Although I haven’t listened to any demos or watched videos yet, after looking through the manual I’d wager this one’s not for me. I can imagine some people will find it very attractive, though. At the least, I think Polyend’s design is visually inviting, if a bit bland or sterile. It looks friendly to use (similar in that regard to Circuit Tracks, my first groovebox and still a device I can appreciate). The name is kind of ridiculous though And I have to wonder at a voice count of 8 across all three machines. For $500 I’d think they could squeeze in a bit more silicon horsepower, especially since it’s not a full groovebox like the Play, but a dedicated synth.
I look forward to hearing what people do with it. Oscillator Sink put up a video on it, I’m sure I’ll give that a watch soon.
I find the concept of playing 3 synthesizers at the same time and that they influence each other very exciting. However, the sounds I’ve heard so far have been rather boring. But maybe that’s because the factory presets that everyone uses aren’t that great. Would love to see something where someone dives deep into the sound design.
I don’t understand why this is so underpowered. Going for a better CPU costs what, an extra $50?
Must be a platform thing (like Elektron). They’re working on next gen hardware and in the meantime, they expand the range with the one they have now to test the waters and get more experience.
I sure hope that it’s something they can move on from. In a way I can understand Tracker. That was launched at a time when there were some limitations on parts (although it was launched as the pandemic hit - so I’m assuming the big decisions about processing power etc were made well before its launch.) It reminds me a little of how there was quite a small gap from Push 1>2, but a bigger one from Push 2>3, and similar for Maschine.
But I must admit it would be nice to see more of a sustainable approach where devices get a lot of love for a good while. In terms of what is being made, as of the moment Tracker (OG) is now discontinued (unsure about support and future firmware?), but Play and Play+ are still being sold and supported. This seems in line with other makers. I’ve heard some stores are still selling Digitakt I and Digitakt II side by side, and I also notice NI and Novation have done this where their current line of keyboards (Launchkey mk4, Kontrol mk3) are on sale with the previous versions still an option at a discount.
it thinks it’s cool and refreshing they offers so many types of synthesis into one small affordable package. the video from sonic lab offers more insight to what kinds of weird sounds you can make with this new thing. i’m not interested because i just bought a DNII and a minilogue XD. But i can see the appeal.i think it sound really good too ( i look at you sh4d, the worst synth i bought ?)
On the other hand the Sh-4d really shines when it comes to effects: for each tone you get EQ plus a dedicated effect (lots of algorithms, also multi-effects), plus three send effects (again, lots of choices for the algorthms here), plus a master effect, master EQ and master compressor. That makes a hell of a difference when all you get is one stereo output.
The Polyend Synth only has 3 send effects. So there is no way to use a different modulation effect or a different delay for each synth. But maybe nobody misses that, because that seems to be the standard architecture for multitimbral devices these days. Except for the Sh4d and the S4, maybe I just need to look for things with a “4” in the name in the future
On a sidenote: it’s a bit weird that a GUI that is suitable for complexity is rarely found on complex devices, and devices with great GUI often are not that complex.
I use my Play at the beginning of the midi chain exactly for this reason. Play>DT. It’s been very stable and I’m actually liking it. Using the midi tracks on the Play to get quick random sequences for the DT has sped up my workflow quite a bit.
Basic triads with a release time longer than 0 plus a bass and lead = voice stealing. Realistically I’m not going to do all three of those things at once on the Polyend Synth, it’s just not how I usually make music. If I want to layer a chord patch with some ear candy/ sparkles/ sfx to make a more complex sound, I suddenly have to plan around the note limit. Really though, I’m not so sure that’s actually a problem. The more I talk about this, the more it feels like I’m being an ungrateful twat falling into the trap of "no matter what a developer does, it’s the wrong thing and people will always ask for more."If it had been been 8 voices and one timbre I’d have never thought to bring this up.
If I look at this as an interesting 8-voice desktop synth with a variety of engines and an optional multitimbral mode, it’s much more appealing and suddenly looks like it could potentially sit in the same spot as my Microfreak, but I know that’s my strong consumerist impulse talking.
I assume the reason is processing power/ cost, which is reasonable, but I’m always a tiny bit disappointed when this is the case. I shouldn’t be, because I almost always record dry and add FX in the DAW. But I am.
…a decade ago, for 500 bux this would have been a no brainer for me…
and always great to see, in poland they’re not only top notch when it comes to handcrafting but also when it comes to braincrafting…!
but for me and my bitwigging mono mind, there’s only one square ribbon multicoloured mpe hw controler left to buy in this life…and that’s a push3…thanx to moss, who made it possible…
And I have to wonder at a voice count of 8 across all three machines. For $500 I’d think they could squeeze in a bit more silicon horsepower, especially since it’s not a full groovebox like the Play, but a dedicated synth.
