Korg Volca Mix Analogue Perfomance Mixer Four Channel w/Powerful Master Chain

This was an impulse buy on Amazon Warehouse (AW) on a bitterly cold night in early February, an evening when I had had a few too many glasses of wine. I was vaguely aware of the Korg Volca series, in that I had seen a few negative or neutral comments about them on various music forums, but I hadn't listened to any audio demos or watched any YouTube demonstration videos. Honestly, these tiny boxes had never appealed, as I like my synths with keys or something I can put in a rack and MIDI up to my rig. So when this popped up on AW in a "Used-Acceptable condition for what seemed to be nearly 50% off the retail price, I thought, well, if I don't like it, I can sell it on for a profit.I'm glad I did. I love this little box, and it looked absolutely brand new in the box when it arrived. Go figure. I like it more than my Pro-1 monosynth -- I think the Volca Bass sounds better than most of my keyboards, with the exception of my Korg Radias. I mean to say, the Volca Bass is fat sounding, and oh!!! it has that distorted squeal that is very similar to a Roland TB-303 (or the Behringer clone). The filter resonance (peak knob) on this wee thing self-oscillates, so if you're looking to do a bit of Daft Punk or Chemical Brothers-style late 90s and early 00s techno work, this little guy can do it, and do it very nicely.Let's get the cons out of the way:The speaker is rubbish. I get why Korg put it there, but the speaker doesn't have the range to actually hear what all the glorious goodness this synth can make. Tip: Use headphones if you're going portable with this. Otherwise, hook it up to your mixer / monitoring system / amp.The MIDI implementation is good, but you can't modulate the filter via MIDI. What???!!! Why not, Korg? What are you thinking? Sigh... So, you must use the Volca Bass's filter knob in real-time. Also, no MIDI out, but it is possible to modify the unit so that it can do MIDI out, so at least there's that option for the hardcore modders.Pattern storage is limited to 8 memory slots. You will use those up quickly, and then you'll have to decide on which patterns to get rid of for later sessions. Also, there is no pattern chaining, so you must manually change patterns in real time, and you will need to do that in perfect sync as there is also no "wait to change pattern" functionality. If you're sequencing a pattern, know that the filter knob adjustments do not get recorded. The octave knob's movements will be recorded, however. On the other hand, it is possible to create 24 patterns when in individual three-osc mode, and with a bit of clever muting, you can probably do quite a bit with that.The smaller, clear knobs ... it's sometimes difficult to see what their positions are. Also, when I reach for the tempo or the EG attack knobs at the top center/left of the unit, I often accidentally brush the big filter knob.No noise oscillator... that's a shame. But not a deal breaker...So them's me cons. On the the pros:Three very stable analog VCOs (digitally tuned for stability, but these bad boys are definitely analog oscillators), any of which can be a Saw or Square wave. You have the options of three independent VCOs, two stacked together, or all three stacked together. There is also a tuning knob for each VCO, so you're able to create a very thick and fat super saw sound. Note range can be adjusted per voice but only if you are sequencing a pattern. Otherwise, all three VCOs will change depending on where the octave knob is set.The playing surface (ribbon?) is really responsive to touch and it's fun to play and slide around on it, but it is important to note that the playing surface is not velocity sensitive. The Volca Bass responds to velocity when connected to MIDI controller, though. Keep that in mind if you want to get the most you can out of this tiny box of joy. It took me a few minutes to work out what the deal was with the black and gold "keys." Tip: The gold keys are the black keys on a keyboard. The rest are the white keys. The lowest note on the surface is an "A". Maybe an "E" would have been better, which is the lowest note on a bass guitar, but from keyboard perspective I suppose it makes sense (an 88-key keyboard's first note is an A.)The filter on this insanely good. I read somewhere that it's based on a Korg 700s filter. I dunno if it is or not. And I don't care. I really like a lot.The envelope seems limited, but it actually has two modes and it is perfectly serviceable. One mode with no sustain segment, just an attack and delay, which is superb for punchy bass tones, and the second mode is with a sustain feature, which is great for more synthy sounds and self-oscillating the filter rez. These modes are switched by holding down the function button and pressing the number 11 key marked Sustain.Pattern sequencing is quick, if not a bit imprecise when doing it in real time. There is some sort of quantization going on, which can be distressing if your timing is off. I much prefer to sequence a pattern in Step Rec mode. Speaking of modes, the Active Step mode is useful and fun.At the moment, I tend to use a Beat Step Pro to sequence more complex patterns. Other times, I will set up a zone on my workstation to play the Volca Bass via MIDI in real time. I'll even swipe at the playing surface from time to time when playing other synths. You'll definitely want to put some effects in the signal chain, such as pedals or some other multi-fx unit, as the dry sound may be a bit in your face. But even dry, it can sit in a mix at low volumes.All in all, I'm really impressed by the sound of the Volca Bass. I had no idea that I was missing this in my life, and I'm glad I bought it. I'm now considering selling my Pro-1, as I have had that turned off since the beginning of February when the Volca arrived and I don't need two monosynths which cover the same sonic terrority.For its size, it's a little powerhouse in a tiny, tiny box. Could the UI (knobs), memory storage and MIDI implementation be improved? Sure, those could be better, but if you can snag one of these for $100 or less, it's definitely worth it.

First of all, what a beautiful little device. Built out of pretty durable plastic for the shell and face. Was ready to go right out of the box. If you are just getting into electronic music production, these things are a neat way to dip your toes into the water. It is a bit complicated to use but there are some really great videos on Korg's youtube channel on how to get up and running fast. Not to mention there are a ton of patches out there from the community that you can find and download. If you are handy with interfacing with the PC, you can use it in things like Reaper and any other DAW very easily.

Not a standout for composition, but fun for practice or jamming. It has a few limitations which stand out to me.The compact interface is always usable, but often awkward. Creating sounds is easy but adjusting them is tedious. Liberal use must be made of a hash in the LCD which marks the saved position of a setting, which is not trivial when using micro-potentiometers assigned to a resolution of 255 in a nested interface. This also obligates you to operate the controls deftly and save a kit after each adjustment to prevent your settings from drifting widely and mysteriously.You get 16 triggers/steps per pattern and 16 pattern slots, which feels claustrophobic. Patterns can be chained to create more complex progressions but with only 16 sets of 16 triggers and no data I/O, memory management is an issue. For instance, creating a 4-bar drum line with 16th-note resolution and a consistent fill on the 4th bar would generally use a quarter of the memory and require you to select the 4 bars sequentially each time you turn on the unit. Then, that memory is consumed until you delete the progression forever. Kits and patterns are marked only by their slot number.The gold-side "Send" physical modeling controls are impressive but are adjustable only per full kit, which in practice limits them to either trippy delays/reverbs and performance effects or to use on only one or a few drums.Time signature can be fudged, but only within extreme limits.This unit is mostly practical for us because it allows us to avoid computers in a few situations during jamming or practice. Far superior performance in every respect can be had from free or trivially cheap software on any phone, tablet, or PC; judged as a component of a modular setup and especially in the context of Volca as a system, I find it useful and likeable, but unwieldy. The sound generator is excellent only in its simplicity, and the sequencer is inflexible. Integrating this unit's stark limitations into a multi-hundred-dollar instrument could be fun but does not seem efficient or practical.However, we are very happy with it. We are not using it as a musical instrument, but as a configurable metronome / backing track. It feels more personal, predictable and charismatic than an automatic drummer, and less sterile than a metronome. The sound generator is a minimalist masterpiece, with only enough moving parts to create a wide array of convincing or pleasing drum sounds and effects. Probability and slicing controls push this Korg over the finish line between toy and tool, but no further.

Easy to use and sounds great as long as you don’t use the speaker that comes with it

The Korg Volca FM, specifically this version 2 model, is an absolute powerhouse. Capable of loading sysex files from the iconic Yamaha DX7, you can coax any kind of sound out of the Volca FM that you can imagine. The 16 step sequencer is reliable.The only criticism I could have is the speaker and the touchpad are both just okay, but given that's pretty much standard for this type of synth, it's impossible to really fault the Volca FM for it. Controlling it with an external MIDI controller really opens up the tones. I find that it really shines with high, shimmery tones.If you're not sure which Volca to get, but you want something flexible and absolutely usable in performance settings, the FM is the way to go.