Akai MiniAK Review

The Akai MiniAK is a budget VA synth. For some people, “budget VA synth” is the musical instrument equivalent of the bubonic plague. For others, such as those of us on a budget, we have to get by with what we can get. And, in this price range, there are basically four new synths to choose from: the Novation Xio25, the MicroKorg, the Roland Gaia, and the MiniAK. I’ve only had limited exposure to the MicroKorg & Gaia, so I’ll try to not stick my foot in my mouth. Still, I’m going out on a limb right from the start: the Akai MiniAK is the best of this group. So, now that I’ve established my position, I better defend it.

Sound: You have a wealth of choices. Two aspects separate the MiniAK from the rest of the pack, the modulation matrix capabilities and the filters. The Mod Matrix is versatile: one full page in the manual for sources, two pages for destinations: endless hours of fun to be had here. Sonically then, the other three VAs cannot come close to the programming possibilities offered by the MiniAK. Then, you have 21 filter options (you can use two in series), including Oberheim, Moog, Arp and Roland (303 & Jupiter8) emulations. Now, how well the MiniAK emulates the different filters it tries to mimic is irrelevant - what does matter is that each of these filters has its own distinct characteristics. Also, you can go nuts with your filter combinations and create unique/bizarre sounds. On the other hand, you can recreate classic sounds (fine, you won’t fool a Minimoog owner, but you can create better sounding patches than Arturia’s Minimoog emulation), and if you join the Yahoo Ion/Micron Group, you’ll find some exceptional Polymoog patches that will have you playing Gary Numan covers all night.

So, what does it actually sound like? Well, the MiniAK excels at basses and pads. I’m getting close to vintage 70s Tangerine Dream / Klaus Shultze sounds out of the MiniAK (an unexpected yet pleasant surprise). At the same time, it will do contemporary; at least judging from the presets that I subsequently deleted because I personally can’t stand 303 Acid lines and such. I’ve read some complaints that the MiniAK sounds flat, and to a small degree it does, but since I’ve started running it through a Hardwire Delay, flatness is no longer an issue. On the other hand, I’ve yet to hear undying praise for the sound of a Xio, MicroKorg, or Gaia. Hell, people complain about Nords that cost twice as much as these synths. Some people don’t even like Moogs, so what can you do?

Ease of Use: This is where the MiniAK loses ground. Those who hate menu diving will hate the MiniAK. Mind you, those who hate menu diving typically appear to be those who can afford more knobby/slider synths, and many of these folks still don’t care much for the Gaia, so it really is a no-win situation.

Anyway, one of the biggest complaints about the MiniAK is its lack of USB. Furthermore, Akai really missed the boat by not coming out with its own editing software. For some people, this is a deal breaker. For me, programming through the keyhole isn’t that much of a big deal once you get used to it (which in my case wasn’t very long), especially since the rewards can be so great. However, because of its programming layout, I wouldn’t recommend the MiniAK for a total noobie, which helps explain why the MicroKorg is on its way to becoming / already is the best selling synth ever. And yes, the Xio has knobs, but they have the tendency to come off in your hand (more on that later). Also, I can’t stand the MiniAK’s arpeggio – why did they have to make something so standard into such a pain in the ass? Another bit of weirdness is the fact that when you write a sequence, no matter which notes you write, the first note will always be C, regardless of where you play it: if you write a G-A-D sequence and then play a G, it will be a C: you have to transpose your sequence before you write it so that the first note is C. Not a big deal if you know before hand. So, now you know.

A question that came up regarding an earlier post was can the MiniAK hold a chord. Yes, it can in two different ways. First, patches in the Comp bank are somehow different than patches in other banks in that they will arp latch, and yes, you can use them to hold chords. If that doesn’t work, set up a single note sequence (assuming that the patch has a long enough sustain) and latch that.

Versatility: This is the main reason why I own a MiniAK. In Multi (performance) mode, you can perform a 4-track (drums, bass sequence, pad, & lead) song. Not that you were likely to, but 8-note polyphony allows for serious jamming fun. Anyway, setting up splits is dead easy – splits, you know, something you can’t do on a Xio, MicroKorg or a Gaia (although it is possible on the MicroKorg XL and the much-maligned SH-201). Also, parts One and Two of the Multi receive on midi channels 1 and 2, so they can be used with an external sequencer (in my case, an Electribe EA MKII). For a typical song, I’ll have three different sounds mapped across the keyboard: bass and pad/counter melody sequenced in the Tribe, plus a lead or arp/sequence. The MiniAK has allowed me to expand my sound considerably: its Multi Mode leaves the other three dead in the water.

Construction: Simply, the MiniAK is built like a tank. If you dropped a MiniAK on a glass table, the table would shatter. If you dropped a Xio on a glass table, the Xio would shatter. Furthermore, you could use the MiniAK's vocoder mic to beat someone to death - try doing that with a MicroKorg mic. Also, I still refuse to deal with the MicroKorg’s mini keys, never mind its horrible colour scheme. I’m still divided about the Gaia – just seems too plasticky, like something will break off of it if you looked at it too hard.

Conclusion: The MiniAK is niche synth – a serious VA for those who can’t afford a more serious VA/Analogue/etc. Yet, I can safely say that it would be a decent addition to anybody’s (live) set-up. Akai has already discontinued the MiniAK, so prices have dropped dramatically. Get one while you can.

March 6 Edit

A couple of things I discovered last night.

The Bad: I’ve long wondered why patches sound different when they are used in the Multi Mode. Now I know: the patch’s effects do not transfer over to the Multi Mode. You have to set the same FX parameters in the Multi Mode to get the same sound. Problem is, if you have different patches that have very different FX assigned to them, something will suffer. The Manual says nothing about this: rather annoying.

The Good: Create three or more sequences with slight variations, using the same sound. In Multi Mode, split the keyboard for each sequence C>B (or as you see fit), so you have:

Seq 1: C0>B0, Seq 2: C1>B1, Seq 3:C2>B2, etc.

Now, transpose Seq 1 up two octaves, Seq 2 up one octave, leave Seq 3 alone.  Go nuts.

The Progress Report: Or, A Guide to Creating a Budget Synth Studio in Istanbul

Months have past since the last post for one good reason: I've been playing music instead of talking about it. As you can see, much has been added. Someone in a Gearslutz thread said that VSTs are a gateway drug to hardware synths. I couldn't agree more. I love the way they feel, look and sound. Besides, I spend all day at work staring at a computer monitor - I no longer want to do the same in the evening.

The purchase of the Roland Juno-Di in January touched off a spark: specifically, the Di's arpeggiator. I don't know if there is a ranking of the synth world's slowest arps, but the Juno-Di would likely be near the top of such a list: 1/4 notes at 5 BPM. One and a quarter beats per minute. So, you may well ask, how could this be of any use? Well, drone lovers and those with an affinity for slowly evolving pads, the Juno-Di is your dream machine. Find a suitable sound (not particularly difficult), pick from any of the over 100 sequence patterns, play a chord, adjust the attack and release until the notes blend into each other, turn the arp speed down and latch it, and you are in ambient paradise. For sonic doubleplusgoodness, the Juno-Di is midied out to the Roland JV-1080 (in Performance mode), with two parts (at the moment, using the same patch for each part, but further experimentation lies ahead) panned hard left/right, one channel an octave higher or lower, one or both detuned to taste.

Things Not In the Manual 1: In performance mode, the lower split of the Juno-Di transmits on midi channel 2, the upper split on channel 1.

...and while I'm here...

Things Not In the Manual 2: To delete a Juno-Di user performance, save it with no name.

For about 6 months, I worked with a combination of hard and software. Also went on something of a effect pedal buying spree. But most importantly, I started seriously listening to early Krautrock. Here, I found kindred spirits and a sense of direction. For electronic music, the Germans did it first and they did it best.

In July, my sisters arrived from Canada, bearing the Korg Electribe EA MKII, the Boss Dr. Rhythm DR-3 (granted, not the most interesting of drum machines, but capable and user reviews are generally positive) and the FM3 Buddha Machine 2 (finally, a cheap noise toy that makes something more than an annoying buzz, and with a better effort-to-result ratio than the Monotron). Conveniently, my mother had sent with my sisters $500 CDN in birthday money - a sum that covered the price of the gear. Happy Birthday to me. Getting the EA MKII was another turning point. First, any VST sequences/arps I had been using got transcibed into the EA MKII, taking the computer out of the mix. Second, any sequences/arps I had been using on the Xio or the Juno-Di got transcibed into the EA MKII, freeing them up to make more interesting sounds (see above).

Electribe Aside 1: I am glad I purchased this without first listening to it - Laura got it from e-Bay months before I received it. The presets on the EA MKII are, to put it politely, completely useless to me (I've kept only one). Also, it is not easy to get a truly decent sound (as in, something that doesn't sound like a third rate TB-303) out of the thing - useable patches have often been the result a lucky tweak. This is less of a problem now, as I'll discuss after. On the other hand, it is dead easy to sequence and it has something of great value: a start button. The EA MKII now functions as the command centre: midi-out to the Akai Miniak, midi-through the Miniak to the DR-3. Rhythm section perfectly in sync, which brings me to...

(Rant on) The biggest problem with the Xio is that it doesn't play well with others. It is impossible to tempo sync it with any other hardware synth (confirmed through e-mails with the Novation tech department). There is NO MIDI IN. Midi out will not sync with other devices. USB is useless. And this sucks, because one of the great things about the Xio is its arp: I've gotten wonderfully TD-like sequences out of the Xio which are often useless to me because I CAN'T SYNC THE DAMN THING with any of my other gear. (Rant off)

Things Not In the Manual 3: With the Xio in the "as played" arp mode, hold the first note, quickly hit the second and third notes a couple of times before you hit the fourth note, as in (1 - 2 - 3 - 2 - 3 - 4) or (1 - 2 - 3 - 2 - 3 - 2 - 3 - 4). With a square-based bass patch and the proper delay, you'll soon be Ricocheting across the Rubicon.

Things Not In the Manual 4: The Behringer XENYX 1002 is sold as a 10 input mixer. However, you can easily add two inputs by using the CD/Tape RCA input - simply push the CD/Tape to Mix button in. Only downside is that you have to control the volume at the source. As the DR-3 also has RCA jacks, I have it plugged in to CD/Tape when using unprocessed drums (see below).

Akai Miniak vs. Yamaha DX-7: The Miniak came about three months ago from Lafa Muzik after the sale of my old Ovation acoustic (took over a year to find a buyer, hated to see it go after owning it for close to 25 years, but I just didn't play it much anymore, so I hope it is now getting the love and attention it deserves). From the reviews and Youtube vids, it was clear that considering what was available in Istanbul for the money (there aren't a wealth of options here anyway), the Miniak was the best choice. As I had bought the Xio at Lafa and been stopping in occasionally to say hi and take a look, they sold it to me tax free, which saved about $100.  Now, some knowledgable readers may be disturbed to hear that I choose an Akai Miniak over a Yamaha DX-7 (which had been sitting in Lafa being ignored for months). However, in terms of practical functions (especially in Multi mode), the Miniak blows away the DX-7. The way I'm working involves having everything creating as many textures as possible in real time. I need a synth that is conducive to the way I work, not an old, slightly beat up, notoriously difficult to program synth famous for its electric pianos and bells (two sounds that I typically avoid).

As I said above, the Miniak is midied to the EA MKII: in Multi mode, Miniak Part One receives Part One/Midi Channel One from the EA MKII: this is the bass sequence. Part Two receives Part Two/Midi Channel Two from the EA MKII: this sequence depends on the song. And, I can still add a number of Multi parts on the Miniak, such as sequences/arps, pads, lead, and drums. Dead easy to split and arrange the keyboard.

Electribe Aside 2: Volume from Part One of the EA MKII is zero or minimal, and I may eventually use that jack on the mixer for something else. EA MKII Part Two is usually balanced in the opposite channel to Miniak Part Two and run through a Boss HR-2 Harmonist (octave down/detune), a Nux PH2 Phaser (I had never heard of Nux either before I bought the pedal, but it ain't half bad), a Digitech X Series Turbo Flange (some truly wacked settings available on this, including "Step", which is essentially sample & hold), and a Boss DD-3 Digital Delay.

Things Not In the Manual 5: In an effort to dirty up the Boss Dr. Rhythm DR-3, I've started running it through the Miniak's filters (there are a number of Ext In presets in the Vocoder/FX Bank on the Miniak, find something close and start tweaking - it is worth it). However, if you do this, you may experience a substantial stereo-separation loss: not a big deal with a kick/snare/hat pattern, but anything with panned toms is seriously affected. I will continue to experiment and hopefully find a solution, but until then, any pattern using toms has to played clean (see above).

Things Not In the Manual 6 (this was unlikely to appear in the manual, but anyway...): When duplicating a Arturia Minimoog patch on the Miniak, you'll get fairly accurate results if you open the Miniak filter about 150-200 Hz more than the Arturia setting, while cutting back on the resonance and envelope/contour amount. A little time consuming, but a great source for bass patches, and I even closely copied two of the pads Klaus Schulze programmed for Arturia - like having a private lesson with the master.

Two weeks ago, I added my classic synth to the set-up: the Roland JV-1080. And found it at a price that is closer to generally accepted market value, not inflated Istanbul value. Yes, many of the presets are dated. (Dear Roland, please let users delete your precious presets. Thank you.) However, for creating ambient pads, this is a beast. The JV-1080 had also been sitting in Lafa being ignored for months: it was literally in the corner with a few other rack units, with other gear in front of it obscuring the view, and the guy I deal with had forgotten it was there - I had to show him it existed on their website. Now, the fun part: I used a  Microkorg to play the JV-1080 in the store (it was just sitting right there, and fit on top of the Roland.) Now, I'd only previously played a Microkorg briefly once, before I had anything to properly compare it to and I must say that the keyboard on the Microkorg is something I would rather not touch again. The vocoder mic is also somthing of a joke: you could use the Miniak's mic to beat someone to death; you could possibly use the Microkorg's mic to strangle someone. And ugly. How a synth with wooden ends could be so hideous to look at is a mystery to me (actually, I think it is the beige/green combination that puts me off).

A note on gear shopping in Istanbul: The music stores I generally deal with here are privately owned, not part of a franchise chain: the people there are always there, with minimal staff turnover. So, they tend to remember you after your first purchase, especially if you are a foreigner and natural blonde (not many blonde men in this city; not many natural blondes in this city either). The secret is to be a repeat customer, and you'll often get better deals on subsequent purchases. The JV-1080 was listed for $300. I got it for $250 without even trying to haggle.

Things Not In the Manual 7: Despite the 15 year age difference between them, two of the Jupiter 8 string patches on the Juno-Di are identical to those on the JV-1080.

That's enough. Time to get back to playing.

Peace