A short detour to the Polymoog. After its release in 1975, it was every keyboardist’s dream. Maximum polyphony at 71 voices (!), a well-weighted and velocity-sensitive keyboard … the instrument was a must-have synthesizer – at least for those who could afford it.
Quite often, the dream-machine turned into a nightmare, as the technical unreliability of the Polymoog was (and still is) an integral part of the instrument. But beyond that … what can you say? The sound is pure VINTAGE: the buzzing of the electronics, the whirring of the modulations, the sirening of the filter resonance, the overall liveliness … pure magic!
It is obvious that the Polymoog – nomen est omen – is particularly suitable for orchestral textures. The multi-layered and complex sound is supported by 5 (!) separate audio outputs, which allow the individual groups (Mix, Direct, VCF, RES, Mod) to be positioned in the stereo image (or in the entire room in case of 4-channel recording technology). Luxury, at full length!
Two sound examples provide a brief insight into the world of the Polymoog. The following instruments are used:
- Session 1: Moog Polymoog (pads with phaser), Arturia MatrixBrute (sequence), 2x Sequential Pro-One (stereo effects), Korg Monotribe (drums)
- Session 2: Moog Polymoog (pads with phaser + single notes), Roland Juno-60 (solo voice), 2x Sequential Pro-One (stereo effects), Korg Monotribe (drums)