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"I love this. It's a big secret weapon for us. I really love how if you really want to emulate a Minimoog, this is the best thing to do it with. It's like four oscillators, and it stays on tune and just works really well. We don't use this for many basses. Part of the reason why we don't use this for a bass is that for bass lines we tend to privilege keyboards that are MIDI enabled just because you can lock it in with the drums and it stays on. This one is not MIDI, so we use this more for like leads and funk flourishes. It gives you a million different ones. Also more like soundtracky patches. This is a great synth. It has all these great options right where you turn the effects on and off... it's just an amazing synth. There's chord memory - great synth!"more
["They used to have those walls of modular synthesizers and crazy guys were taking those on the road,"](http://www.wired.com/2011/11/tycho-synthesizers/#slideid-539777) Hansen said. "They tried to kind of simplify it and add some functionality. But it doesn't sound anything like [the Minimoog]. It's kind of its own thing. This is more disco-y, like electronic, '70s dance."more
RA interviewer asks him "Let's talk about the Korg Mono/Poly. Do you remember when you first came across one?" Marc Houle: "In the mid-'90s I was trying to get rid of all my digital stuff because I was really tired of the sound, and so I traded in some stuff and got a Mono/Poly" And there is a picture showing the Korg Mono/Poly.more
During Legowelt's Studio Tour for *Future Music Magazine*, at 2:33 Legowelt says that it's "…one of my favorite synthesizers cuz’ it’s really really strange, it has four oscillators which you can play together or polyphonically…you can do all kinds of exotic stuff with it”. At 2:58 Legowelt plays the synthesizer and provides examples of what it can do.more
The Korg Mono/Poly can be seen in this photo from an interview with [Attack Magazine](http://www.attackmagazine.com/features/interview/james-holden/2/). During the interview, James Holden asks: [To photographer:] Do you want me to move some of my accounting paperwork off that Korg so you can see it properly? I bet you left it like that on purpose! It’s a really crass, heavy-handed visual metaphor for the business overwhelming the music. [Laughs] It really is, isn’t it?more
?SYNTHS: What’s your most prized possession in the studio? Shawn Rudiman: Hmm, that’s a tough call. All of the kids are loved equally but if I’d say the MPC 3000. He’s on every single time I’m in the studio. To me, it’s as good as its ever going to get. Also, add the Prophet VS, The 440, Sequential Circuits Pro-One and Oberheim Xpander to that list as well.more
The oldest synth in my collection, and the newest addition to my studio. There's something about the Mono/Poly that makes it more than it's spec sheet — it just has so much soul and character, the kind of weird idiosyncrasies that draw you in and reward you for exploring. It's the kind of synth that you point to when explaining the difference between real analog synthesis and the digital emulation found in a plug-in. Beyond really loaded words like "character", what makes the M/P special? Well, you have four oscillators to play with, as well as a killer filter and some really interesting modulation possibilities. You can switch it from a monosynth to a 4-voice poly, which adds more options. But what really makes the M/P special is the arpeggiator. You can have it run as a traditional arpeggiator in Unison mode, but the fun really starts when you play with the arpeggiator in Poly mode. It will then use each of the four oscillators as a step in the pattern, and you can tweak each oscillator to use different waveforms, octave spread, volume and tuning. So you end up with an arpeggiated pattern that has a unique sense of motion. It's absolutely unlike most gear out there, and it's amazing.