For example, the plastic shelf that extends beyond the plate on which the controls are mounted has pyramid-shaped dimples, so it risks being a dust-trap. I have no problem with plastic cases for modern, low-cost synthesizers because I recognise the benefits in terms of weight and manageability, but this one is odd. The rest of the physical design is equally curious. The Wavestate's front panel is more Monologue than Wavestation, and the knobs are definitely in the ascendency. Maybe Korg believe that its customers would prefer something that will fit into unfeasibly small spaces but, whatever the reason for this decision, I think that it's a mistake. I accept that not everyone uses synths in the same way, but I'll hark back to an argument that I've made in the past a small synth satisfies those who need a small synth but, with a few exceptions, a larger one satisfies everyone. I would have been happier with a 61-note pressure-sensitive keyboard or a module, but not a weeny little instrument on which you can't play a decent chord. I can't.) But on a state–of–the–art synth like the Wavestate? That baffles me.
I can even live with a lack of aftertouch on low-cost polysynths. Now, I'm a tolerant chap and I'm comfortable finding lightweight 37-note keyboards on low-cost monosynths. Most noticeably, it's only as wide as its 37 full-sized keys, so its performance wheels are to be found behind the keyboard rather than next to it. The look and feel of the Wavestate echoes Korg's Minilogue series.
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