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Polyend Synth

Item: SYN0009115-000

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Digital synthesizer with 8 voices, 8 synthesis engines, cross-track chord structures, arpeggiator, sequencer and effects. All product info

£ 416.00

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Polyend Synth

Polyphonic multi-engine synthesizer

Digital synthesizer with 3 parts
Polyphony: 8 voices for all parts
Dynamic voice assignment
Note-dependent cooperation of the 3 parts
8 synth engines (ACD, FAT, VAP, WTFM, PHZ, PMD, GRAIN, WAVS)
Multimode filter (4x lowpass, 4x highpass, 4x bandpass, 2x notch)
3 ADSR envelopes
2 LFOs
Modulation matrix with 6 entries
3 assignable combo controls
Effects (5x delay, 3x reverb, 4x modulation)
Polyphonic aftertouch
3 arpeggiators / sequencers at the same time
Arpeggiator with 14 types, swing, groove and wide octave range
Sequencer with grid programming, up to 64 steps pattern length & shuffle
60 velocity-sensitive RGB pads
OLED display
MicroSD card slot
Stereo output
MIDI inputs and outputs
incl. USB power supply, USB-C cable, audio adapter, MIDI-TRS adapter, 16GB MicroSD card

The Polyend Synth at a glance

With the SYNTH, Polyend presents its first stand-alone synthesizer, which attracts attention with a number of special features. The purely digital sound generation comprises eight widely adjustable synth engines, which are musically very versatile and easy to use at the same time. These engines can be used on the three parts of the SYNTH and share the eight-voice polyphony. The number of voices a sound, i.e. a part, can have is determined individually, but the limit is eight voices. If you need a pad sound with two oscillators for the next pattern, this is just as easy as setting up the main pattern with a four-voice chord, a monophonic Bassline and a percussive Physical Modelling sound. The highlight here is that the parts can work together musically! If you play a lead sound on the first track, the second track is able to generate the appropriate chord accompaniment. The same applies to the simultaneous use of three arpeggiators; if you wish, the SYNTH can create interlocking musical structures across tracks. The three parts are played and programmed using the 60 velocity-sensitive RGB pads, which generate additional polyphonic aftertouch. Various settings change the access to the directly playable notes and which pads are specifically assigned to the parts. These settings are primarily differentiated by their color layout and the position of the assigned primary note.

The multi-engine sound generation

The synth scores above all with its versatile, digital sound generation, which covers a number of electronic genres. EDM, ambient, trance and basically everything where Chords and exciting arpeggios off the beaten track are required are its métier. The eight synthesizer models make do with a manageable number of parameters and bring the sonic focus to the point:

ACD takes on the 303 theme
FAT delivers the rich sound of Vintage synths with 3 oscillators
VAP moves into the terrain of an analog poly synth with 2 tone generators
WTFM combines 2 operator FM synthesis with wavetable oscillators and a triple feedback system
PHZ is based on Casio's phase-distortion synthesis with a modern twist
PMD masters Physical Modelling synthesis and is able to simulate the physical behavior of stringed instruments, but also wood, glass or metal
GRAIN is the granular engine with Burst and cloud mode and therefore perfect for rhythmic textures and ambient layers
WAVS offers Morphing between Wavetables with detailed control over scanning and phase shifting

Almost all engines are equipped with a good-sounding multimode filter with lowpass, bandpass, Highpass and notch characteristics with 12dB and 24dB flavors. Three ADSR envelopes for filter, volume and aux are available for modulation. There are also two LFOs, which can oscillate in sync with the clock if required, and a clearly arranged modulation matrix with six entries. Regardless of whether you work with monophonic or polyphonic sounds, the available options provide a wealth of sounds that can be adjusted quickly and easily.

Effects!

The popular salt in the soup when it comes to spicing up sounds. Three effect blocks can be used in parallel: Delay scores with two Delay lines and five algorithms. This also makes polyrhythmic delay effects possible. Reverb offers three modes and ranges from a tiled bathroom to the Grand Canyon. The third effect block is dedicated to modulation effects and masters chorus, flanging and a few wild things beyond these tried and tested standards.

Driving sounds & sequences

Each of the three parts can be brought to life with either an arpeggiator or sequencer. The arpeggiator in particular shines with 14 types, swing, groove and a wide octave range, which clearly sets it apart from the usual standard. In sequencer mode, the classic grid programming method is used. Patterns can be up to 64 steps long and can also be shuffled. The RGB pads are the central input function in both modes. Additional control is provided by the three combo controllers, which can be used to control parameters of all parts simultaneously or, for example, parameters that can be accessed secondarily. After a short learning curve, the SYNTH allows you to make music quickly and intuitively. You soon realize that it is often only moments from the idea to the implementation.