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"Ah, the Micromoog. Having considered it for years, I finally acquired one to mess with in person earlier this month. Quite a departure in sound character from an MS-10, for instance, with a smoother richness to contrast MS-10's raw brashness. Micro's white noise generator - with a dedicated volume pot! - I find uncommonly dense. Micro can do 'gritty' too, controlling Osc with noise, FM'ing the filter in audio rates, involving filter oscillation tone, etc. Certain old analog synthesizers have a distinct identity, vibes, unique idiosyncrasies, and focused skill-sets. Micro's uncommon continuously variable waveshape is stellar, the facility to modulate said waveshape still more so. None of this limiting 'either/or' nonsense: "Oh wow, I can select between a static saw OR a static pulse, big fucking deal'. I do lament triangle's absence, but variable shape compensates with abundant color options. Suboscillator really augments the sexyness and overloads the FM in strange ways. Yes, plastic chassis top is mediocre although its sides are half-decently constructed. Yes, low end drops as you increase filter resonance, so exploit that filter topography quirk for benefit a la additional tonal options. Yes, the big clunky switches can be... clunky. Capacitor modification or not, this thing can produce seriously rich bass. I like nerding out about this stuff.
Deftly serviced by Jareth aka Synthpro. He knows Moogs. Check out some of his videos on the 'Tube modifying and servicing Micros. All keys and functions operate as intended, ribbon as well. I used Micro lightly with delicate hands in my clean laboratory over a few days. Previous owner also used it carefully - if at all - since Jareth overhauled it. A brief blip happens when switching octaves but I imagine that is an operational quirk. I didn’t mind it. Tells you the thing is alive. Many synthesizers today are too damn polished, produced, and homogeneous. I like Micro, but space in the laboratory is limited. This ultimately concludes our courtship. ;-)"
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