LIKE 'mini', 'micro' is a prefix that often indicates a scaling-down of toyish proportions. And most people usually don't take any product that carries a 'mini' or 'micro' tag all that seriously.

Which is why any finicky musician who won't play anything but a real and full-sized instrument is likely to sniff at Korg's microKORG Synthesizer/Vocoder at first sight.

But despite being dimunitive and designed like it was meant to be played by a midget or Mini-Me, this portable keyboard synth is actually a big and powerful fella in a small package.

So listen all you gear snobs: if you don't hurry to your local music store to check out this 2.2kg beige-gold baby, you'd be missing a chance to revel in the sonic wonders of one of the finest analogue modelling/multi-band vocoding machines to come out in recent times.

Mini looks, maxi sounds

With its 37 mini-keys, compact retro-style chassis with wood panels on the sides and classic analogue-synth layout, the four-note polyphonic microKORG (mK) looks like a shrunken version of a regular-sized keyboard synth.

In a sense it is, since its dual-oscillator DSP synthesis engine is the same as that of the MS2000 (which is itself a takeoff on Korg's venerable MS20 patchable monosynth), Korg's 44-key keyboard synth which became a big hit among analogue aficionados seeking Moog-like sounds on a state-of-the-art digital machine.

The first oscillator features a total of 71 waveforms, which Korg claims to be the largest number of waveforms found to date on a modelled synth of this size. Besides standard analog waveforms like saw, sine, pulse and noise, you get such original creations as Vox wave and cross wave. This combination of traditional and proprietary waveforms lets you dial up a terrific spread of timbres and tones.

Korg has also incorporated 64 DWGS waveforms from its classic DW-8000 keyboard into the mK. This dash of digital synthesis allows for more accurate simulations of sounds like bells, acoustic and electric pianos, and plucked instruments.

The second oscillator, which offers sawtooth, square and sine waves, also features ring and sync modulation parameters that take sound-creation to a whole new level. There're four resonant filter modes that offer -12 dB (2-pole) low pass, high pass and band pass settings, as well as a radical -24 dB (4-pole) low pass configuration.

At the heart of the sound-generating process are two ADSR envelope generators and two LFOs that can be synced via MIDI.

There're also a Virtual Patch matrix (a main selling point on the MS2000) that allows the creation of complex modulation settings by using an LFO to control panning or amp level, or programming the modulation wheel to control filter cutoff or pulse width.

Five knobs and a pitch-bend wheel provide additional real-time control, and all parameters are accessible from the top panel of the unit.

The eight-band vocoder built into the mK has advanced features like capture which allows you to record a sample of your voice, freeze it and play it across the keyboard. A total of 16 vocoder programmes are included.

Using the supplied DJ-style detachable condenser microphone, you can also shift the formant frequency to alter your voice to sound like everything from a deep-throated scream-king to a wailing banshee.

You also get a box of editable effects, including chorus/flanger, phaser, ensemble, three types of delay (stereo, cross, L/R), and a two-band equalizer. To increase live-performance and studio-tracking versatility, the delay effects can be sync'ed with the arpeggiator or to an external MIDI clock.

As for the arpeggiator itself, it offers six different patterns (Up, Down, Alt1/2. Random, Trigger) and allows four-octave control over tempo, gate time, swing and up.

The rear of the unit boasts stereo outputs, two external audio input jacks (for processing other instruments, your favourite CDs and other sound sources through the mK's filters and effects), a pair of microphone inputs (for condenser and dynamic mikes), and MIDI In/Out/Thru.

The mini-keyboard is velocity-sensitive and seems aesthetically tailored to be married to a laptop computer.

A large dial and LED buttons ease programme selection while a three-character LED display indicates patch changes.

All in, 128 programmable presets, from classic analogue sounds to contemporary dance patches, are available.

The machine can be powered with either the supplied 9V AC adapter or with six AA batteries.

Phat basses, zingy leads

The mK is ready to rumble straight out of the box. Just power it up, hit one of the eight programme buttons, use the programme select dial to choose a patch from the seven preset banks (Trance, Techno/House, Electronica, D'n'B/Breaks, Hiphop/Vintage, Retro and S.E./Hit) and, guv'nor, you're in business.

The eight demo songs, which are aimed squarely at the dance-music crowd, give you a quick idea of the capabilities of the mK. But it's only when you start investigating the individual patches that you begin to realise the awesome power of the mK's synth engine.

The bass presets throb with a tantalising beefiness, the lead synth pads are sharp enough to cut through the muddiest of mixes, and the string sounds sing with a majestic lushness. Descriptions like 'Weep Lead', 'Acid Square Bass', 'Time Zone SFX', 'Old Strings', 'Phaser Clav', 'Stab Saw', 'Thunder', 'Killa Beez', 'Tape Choir' and 'Warm 4th Pad' on the patch sheet will have synth lovers salivating.

Using a pair of headphones, I was amazed at the textural opulence of many of the tones. Some of the presets reminded me of sounds found on classic analogue synths like the Jupiter 8 and the Juno 106, which in my book is a considerable achievement where modelling synthesis is concerned.

Although you can only play four notes at a time, there's a striking richness about the voices. And while many of the sounds are tailored for dance music forms, they're also usable for everything from Jean-Michel Jarre to Kraftwerk-style stuff.

Of course, the dinky keys get a bit of getting used to, but once you get used to their puny feel and plasticky action, you can pretty much give Rick Wakeman a run for his money... sort of.

The analogue-style buttons-and-knobs layout is excellent for programming your own sounds, and thankfully it doesn't take a degree to figure out how to get the various voices in your head realised on the mK.

Then there's the vocoder, which is either the silliest or the coolest voice-processing tool ever invented. It sounds great for robot-like phrases but will seem a bit pointless on songs where the words are supposed to mean something.

Of course, that's not gonna stop Me-Too types from trying to sound like Madonna, Cher or any of those R&B/hip-hop folks who take such shameless pride in staying boringly true to their tribe.

The wrap-up

Don't let the size of this thing fool you. It's actually a pro job packaged to look like a plug-and-play toy for instant-gratification junkies.

And while the factory presets will please DJ types and danceniks more than they will hardcore synth sluts, the incredibly flexible programming capability will please button-pushers and knob-twiddlers seeking to create wild original noises.

Yes, it's kind of pricey for what it offers, and some gear snobs might kick up a fuss about the 'Made in China' label. But consider this: Not only do you get a fabulous portable synthesizer whose awesome capabilities can be tapped via MIDI; you also get a nifty vocoder, a device that by itself can cost as much or more than the mK.

As long as you don't expect a faithfully-replicated piano sound to play 'Moonlight Sonata', you'll be quite happy with this small wonder.

PROS: Fat, juicy, beefy sounds including speaker-rattling sub-bass presets; you get a decent vocoder mic thrown into the box.

CONS: The spring-action of the tiny keys doesn't inspire much confidence for tricky fingerwork; polyphony limited to four notes (eight would've been just nice); the price will make most musicians and electronic keyboard buffs think twice.

(For microKORG sound editor software and manual downloads, go here.)