I preordered. This thing looks and sounds awesome.
Yea.
I’m actually considering that. Was just talking to a friend about it. If a good, cheap deal pops up, I just might.
Once the global uncertainty is a little more relaxed.
Yeah case looks sweet, but I would pay roughly $120 more to buy the case, if I order from Polyend. If I order local I avoid import tax, but don’t get the case 
exactly my thought, the case seems to be worth is…
still no manual, eh?
And potted succulents
I can’t see it: this thing is bigger and heavier than my MacBook Pro, which also has like 70 keys for about the same tactile interaction experience, just no knob. Of course, it’s a lot cheaper, but I don’t feel inspired to mess with it given my current options on laptop and iPad, and I’ll try anything, then flip it on eBay if I need to.
For sure. Polyends Preset module is such a simple idea but in that format it’s super innovative!
I rewatched the Loopop video again. As he plays the Tracker from a keyboard, it sounds like it has eight voice polyphony from the keybed, not eight separate voices like the Digitakt. It seems to behave natively as the Digitakt does if you connect it to a RK-002 or similar device.
That makes sense, considering its approach to chords within the sequencer, and certainly puts it a step ahead the Digitakt for me personally.
yeah, its just like 8 steps on the tracker with that one sound, should be easy to record a lot of ambient stuff this way, even tho at this stage there are no probability steps used. nice indeed
I totally understand your point, and that point could be applied to why use anything other than a laptop than purchase or explore the almost endless range of musical tools available to make music (guitar, drums, Roland xox boxes, Elektron gear, vintage synths etc, 4 track recorders, effect pedals etc etc) we all choose our tools right? This is just another tool, if you can be inspired and do everything you want on a laptop, then I would only encourage one to continue doing just that. for some of us that’s not how we prefer to work, I use two Mac books on the regular running various trackers and daws, but for me personally I find inspiration in limitations, and hardwares that shifts my perspectives in regards to writing and how I develop my personal skill set. To each is own right? 
I like this and really enjoyed loopops video. One reason why I don’t feel instant buy for me though. I want to see the the internal memory upgraded. I just can’t hang with 90 secs.
therefore the question: is it possible for the different notes to behave independently from each other? like overlapping sounds on one track for instance.
It’s just that it looks plain redundant as opposed to productively limiting. If you have a screwdriver, why go out and get the same screwdriver again? I look hard for reasons to talk myself into trying something new because I’m fortunate enough economically to be able to make this kind of purchase without concern for whatever I’d lose in selling it. But in watching the demos, I’m struck by how much it looks like interacting with a laptop, at about the same level of inspiration or less. Its keys don’t seem to offer an advantage, and there are fewer of them, and the screen is much smaller without anything nifty like touch sensitivity. The one difference is the big knob, but it looks like it’s doing nothing more than increasing and decreasing selected values. I’m the most mouse-hatingest person I know, but in this case using a mouse to slide a value up or down (as opposed to clicking through nested levels of annoyance) looks like virtually the same kind of physical interaction. I’m all for accomplishing similar tasks via different cognitive routes as a way to maintain freshness. For example, my 1010 Blackbox does much less than a computer, but it’s so ergonomically different and so super portable that it lets me work differently when I want to. I’m always looking for at least a little difference that I can jump in on., and I virtually always find it. Polyend’s tracker, though, just looks like a repetition of a laptop in the way you work with it, only much less so without offering a single twist or alternative point of view for me to seduce myself with. Is there something specific that grabs you here?
Since the 8 tracks are monophonic: no, you will need at least two tracks for overlapping notes. The spreading of multiple “concurrent” notes across multi tracks is just a comfortable input feature. The monophonic restrictions of the hardware are still in place.
If you have no problems being productive with a tracker on your laptop, there’s probably no reason to get Polyend’s.
But there are lots of us who use our laptops for our day jobs, and it’s the last thing we want to use to make music.
Imagine if Ableton released a standalone hardware platform for Live. It’d probably be a big seller. Why? Less outside distraction. More focus on the task at hand-- creating music. So we tracker heads feel super lucky to have this offering from Polyend.
It’s the same reason why dedicated hardware still exists in the age of computers. Have you ever wanted to log on to Facebook with your Octatrack? Probably not. It does not help streamline the creative process 
My biggest gripe with the idea of using a laptop for the same thing is that every laptop or computer for that matter has been plagued with issues both hardware and software, I generally don’t even take them out the house or move them around much so it doesn’t exactly inspire confidence in the idea of spending out on a laptop for something like this. From what’s presented so far with the Polyend, I know for certain that I’d be able to make songs that I’d personally be happy with out and about being able to sample things on the go the a dynamic mic. I don’t necessarily need everything that renoise has to offer to make the music I want to make but it is nice to know that projects on the polyend can be exported to Renoise if you do want to take things further.
As an old timer, I used many a software MIDI sequencer on Ataris, Amigas, Macs etc, and spent a lot of time in their vertical, scrolling ‘event lists’. And when ‘affordable’ samplers like the Mirage and EPS hit the scene, I got very good indeed at maximizing sample memory. In fact, I still use both of those machines.
For that reason, I see this is a potentially inspiring little box. While the now-released specs have put some would-be users off, they only serve to remind me why it appeals to me in the first place - limitations that force creativity. I was never more productive than I was in the years after the EPS came out, and it still inspires me today. The limitations force me to take new approaches and a more cavalier attitude about sound quality - something about which I can get a bit too obsessed.
Then again, maybe I simply need to get Renoise…