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Polymath is ‘Fully Modular’

– in the sense that every thing can be detached and repatched. It doesn’t have to be used as a ‘poly synth’ or a traditional ‘mono synth’. It can be repatched to do whatever you wish. Circuits can be isolated and used in conjunction with other modular synths or synths such as the Telemark.

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. For example, Mixer Out jack is placed next to the VCF Audio In jack. This means that it can be patched up to be a mono/poly synth with a minimal amount of cables or front panel-obsucring!

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’

Some Additional Cool Features

Detune – This flattens VCO2 and sharpens VCO4, so that in Unison mod you can easily ‘fatten’ 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.

Spring Reverb – instantly transforms the sound. This doesn’t have to be patched in as a traditional effect, at the end of the signal chain. Sounds cool when inserted between the Mixer output and VCF input.”

What is Paraphonic?

Ideally, for full ‘polyphony’ in an analogue synth you effectively need a complete analogue synth per voice. That is VCO, VCF, EG and VCA. For an analogue synth this is an expensive affair. So a few synths were Paraphonic (for example the Korg Monopoly). This mean that you still had a VCO per voice, but they shared a single VCF, VCA and EG. This provided cost and space savings.

Why is Polymath using the paraphonic method?

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. I know, I have done it using discrete modules. You end up with a sea of patch cables – and you can barely get to any of the synth’s knobs. I wanted Polymath to be a fully patchable, versatile analogue synth, as well as being polyphonic – not just a one trick pony. Going Para’ was a good comprise, allowing it to both be manageable (patching wise) and polyphonic.

There’s another reason it’s Paraphonic

The way synth’s such as the Korg Monopoly handle polyphony give it it’s own kind of sound (that can’t be put into words here). By making Polymath a paraphonic synth gives it that same sound characteristic that few other synths have.

In poly mode, as you press and release a single key, the synth will cycle through its four VCOs. If you have a slightly different setting on each VCO, as they cycle, you will get a different timbre as each note is played. This sounds pretty amazing – something you will be familiar with if you are lucky enough to own a Mnopoly, Oberheim 4 Voice, etc.

4 VCOs. Each have Pulse Width, Portamento, Saw wave, Square Wave, CV inputs, CV outputs, Sync. VCO1 has Sub-Osc output too
Multimode VCF based on (not a clone) the Oberheim SEM (LPF, BPF, HPF, Notch) with multiple CV control
Audio input, to allow processing of external audio (vocals, for example, from your DAW, etc) through the filter
2 LFOs
2 ADSR Envelopes
8 Step Analogue Sequencer with sliders
Arpeggiator – with Up, Down, Up/Down modes and Octave range
Poly Mode (Paraphonic)
Note Trig/ReTrig
Unison Mode for mega-fatness
Ring Modulation
Sample and Hold
Spring Reverb – a triple spring Accutronics unit is used.
MIDI to CV Converter
Headphone Amp
Real Wood sides made by Lamond Design
2 LED Gooseneck Lamps included
Solid steel and aluminium construction
Carry handle
Includes an assortment of patch cables


Weight 7 kg
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