Korg Poly 61 analogue polysynth synthesiser

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The Korg Poly61 is a genuinely unusual and idiosyncratic analogue polysynth. It was Korg's follow-up to the (very nice) PolySix. It's capable of classic synth sounds but has a very interesting, rougher, slightly "dirtier" sound than the typical Roland Juno polysynths, which I think makes it fit into contemporary music really well – better, in fact, than the Rolands (it certainly has better bass than the Junos and JXs). It has a simple interface, easy-to-understand architecture, and can sound very big and powerful if you want it to; but really it's the second oscillator that is the (bizarre) trick up the Poly 61's sleeve. See below for more on that! This would suit anyone looking for classic polysynth tones with an unusual modern edge to them. HIGHLIGHTS • It's an analogue polysynth! Play chords, yay! • 64 programmable patch memories • MIDI retrofitted • Two oscillators, detunable • One full-analogue DCO – very rich and warm sound – square, pulse or sawtooth waves • One really odd, 4-bit digital oscillator – square or sawtooth waves – see below for more details • Analogue filter with resonance • Arpeggiator with multiple modes, latch, speed setting etc • LFO (which for some reason it calls MG, for "Modulation Generator") THE MACHINE The Poly61 is a weird and wonderful synth :-) It was clearly aimed at the Roland Juno lineup: polyphonic, pretty simple in design, analogue. Well... nearly analogue. The thing is, the front panel has a great big lie silk-screened onto it. DCO 1 is indeed a digitally controlled (but fully analogue) oscillator, and it sounds just as you'd hope: rich and warm and powerful. But then it says DCO 2, and that's just not true at all – naughty Korg! The second oscillator is in fact a 4-bit digital oscillator. 4 bits is very crude. You don't hear it so much with the squarewave (because even 4 bits can describe a pretty clean squarewave) but when you dial up the Sawtooth in DCO 2, you get a really grainy, gritty sound. The thing is it sounds absolutely magic mixed in with the pure analogue of DCO 1 – suddenly this thing sounds DIFFERENT to all the other one- or two-oscillator polysynths out there. It's an edgier, rougher, tougher sound and I think it hits the spot much more convincingly in the mix. The sound architecture is very simple, which is good because you're dealing with pushbuttons not lots of lovely knobs! The silkscreening across the top of the panel takes you through every parameter, so it's just a question of dialling up the parameter and tweaking its settings. It's very easy and quick so you can get lots of cool sounds down in no time at all. The signal flow is: two oscillators (which you can detune for really thick, rich sounds), then the filter (with resonance and envelope follow), then the envelope generator itself (which controls both the filter and the amplifier), and finally "MG", which is actually your LFO. There's nothing at all complex here, but when you hit a handful of notes, what comes out is this huge, characterful sound full of attitude! It's great for basses because of that unusual character to the sound – really punchy. Leads are less its thing (you really want sync for lead sounds, which it doesn't have; but then who buys a polysynth for leads? Get a mono!) Pads sound superb on this: you get all the lushness of a big analogue sound but with a bit of extra grain to the texture, which really beds them into a mix well. Synth stabs can be really powerful. I kind of love this synth :-D CONDITION Everything works just as it should. The only operational issue is that very occasionally, a button will double-trigger when you press it, so you go to dial up, say, patch 15 and get 11 instead. It's a very small niggle and it doesn't happen much. Cosmetically the machine is in great condition for its age – the front panel is lovely and clean and there's nothing much to mention in the way of scuffs or scratches. There is one ding in top edge of the left end-cheek and the corners of both end-cheeks have a bit of wear to them, but noth... read more

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