A rainy New England day and the leaves and pine needles are piling up. Can’t do much of anything outdoors today, so off to GC. (Not that I really want to do yard work.)
I really could use a “lap piano” for rehearsals. (A distant relative of “floor melodica?”) My body ached so much last Wednesday before rehearsal that even an eight pound Korg Triton Taktile was too much to schlep. So, I sang with the group, hoping to internalize the melodies of the new music for the week. This isn’t such a bad idea in any case, since it’s good form to sing along in one’s head while playing — improvisationally or not. A good reminder that, yes, hymns actually have words.
So, the issue of mini-keys rises from the grave like Joan Crawford. About one month ago, I sought and found a Yamaha Reface to try again. As it seems for most interesting music tech, one needs to drive a zillion miles or take two or more trains to find and play Reface, Montage, Korg Arp Odyssey and so forth. And thus it was to play a Reface DX. I had a fair chance to plink away and the DX provided a wide range of solid sounds. But, still, no love for the Reface mini-keys. I simply cannot imagine playing a Reface at rehearsals and even remotely enjoying the experience.
Today’s journey was inspired by a favorable review of the new Korg MicroKorg S in Sound On Sound magazine. What a pretty picture it is; Korg’s industrial design may ape Arturia, but they took the best! The review mentioned the larger mini-keys (what an oxymoron!) of the Microkorg XL+ and I decided to find a comparably equipped Korg.
Happily, today’s trial was the Minilogue, which proved to be a fun time indeed. It’s got a pretty sweet sound for an inexpensive polyphonic analog synth. With the right programming, I could even warp the Minilogue into a “lap piano” good enough for rehearsals. A built-in speaker a la the new Microkorg S would be nice. However, I could easily run it into the JBL Charge 2 that serves as the battery-powered amplifier for the Triton Taktile 49 (my usual rehearsal ax). It’s a shame that the Minilogue isn’t battery powered, too, as it would make a terrific portable instrument.
The Minilogue’s oscilloscope is a real treat and is totally entertaining. It’s also a reminder that I need to add a mini-/micro-oscilloscope to the dining room lab one of these days. The oscilloscope display is a small OLED screen much like the screen in the Triton Taktile.
The Minilogue’s keys are far more playable than the Reface. The keys are longer than typical mini-keys and the black keys (sharps and flats) are narrow. This combination makes for a surprisingly effective keyboard design. I wouldn’t want to play a gig with these, but they are suitable for plinking out melodies and such at rehearsal. (See this article at Synthtopia for a good analysis of the Minilogue’s key size.) Several other Korgs have the same key design: the Korg Arp Odyssey and the “Natural Touch” microKEY, to name two.
I’ll say this for Korg. They may miss the mark sometimes, but these folks are actively innovating at a fast pace!
After messing with the Minilogue, I revisited the Nord Stage 2 ex. This is a fine instrument and is in the same premium range as the Yamaha Montage. Having also revisited the Montage in recent weeks, the Nord’s string and woodwind voices just don’t come up to the same level as Montage. The Montage voices live and breath. Although the Nord is quite good, these voices sound like “sample playback.” Kudos to Yamaha.
I will have more to say about Montage in a forthcoming post. In short, is it time to spring for Montage or wait for the successor to the Tyros 5 (“Tyros++”)?
Time for a cuppa…