The KORG Collection reproduces the original hardware with specially selected improvements necessary for music production. The collection also features polyphonic versions of what were originally mono synths, impossible in the originals, as well as virtual patch support, high-quality effects, and a convenient browser function that allows you to search through a vast array of sound programs. Another highlight is the easy-to-use graphical user interface designed for fast and intuitive use.
The Polysix programmable six-voice polyphonic analog synthesizer was introduced in 1981. With a surprisingly full-sounding voice structure, chorus/phase/ensemble effects and performance functions such as chord memory, arpeggiator, and unison the Polysix became a world-wide hit. Its distinctive string and pad sounds are often heard to this day.
In addition to faithfully replicating the sound of the original, the Polysix for Reason also adds enhancements such as 32-voice polyphony (max), up to 16-voice unison (with detune/spread function), flexible external modulation settings, MIDI clock synchronization, and a spread function that adjusts the spaciousness of the effects --- functionality that brings this classic synthesizer up to date for modern music production.
32 voices of polyphony and up to 16-voice unison (with detune/spread function) were added to the original software. Flexible external modulation settings and MIDI clock synchronization have also been introduced, allowing for sound production with a high level of flexibility and freedom.Now, the KORG Collection MS-20 V2 has two new multi-effects. With a total of 21 effects such as compression, EQ, delay, reverb, and 127 kinds of ready-to-use effect programs, the variety in sound makeup has significantly expanded.
200 new presets have been added to the original presets of the previous KORG Legacy Collection MS-20. There are many new presets that showcase the potential of the MS-20 such as sticky bass sounds - unique to the MS-20 - sounds with unrestricted patching, along with powerful leads that make use of the polyphonic and unison functionality unique to the software.In addition to being able to register sounds that you like as favorites so you recall them immediately, there is a new convenient program browser that allows you to narrow sounds down by type, allowing you to quickly find the sound that you are looking for.
Korg released the original MP4 'Mono/Poly' analogue synth in 1981. The world didn't go bananas for it, although it sold moderately well. In stark contrast to the reverence in which it is now held, the Mono/Poly made hardly a ripple in a world that was still dominated by powerful American polysynths. Many players (myself included) tried it, and wondered why we should be interested in a monosynth with four reasonable oscillators and a high-quality filter when there were Odysseys and Minimoogs available, both of which offered gorgeous oscillators and legendary filters. Or, for that matter, why we should be interested in a 'paraphonic' four-voice polysynth when there were truly polyphonic six-voice Polysixes and Juno 60s to be had (see the 'Polyphonic Vs Paraphonic' box for more on the difference between these terms). It seemed that the Mono/Poly failed to excel at anything.
Of course, new forms of music create new perspectives on existing instruments. Nowhere is this more apparent than for the Roland TB303, which was transformed almost overnight from an annoying, whiney little box into a classic of the acid-house revolution. Whereas, in 1985, things that went squelch were naff, in 1995, they were cool and desirable. So maybe it was inevitable that the Mono/Poly would be re-evaluated, and that it would eventually become one of the most desirable of all Japanese monosynths.
Having said that, the changes (or not) are irrelevant. The important thing is that the effects enhance the synthesizer hugely. For example, in the late '70s I created lead sounds by playing my Korg monosynths through a stereo phaser and then torturing my keyboard mixer's inputs by setting their gains to maximum at 'mic' sensitivity. The results were harmonically complex, but unbelievably dirty, and cut through any mix. Using the integrated effects, I recreated these sounds on the Mono/Poly soft synth in seconds. Then, using the dynamic automation features, I could extend the patches to do neat things such as controlling the phaser's speed and depth and/or the amount of overdrive using aftertouch. I should have thought of this before.
The analog synthesizer Mono/Poly, which was launched at the same time as the Polysix in 1981, combined Korg's analog synthesizers made until then into one ground-breaking synthesizer. Although this was a monophonic synthesizer with a thick sound made up of four voices, it had a groundbreaking specification of also being able to be used as a four-voice polyphonic synthesizer, which was extremely valuable as polyphonic synths were then expensive. It was famous for having the versatility of sound creation using 4 VCO (Voltage Controlled Oscillators) combined with Polysix, such as oscillator sync and cross-modulation.
I've been working with softsynths for 15 years now and am ready to finally say for sure that Korg's Mono/Poly is my favorite. Sometimes over the years I've had doubts, but no longer, I'm sure now. I have Alchemy, Sylenth, Massive, Serum, and have used countless others, and this one, for me and my musical purposes, is the best. It sounds fantastic, is incredibly eclectic, anything from arcade sounds to kicks and snares and a bottomless variety of lead and bass possibilities. A local music shop has a hardware Mono/Poly that they'll loan out to trusted customers, so I had a chance to do a comparison a few years ago, and not only does this plug capture the hardware's sound almost exactly on every patch I compared, the plug actually often sounded *better* and offers true polyphony and an awesome mod matrix and other features as well. (To be fair, I was comparing a computer program to a 35 yo piece of machinery so, take this as ye may.)
The Korg Mono/Poly is the most powerful virtual-analog soft synth that I have. The original hardware Mono/Poly was an excellent monophonic synth that was introduced at a time when poly synths were all the rage. To get some of the polysynth business, Korg enabled a polyphonic mode on the Mono/Poly where up to 4 voices could be played with one oscillator per voice and a shared filter section. This type of poly capability was half-assed and soudned like it. It was hard to fault the Mono/Poly as a monophonic synth, however. The software version cures the weaknesses of the hardware version. They polyphonic capability of the software Mono/Poly allows full polyphonic playing of what were previous 4-oscillator mono patches and there are integrated effects. Naturally, with the modern softsynth you have virtually unlimited program storage.
I usually play the various Korg Legacy synths from my laptop with the little Korg Microkey controller keyboard. I hooked the computer up to my big keyboard with polyphonic aftertouch, and it was a lot of fun controlling the Mono/Poly with the aftertouch. 59ce067264