Korg today introduced the multi/poly synthesizer, a new synthesizer in their opsix/wavestate format that  offers 60-voice polyphony, three types of oscillators, Kaoss Physics, Motion Sequencing 2.0 and more.

Korg appears to have learned from the reception of its initial synths in this format, which were praised for their deep synth engines but criticized for the synth’s relatively lightweight build. The new synth more of a premium build, with thick wood end caps, a better keyboard, and metal front and back panels.

Inspired by the classic KORG Mono/Poly, the new KORG multi/poly is an analog modeling synthesizer, and is the first instrument to use Korg’s latest analog modeling technology. While Korg reached back to the Mono/Poly for inspiration, the multi/poly is a completely new design, with capabilities that go far beyond the original. And, just as important as the vintage influence, the multi/poly builds on capabilities from other instruments in its compact synth line, like the wavestate and modwave.

Here’s what they have to say about the multi/poly synth’s capabilities:

“It’s like a polyphonic modular system in a compact, hands-on package – a limitless playground for synth players and sound designers. Create hardware mash-ups with East-coast, West-coast, and wavetable oscillators and a wide selection of newly-modeled filters. Make them come alive with models of different envelope, VCA, and portamento circuits.

Virtual voice cards produce organic timbral variation. Layer Rotate triggers new Programs with each press of a key. Plus Kaoss Physics, Motion Sequencing 2.0, massive modulation, and more.”

The multi/poly features analog modeling that goes beyond traditional virtual analog to more closely model a vintage analog synth engine. To start with, each voice has a Virtual Voice Card, whose oscillators, filters, envelopes, LFOs, and portamento circuits model analog hardware component variations. The result is that each voice has a slightly different character, creating naturally rich timbres. You can dial-in in as much or as little of this variation as you like, and do individually for each sound.

Just like in an analog synth, the Virtual Voice Card also continue to ‘play’, even if you’re not hearing them. Envelopes keep evolving, so that if you play a pad with a long release time, newly played notes “catch” the envelope at its current level instead of restarting from zero. Oscillators and LFOs maintain their phase, and resonance continues to ring. Each oscillator’s pitch can also drift slightly over time, modeling the slight pitch instabilities found in analog hardware.

Envelopes are an often-overlooked factor that contributes to the unique sounds of vintage synths. The multi/poly includes envelope curvature presets for the Mono/Poly, MS-20, “Mini,” “Pro,” ARP Odyssey, and more. Also, analog VCAs don’t respond evenly to voltage, and have different thresholds for turning on and off, which in turn has a strong effect on the Amp Envelope’s character. So, the multi/poly features modeled VCA responses from the Mono/Poly, MS-20, Mini, Odyssey, and Prophet 5, as well as a linear option.

Classic analog synths had different approaches to portamento, too, and so the multi/poly has six different portamento models to choose from.

Oscillators

The multi/poly offers four oscillators per Program. Each can use the Classic, Digital, or Waveshaper oscillator types.

• The Classic oscillator models traditional analog synth oscillators with stunning fidelity and effortless thickness. 11 options include both single and dual waveforms, for modeling synths that generated multiple waveforms at once. Front panel knobs give you hands-on control of pulse width, triangle “lean”, dual-waveform blend, and more.
• The Digital oscillator plays wavetables with up to 64 steps, like vintage hybrid synths and modern eurorack modules. Start with over 200 factory wavetables, or load your own using the Editor/Librarian software for macOS and Windows. Import modwave wavetables directly, or convert wavetables from popular software formats. Use the 30+ Modifiers to change the way that the tables are loaded, resulting in subtle to extreme changes in timbre, and 8 Morph Types like Stretch, Flip, and Mirror to process them in real-time.
• Waveshaper offers a “West-Coast” approach, in which simple waveforms (sine or triangle) are processed through a shaper table. Modulating gain into the shaper creates glassy, dynamic harmonics. Use the Berkeley shaper for traditional wavefolder timbres, or select from over 90 other shaper types. The multi/poly also adds modulatable pulse width, a unique twist, for another dimension of richness and motion.

In addition to oscillators 1-4, there’s a separate noise generator with dedicated filtering and saturation, and a ring modulator with inputs from all of the above.

The multi/poly also expands on the original Mono/Poly’s powerful oscillator sync and x-mod capabilities, for timbres otherwise only possible with a large modular setup. Create unique sounds with Oscillators 2, 3, and 4 simultaneously following Oscillator 1 for sync, x-mod, or both at once. Alternatively, split either function into oscillator pairs with separate control.

Dual Modeled Filters

The multi/poly’s filters are newly redesigned, including an suite of vintage filters with authentic euphonic saturation.

There are five different 4-pole self-resonating models:

• M/Poly provides the sound of the classic Korg Mono/Poly.
• Mini is the ladder filter from a beloved American mono-synth; resonance is reduced at low frequencies, critical for producing those classic bass sounds.
• Pro is from the first programmable polyphonic synthesizer, with strong resonant sweeps all the way down.
• Finally, Ladder HP and BP are 4-pole self-resonating highpass and bandpass filters, respectively.

The MS-20 LP and HP 12dB/octave self-resonating “Korg 35” filters lovingly recreate the distinctive, aggressive timbral signature of the classic Korg MS-20. The SE M/P 2-pole filter is more gentle in character, and features a continuous control to sweep between lowpass, band reject, and highpass, plus a separate bandpass mode.

You can also shape and refine with a full collection of linear, resonant 2-pole and 4-pole lowpass, highpass, bandpass, and band reject filters. Or, step outside the box with KORG’s unique Multi Filter, which creates modulatable blends of multiple modes simultaneously.

All of these filters support audio-rate modulation for bright, fizzy, and bubbling effects. Use any of the oscillators or the ring modulator as the modulation source, and even blend in the noise generator for more chaotic timbres. In addition to the vintage filters’ built-in saturation, a post-filter anti-aliased Drive circuit lets you add more weight and grit to taste, from subtle thickening to heavy distortion.

Finally, you can use any two of these filters simultaneously, in series or in parallel. Programs have two filter slots, A and B. Each source, including the four oscillators, noise, and ring Mod, has a balance control which crossfades between the two filters–enabling a wide array of creative options. For instance, send one group of oscillators through the M/Poly filter, and the other through the MS-20 lowpass. Create a classic highpass->lowpass serial chain, but route one or more oscillators around the highpass. Since this is a continuous crossfade, and not just a switch, you can modulate the A/B Balance for unique effects. The filters can also run in stereo, with separate panning for each of the sources.

multi/poly Structure

Each ‘Program’ starts with four oscillators plus a noise generator, ring mod, sync, and x-mod. Process these through two independent filters, and modulate with four loopable DAHDSR envelopes, five LFOs, and six Mod Processors. Add complex per-voice motion with multi-lane Motion Sequencing 2.0, and polish with three studio-quality insert effects.

This makes up a single Program, and you can layer up to four Programs in a Performance. You can switch between them round-robin style using Layer Rotate, either played from the keyboard or driven from the arpeggiator. And you can use Kaoss Physics to create fluid, evolving modulation from simple gestures on the x/y pad. Four Mod Knobs provide immediate hands-on control of multiple low-level parameters. Two more Mod Processors, Master Reverb, and EQ let you finish the sound.

Motion Sequencing 2.0

Motion Sequencing 2.0 evolved from the wavestate’s Wave Sequencing 2.0. Timing, Pitch, Shape, and four sets of Step Sequence values are separated into “Lanes,” each with their own loop start and loop end, adding a deeper, more customizable level of phrase and modulation recording.

Every time the sequence moves forward, the individual Lanes are combined to create the output. For instance, a step sequence value may be matched with a different duration, pitch, and shape every time that it plays. You can modulate each Lane’s loop points separately for every note, using velocity, LFOs, envelopes, Mod Knobs, or other controllers. Each note in a chord can be playing something different.

Lanes can also randomize the step order every time they play. Individual steps can be randomly skipped, with a modulatable probability from 0 to 100%. The result is organic, ever-changing sounds that respond to your control.

Kaoss Physics

Kaoss Physics models a ball rolling on a surface and bouncing off of walls. The surface can tilt in any direction. A bump with variable height/depth and location attracts or repels the ball. Adjustable friction slows the ball’s travel, and adjustable time controls the speed of the entire model. All of these characteristics are modulatable, so you can change them in real-time.

Start the ball by flicking a finger on the x/y pad, or launch the ball automatically using another modulation source. You can also directly control the ball by holding your finger on the pad. The position of the ball produces eight modulation signals, which can be used to control any modulation destination: the X and Y locations, the distance from the center, the angle relative to the X axis, and finally separate signals for +/- X and +/- Y.

Walls can slow down the ball, as if they were padded, or accelerate the ball, like bumpers in a pinball machine. The walls can also be removed entirely, so that the surface wraps around to the opposite edges like a vintage arcade game.

The modeled environment can create specific modulation effects. For instance, use a centered bump with negative height so that the modulation values always eventually return to 0. Or, position a bump with positive height on a side or a corner, to push modulation values away from that zone.

The result is an interactive controller that amplifies your physical gestures, transforming them into complex musical results.

Production-Ready Effects

Each Layer has three dedicated effects, plus a send to the Performance’s master reverb, followed by a master parametric EQ.

Along with standard effects such as compressors, EQs, choruses, flangers, phasers, and stereo delays, you’ll find distinctive processors such as the Wave Shaper, Talking Modulator, Reverse Delay, Multiband Mod Delay, and Overb (from the OASYS and Kronos), plus modeled effects including VOX guitar amps, VOX wah, Vintage Distortion, CX-3 Rotary Speaker and Vibrato/Chorus, multi-head tape echo, and a collection of classic guitar pedals.

Randomization

A dedicated front-panel button, marked by a “dice” icon, generates new sounds via intelligent randomization. You can randomize the entire sound or just a part of it, such as the oscillators, filter, or effects. Use the results directly, or as a jumping-off point for your own creations.

Set Lists and Smooth Sound Transitions

Set Lists offer easy organization of your multi/poly Performances, and deliver instant access at the gig or in rehearsal.

Smooth Sound Transitions allow previously-played voices and effects to continue to ring out naturally, even once a new sound has been selected.

Connections

Balanced stereo outputs connect to any recording or monitoring system, and a stereo headphone output is great for private playing or onstage cueing. Din-style MIDI jacks ensure connection to other MIDI-equipped instruments and audio gear, and USB supports class-compliant MIDI with Windows and macOS computers.

The multi/poly also has a dedicated Editor and Librarian, for Mac & Windows, which can streamline sound design and managing your sound library.

Korg multi/poly Overview:

Korg multi/poly Audio Demos:

Pricing and Availability:

The Korg multi/poly synthesizer is available now, priced at $899.99 USD.