Accurate Beats Unleashes the Korg microAUDIO 722: Filtered Mayhem in a Box

Korg’s microAUDIO 722 lands with a twist that’ll make most entry-level interfaces blush: it’s got a built-in analog filter straight from the miniKORG 700S. Accurate Beats wastes no time pointing out that this isn’t just another two-in, two-out box for your home studio. It’s compact, USB-powered, and feels solid—none of that wobbly plastic nonsense. Sure, the ins and outs are basic, but for most setups, that’s all you need, and the sound quality punches above its weight class.

What really sets it apart is the analog filter lurking under the hood. This isn’t some half-baked software emulation—it’s the real deal, ready to mangle your inputs before they hit your DAW. Accurate’s style is all about getting hands-on and gritty, and the microAUDIO 722 fits right in with that ethos. If you’re after more than just clean audio, this box has a few dirty tricks up its sleeve.

Here’s where things get spicy: the microAUDIO 722 gives you both low-pass and high-pass filter modes, plus a built-in LFO and envelope generator for modulation. All the controls are right on the faceplate—cutoff, resonance, filter mode switch, and knobs for LFO rate and intensity. No menu-diving, no nonsense, just twist and go.

Want to sync the LFO to MIDI? Easy. Want to run the whole thing in standalone mode without a computer? Done. Accurate shows how you can get creative with filter sweeps and modulation, turning even the blandest input into something with character. It’s not the most aggressive filter in the world, but it’s musical and smooth—perfect for adding a bit of movement or grit to your sound.

Don’t let the size fool you—this thing kicks like a drunken horse. Accurate runs the microAUDIO 722 head-to-head with his Apollo X8, and while it’s not top-tier studio gear, the Korg holds its own. The mic preamps are transparent, the signal-to-noise ratio is surprisingly good, and it handles high gain without turning into a noise toaster.

It’s built for small studios and portable rigs, making it a killer option for anyone who wants to keep things tight and mobile. Accurate’s secondary setup is a testament to how flexible this box can be—hook it up to a Mac Mini, run your plugins, route signals through a patch bay, and you’re off. The filter’s always ready to add some extra flavour, whether you’re tracking, jamming, or just messing about.

Here’s the rub: while the analog filter is a killer feature, Accurate wonders how many users will actually dig into it. The target market for this interface is probably more interested in clean recording than filter sweeps, so there’s a risk the best bit gets ignored. That’s a shame, because the filter’s musical and versatile—great for sculpting sounds or adding movement to static sources.

Still, for those who know what’s up, the filter is a secret weapon. Accurate’s not sure everyone will use it daily, but for beatmakers and synth heads, it’s a game-changer. Sometimes the best features are the ones you didn’t know you needed until you start twisting knobs. If you want to see just how far you can push it, you’ll need to watch the video for the full sonic mayhem.