analogue synths, while the VCO, VCF and VCA are truly analogue, the LFO and Envelope generators are generated digitally. While tweaking Minilogue, particularly with low VCF settings, I could occasionally hear clicking artefacts. Initially I dismissed it as a by-product of voice-stealing when playing parts too complex for four voices, but it was also happening with some mono synth patches. Thankfully, a firmware update laid the issue to rest. Apparently the designer had to strike a balance between the fun of fast envelope stages and reducing this subsequent artefact. Minilogue’s envelopes are still lightning fast, making it a great candidate for sharp basses, up-front leads and synth percussion.

Although Minilogue has the sound of a heavyweight, it’s light on in the modulation matrix department. It only has a single LFO, a dedicated VCA envelope and a second assignable envelope. What you see on the front panel is what you get, there are no modulation surprises nestled within the menus. The only modulation matrix possibility I haven’t covered is the three different destinations offered by the LFO: VCO pitch, VCF cutoff and the VCO wave shape. The LFO has three basic shapes with no sample-and-hold (noise) function; however, it can either be free-running or synced to MIDI clock.

The exception is the performance lever, which can be linked to 29 destinations (found within the menus). Only a single destination can be selected at a time, excluding it from patch morph tricks achieved by ganging multiple parameters. There’s also no means of specifying a modulation range or polarity.

It’s not as deep as a sound designer might hope for, but considering the physical circuit paths required to interact with VCO/VCF/VCA on an analogue synth, those limitations are to be expected at this price.

IN THE RIGHT SEQUENCE

Where Minilogue shines as an inspiration and jamming tool is in its Note and Motion sequencing. Rather than utilising a shared pool of sequences, Korg has wisely opted to store sequence data local to each patch.

With MIDI clock running from your DAW, you can immediately start sequencing notes on the fly by pressing Minilogue’s REC button and they will play back quantised and looped. Motion sequencing any four parameters is equally accessible.

You can edit Note and Motion data like Step Length, which changes pattern lengths from the 16-step default to non-binary lengths for polyrhythmic experimentation. Step Resolution can be changed from 1/16th to longer note divisions, extending the maximum possible length beyond a single bar. Note and Motion data can be cleared independently, and Motion data tracks can be individually enabled or disabled — great for performance!

I prefer to consider the Motion sequence tracks as four tempo-clocked envelopes or LFOs and therefore a means of overcoming the modulation matrix limitations. Motion sequencing any parameter tied to a front panel control opens this synth up to rich, rhythmically animated sounds.

After getting a great riff into the step sequencer, the natural instinct will be to play single notes on the keyboard to transpose the riff on the fly and follow chord changes. Unusually, it’s not possible, limiting the usefulness of this Minilogue hero-function.

My only other odd Minilogue moment was when integrating an external MIDI controller keyboard. The controller’s mod wheel was mapped to the noise amount! Even weirder, the sustain pedal affected the octave of VCO1. It appears the MIDI rulebook on the standards for continuous controller assignments was misplaced!

MINI WINNER

While its presentation is excellent, build quality luxurious and sound quality superb, Minilogue’s modulation matrix doesn’t offer the depth to make it a go-to instrument for exotic sounds. However, with inventive use of the Motion sequencing function you can fake more modulation than what is on offer and push the unit further than you’d expect. All without having to crack the manual — it’s a very intuitive synth.

As a collector of vintage eight-voice poly synths like the Oberheim Matrix 1000/6R and Roland MKS80, I crave the sound of playing complex analogue poly parts across two hands without fear of premature voice stealing. With Minilogue, you’ll find yourself limited to simple chords and largely single-handed phrases.

Nevertheless, the Minilogue delivers massive, thick, detuned patches with ease. I found myself gravitating largely toward the Unison, Duo and Mono voice modes. The essential ingredients required to introduce subtle differences between the VCOs and create thick ensemble poly patches are missing. If anything, I found the four-voice Poly mode best for less-weighty sounds, introducing movement through cross modulation and sync.

For the money, there is a lot to like about the Minilogue — polyphonic analogue sound, beautiful build and extensive hands on control. I have no doubt it has all the charm required to win over those looking to acquire their first polyphonic analogue synth.

HEAR MINILOGUE IN ACTION

Listen to sounds generated using Korg’s Minilogue and follow along with Jason as he crafts a nasty bass patch from scratch.