The basic synth structure was that of a two oscillator, virtual-analogue synth, with plenty of modulation sources to tailor each patch very precisely. Navigating around the different sections of the synth engine was easy enough, considering the depth of programming on hand, although using the software editor was definitely preferable. Programming from the front panel was also possible and made easy by a large, backlit display and an array of front panel knobs and switches. The variety and amazing quality of the Wave ROM meant that every musical style was covered. With voice polyphony, there were always plenty of voices for even the most complex layered combinations. On top of all that, Korg also added a full GM soundset.
The drum sounds could be organised into any of 40 kits. Like all Korg products of this time, those patches could be arranged into Combinations, of them, which made it easy to set up layers and splits. In total there were multisamples and drum samples, all of excellent quality, arranged into preset patches. Originally only available in black, a limited edition white model was also offered later. That, along with its diminutive form factor, made it perfect for touring DJs and performers who were looking for lots of bang for their buck. Instead of being packaged in a cardboard box, every MicroX came in a durable, bright orange road case. It was released inalong with its larger X50 sibling.
The MicroX was Korg's most affordable entry into the world of the company's HI Hyper Integrated synthesis engine, made popular by the Triton line of workstations.
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