Korg Multi/Poly Review: Bridging the Analog and Digital Divide

The Korg Multi/Poly aims to bridge the gap between classic analog sound and modern digital control, instantly conjuring up memories of the VA (Virtual Analogue) golden years, with modern innovation to keep it on a par with today's offerings, and a sound engine that you can get lost in for days. In this review, we’ll cover the keyboard version of the hardware as well as the Multi/Poly Native software plugin and librarian components.

A New Take on a Classic

The original Korg Mono/Poly, released in 1981, was known for its four VCOs and unique voice modes. The new Multi/Poly, while inspired by its namesake, is not a re-creation. Instead, it expands on the concept with a hybrid approach. It uses Korg's ‘Analog Reality’ technology, which includes component level modeling in each of the virtual ‘voice cards’, giving each voice a slight, organic variance, similar to true analog instruments. The Virtual Analogue nature of the Multi/Poly also allows for a huge range of flexibility too, with not only Mono/Poly features being modeled, but also characteristics of other synths too. Korg has included numerous filter models, including very convincing MS20 style and SEM style filters, but also multiple behaviour types for envelopes, the VCAs and more.

Hardware: Control and Performance

The hardware can be had as a desktop or rack mountable module, as well as the three octave keyboard version we tested. The build is plastic, yet solid, with the wooden ends differentiating it from its siblings, namely the Wavestate, Modwave and OpSix. The front panel is neatly laid out with plenty of control, however, considering the depth and multi-layered nature of its patches, many of the parameters are shared across physical controls via light up selection buttons or shift functionality. Initially, you can find yourself lost as to which envelope, oscillator or filter you may be adjusting. On that note, we would have preferred a second set of controls for ADSRs as switching between filter and amp envelopes can be frustrating. Parameters can be linked though via four macro knobs for easier control of multiple parameters. Personally, although perhaps helpful for live performers, we found the Kaoss pad to be somewhat of a gimmick at times and it only really realizes it’s full potential on complex patches utilizing multiple layers. That space could have perhaps rather been used for more dedicated controls.

The front panel also features a LCD screen. It’s clear and provides enough room for information that needs to be displayed. An essential when you again consider the depth on offer here. There is no shortage of menu diving to tweak oscillator characteristics, envelope responses and so forth, and it is made much more palatable by the display.

The keyboard itself feels good enough, although has no aftertouch, let alone poly aftertouch, despite the synth engine being MIDI 2.0 compliant. The lack of aftertouch is also confusing considering the inclusion of performance orientated features like the Kaoss Pad. On the connectivity side, it’s a fairly standard affair with USB-MIDI, pedal input, traditional MIDI In/Out, and a stereo pair of audio outputs.

Software: The Multi/Poly Editor and Native Plugin

Out of the box, the hardware ships with an editor/librarian. It’s important to note that it is a stand alone application, not a plugin. You can’t run it in your DAW. Edits and saving of patches happen on the hardware itself. It essentially operates as a remote control over the USB connection, making tasks like patch saving and naming, management of wavetables, setlists, the motion sequencer lanes, more advanced mapping of controls and modulation routing a breeze. We’d really like an option though capable of working as a plugin. The Multi/Poly has a rather odd MIDI implementation, with no dedicated CC values assigned to parameters. It will accept CC values, but those have to be manually mapped on a per patch/performance basis, so controlling parameters from a DAW is not a simple process without an editor.

A work around for this is to purchase the Multi/Poly Native plugin, which is fantastic, sounds identical and allows you to essentially have unlimited instances running in a project. Owners of the hardware receive a coupon that hugely discounts the price. Unfortunately, there is no real connection between the Native version and the hardware aside from the fact that patches are compatible between the two. You can’t control the plugin from the hardware, aside from the macro controls and Kaoss Pad which transmit CC, and creating a patch on the hardware doesn’t mean it’s immediately available in the native version. It has to be manually exported first and imported into the other. Hopefully this is something that Korg can rectify in the future as in its current state, it is rather clunky.

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Synthesis Architecture: Layers of Sound

So, complaints aside, this is where things get interesting. The Multi/Poly’s four-layer architecture can be very inspiring, and with the inclusion of not only analogue modeled oscillator modes, but also wavetable and wave-folding options, this feels like the most flexible out of Korg’s offerings in this line, with it being able to cover a huge range of sonic territory. It sounds fantastic. Both the wavefolding and wavetable oscillator modes have additional warping options on top of the plentiful selection of wavetables and algorithms, and user wavetables can be imported from.wav files and stored via the librarian. The modeled filters are fantastic too, with options for a Minimoog style ladder, a SEM variant, Mono/Poly and MS20 style filter. Most have high pass and band pass variants as well as band reject modes.

There are 60 voices of polyphony shared between these layers, each featuring 4 oscillators, 4 envelopes, 4 LFOs, 3 digital effects slots and 4 lanes of control from the motion sequencer engine. This makes for huge layering sounds or patches with detail and intricate movement. Coincidently, this flexibility is also one of it’s biggest pain points. In both the software and hardware experiences, it can be a little overwhelming having to switch between pages and layers constantly. In the native plugin version for instance, where there could potentially be far less limitations, you still can’t view both filters simultaneously, and only settings for one mod source can be viewed at any given time (either an envelope, LFO etc.).

Speaking of modulation, there are a ton of destinations available and any of the mod sources can pretty much be freely assigned along with the performance controls, a range of modulation processors, and some additional options like Note On random values. The process is reasonably intuitive on the hardware, and for the Native version, just a simple click and drag of a source will create a connection.

Motion Sequencing 2.0: Dynamic Control

While we thought the Kaoss Pad was a little niche, Korg’s Motion Sequencing 2.0 is an inspired and rather ingenious addition to the already hefty selection of modulation options. It also elevates the arpeggiator from mildly disappointing (it’s rather basic and can’t be turned on/off for individual layers) to a powerful tool for complex sequences.

In practice, there are 4 lanes consisting of values which can be assigned to any parameters, a pitch lane for melodic sequences, a gate/trigger lane which can be used to retrigger the various envelopes too, a timing lane governing the length of each step, and a shape lane which can be used in conjunction with the value lanes to apply additional envelope or LFO style movement. The sequences can be advanced by a note trigger from the arpeggiator too. The real fun though starts when the sequence lengths and directions are altered, creating complex and incredibly satisfying, ever evolving polyrhythmic patterns and movement. On top of that, enable the novel ‘Layer Rotate’ mode that will cycle through layers for four times the fun.

Conclusion

The Korg Multi/Poly is a well-rounded synthesizer. It successfully blends analog-style warmth with powerful digital control. Its virtual analogue engine sounds gorgeous and the hardware provides a pleasant tactile experience, albeit slightly complex at times. It’s well worth picking up the Native plugin too, although we’d love to see better integration between that and the hardware, or at the very least, a plugin version of the librarian software. While perhaps not an ideal synth for an absolute beginner due to its depth, the Multi/Poly would make a great addition for anyone looking for a 'do it all' workhorse. Whether you are into classic synth sounds, experimental sound design, or performance, the Multi/Poly has something to offer.

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Pros

It sounds really good.

Tons of tonal range, from warm analogue to harsh digital tones.

The multi-layer architecture is complex and inspiring.

Huge array of modulation options

Tons of polyphony

Motion Sequencing 2.0.

Native plugin option is a super useful addition.

Cons

Flipping between layers of shared controls and menus can be confusing and cumbersome in both the software and hardware.

Arpeggiator can only be turned on per performance and not per layer.

No aftertouch on the keyboard.

Better integration between the Multi/Poly Native plugin and the hardware would be great, or otherwise, a plugin variant of the editor software.

Korg Multi/Poly Alternatives

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