With the Roland SH‑101 and the Sequential Pro‑One gobbling up the monosynth market and Roland’s new Juno‑60 redefining what was possible for a low‑cost polysynth, it had nowhere to go and was discontinued just two years later.īut some time after the turn of the century, people started to get rather excited about the Mono/Poly. The Polysix - and, to an even greater extent the Roland Juno‑6 - thus seemed to render it obsolete even as it was announced. Its complement of a single VCF and a single VCA placed it firmly in the paraphonic rather than the truly polyphonic camp: you could play four separate notes at once, but they wouldn’t each have their own filter or envelope. Perhaps this was because people saw it as an under‑endowed polysynth rather than as an interesting monosynth.
Korg launched the Mono/Poly in 1982 but, from the outset, it was seen as a bit of an evolutionary mistake and was always overshadowed by its six‑voice sibling, the Polysix. We test Behringer’s take on an underrated Korg classic.
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