#KORG MONOPOLY VST MANUAL MOD#
#KORG MONOPOLY VST MANUAL PATCH#

Sounds cool when inserted between the Mixer output and VCF input. This doesn’t have to be patched in as a traditional effect, at the end of the signal chain. Spring Reverb – instantly transforms the sound. There are ‘global’ PWM and Pitch Modulation controls, so that, if for example, you want to apply vibrato to all VCOs equally, you can do that with one cable rather than 4.

#KORG MONOPOLY VST MANUAL MOD#

Some voltages are pre-patched in a sense, via quick and easy to use front panel pot’s or switches, but they can all be effectively removed from the circuit by setting them to ‘zero’ĭetune – This flattens VCO2 and sharpens VCO4, so that in Unison mod you can easily ‘fatten’ the sound. This means that it can be patched up to be a mono/poly synth with a minimal amount of cables or front panel-obsucring! For example, Mixer Out jack is placed next to the VCF Audio In jack.

#KORG MONOPOLY VST MANUAL PATCH#

The position of important patch points have been placed close together, where possible, so shorter patch leads can be used that won’t obscure too much front panel. Circuits can be isolated and used in conjunction with other modular synths or synths such as the Telemark. It can be repatched to do whatever you wish. It doesn’t have to be used as a ‘poly synth’ or a traditional ‘mono synth’. – in the sense that every thing can be detached and repatched. This sounds pretty amazing – something you will be familiar with if you are lucky enough to own a Monopoly, Oberheim 4 Voice, etc. If you have a slightly different setting on each VCO, as they cycle, you will get a different timbre as each note is played. In poly mode, as you press and release a single key, the synth will cycle through its four VCOs. By making Polymath a paraphonic synth gives it that same sound characteristic that few other synths have. The way synths such as the Korg Monopoly handle polyphony give it it’s own kind of sound (that can’t be put into words here). Going Para’ was a good comprise, allowing it to both be manageable (patching wise) and polyphonic. I wanted Polymath to be a fully patchable, versatile analogue synth, as well as being polyphonic – not just a one trick pony. You end up with a sea of patch cables – and you can barely get to any of the synth’s knobs. I know, I have done it using discrete modules. I chose to go Para’ not so much to save money or space, but because to make a truly polyphonic modular synth becomes a patcher’s nightmare. Why is Polymath using the paraphonic method? This mean that you still had a VCO per voice, but they shared a single VCF, VCA and EG.

So a few synths were Paraphonic (for example the Korg Monopoly). For an analogue synth this is an expensive affair.

Ideally, for full ‘polyphony’ in an analogue synth you effectively need a complete analogue synth per voice.

Korg monopoly vst manual