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Korg Polysix
Korg Polysix
Korg Polysix
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Polysix
KORG Polysix
ManufacturerKorg
Dates1981[1]
PriceUS$1095
UK£899
Technical specifications
Polyphony6 voice
TimbralityMonotimbral
Oscillator1 VCO with 1 sub-oscillator per voice
LFO1
Synthesis typeAnalog Subtractive
FilterResonant low-pass
Attenuator1 x ADSR
Aftertouch expressionNo
Velocity expressionNo
Storage memory32 patches
EffectsChorus, Phaser, Ensemble
Input/output
Keyboard61-key
External controlCV/Gate

The Korg Polysix (PS-6) is a six-voice polyphonic analog synthesizer released by Korg in 1981. It was one of the first affordable polyphonic synthesizers on the market, and was released as a cheaper alternative to the Sequential Prophet-5 and Oberheim OB-X, priced at approximately a third of the cost of its contemporaries in the polysynth market.[2] It includes one VCO per voice, enhanced by a chorus/ensemble effect for added richness. It also comes equipped with 32 program memories and an integrated arpeggiator.[3]

Development

[edit]

Before the introduction of the Polysix, Korg had not yet ventured into the market of modern, polyphonic synthesizers that featured dynamic voice allocation. During this period, the market was dominated by microprocessor-controlled synthesizers such as the Sequential Circuits Prophet 5 and the Oberheim OB-X. Instead of directly competing with these high-end synthesizers, Korg aimed to create a more accessible and cost-effective instrument with the Polysix. Upon its launch, the Polysix was one of the first polyphonic analog synthesizers available for under $2,000 in the United States and £1,000 in the United Kingdom, marking a significant milestone in making polyphonic synthesis more accessible to a wider audience.[4]

In order to reduce costs, the Polysix was designed with only one oscillator per voice, unlike its contemporaries, the Prophet-5 and OB-X, which featured two oscillators per voice. To compensate for this limitation, the Polysix incorporated built-in chorus, phaser, and ensemble effects, each with adjustable intensity, which were creating utilizing a bucket brigade analog delay line design. At the time of its release, the inclusion of an on-board chorus was relatively uncommon.[1]

The Polysix offered six-voice polyphony and also included 32 memory slots for patch storage, a cassette port for backing up patches, and an arpeggiator. The release of the Polysix was just months before Roland introduced the Juno 6, which was a main competitor to the Polysix, and also featured a single oscillator per voice and an onboard chorus effect.[1]

Sounds and features

[edit]

The Polysix features a straightforward synthesis architecture. Each of its voices is equipped with one oscillator capable of producing a sawtooth wave, variable pulse wave, or pulse-width modulation (PWM) outputs, with the PWM option having a dedicated low-frequency oscillator (LFO). Additionally, a sub-oscillator provides the option to add a square wave at one or two octaves below the main VCO pitch. The filter has controls for cutoff frequency, resonance, envelope amount and keyboard tracking. Its envelope generator, which is of the ADSR type, includes a unique centre-zero control, allowing users to choose between normal and inverted envelope shapes.

The VCA can be operated from either the envelope or a gate signal. The combined output of all voices can be processed through an effects section, which provides three modulated delay-based effects: Chorus, Phaser or Ensemble. These effects significantly enhance the sound, contributing to its richness and depth, a key feature at the time of release.

Repair and Retrofits

[edit]
Leaking Polysix battery having corroded PCB traces on the KLM-367 board

One weakness of the technology was the construction of the KLM-367 programmer board. To store the sounds, the volatile RAM chip had to be buffered by a storage battery. This battery would start leaking after a couple of years, and the alkaline battery fluid would eat away the traces on the programmer board PCB, damaging the synthesizer, as well as shorting circuitry as the battery fluid is conductive.[5] To fix it, the broken PCB traces have to be replaced by soldering connections; as an alternative, there are clones of the programmer board available made by several sources.[6][7]

As the original Polysix did not have MIDI, retrofits have been made available e.g. by Kenton,[8] Tubbutec,[9] and Kiwi Electronics.[10]

Software

[edit]

In 2004, Korg released a software emulator of the Polysix as part of the Korg Legacy Collection, which offers a digital emulation of the Polysix with modern features like MIDI compatibility and additional controls.[11] The Polysix Legacy engine was included as part of the LAC-1 expansion for the Korg OASYS in 2006,[12] and was also included as one of the sound engines in the Korg Kronos, released in 2011.[13]

In 2013, Korg introduced an iOS emulation of the Polysix for the iPad called iPolysix[14] as well as a Polysix instrument for Propellerhead Reason 7.[15]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Korg Polysix

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from Grokipedia
The Korg Polysix is a six-voice polyphonic introduced by in 1981, featuring a 61-note keyboard, programmable patch memory for 32 sounds, and built-in effects including chorus, phaser, and . This instrument marked a pivotal advancement in affordable analog synthesis, utilizing voltage-controlled oscillators (VCOs) with sawtooth and pulse waveforms (including and sub-oscillator), a (VCF), amplifier (VCA), and envelope generator (EG) per voice, all integrated via custom integrated circuits for reliable . Its design emphasized intuitive front-panel controls for real-time sound shaping, with an assignable LFO for modulation of pitch, filter, or amplitude, and modes supporting both polyphonic and (monophonic) operation. Priced under $2,000 in the and £1,000 in the UK at launch, the Polysix democratized polyphonic synthesis, delivering warm, versatile tones particularly suited to strings, pads, and brass emulations through its effects section. As one of Korg's best-selling early synthesizers, it influenced subsequent models like the Poly-61 and remains celebrated for its fat analog character and historical role in expanding electronic music production accessibility.

History and Development

Development

In the late 1970s, the synthesizer market saw the rise of polyphonic instruments such as Sequential Circuits' , introduced in 1978, and Oberheim's OB-X, launched in 1979, which set a high standard for professional-grade but at premium prices exceeding $4,000. , seeking to democratize access to polyphonic synthesis, initiated development of the Polysix to offer a cost-effective alternative amid this competitive landscape. Under the leadership of Tsutomu Katoh, 's president, the company prioritized affordability and practicality over flagship specifications, aiming to target working musicians rather than directly challenging established high-end models. Key engineering decisions focused on while maintaining essential functionality. The employed a single (VCO) per voice across its six-voice , avoiding the multiple oscillators per voice found in pricier competitors to keep component expenses low. To enhance tonal versatility without additional hardware, the team integrated delay (BBD) chips—specifically three MN3004 units—to implement built-in chorus, phaser, and effects, simulating the richness of more complex setups. Prototypes utilized Solid State Microelectronics (SSM) chips, including the SSM2044 for the and SSM2056 for generators, providing reliable performance derived from proven analog designs. Development progressed rapidly, with the Polysix conceptualized around 1980 and finalized for production in early 1981, culminating in its release later that year. This timeline allowed to leverage existing analog expertise from earlier models like the MS-20 while incorporating innovations such as 32 programmable patches and a cassette interface for storage. The pricing strategy targeted $1,095 in the , positioning the Polysix as the first polyphonic under $2,000 and making true accessible to a broader audience of performers and hobbyists.

Release and Reception

The Korg Polysix was released in 1981, marking it as one of the earliest affordable polyphonic analog synthesizers available to musicians. Priced at US$1,095 in the United States and £899 in the , it democratized access to six-voice at a fraction of the cost of premium models like the Sequential Circuits Prophet-5. A key selling point was its memory system, featuring 32 preset patches and 32 user-programmable slots, which allowed for quick recall of complex sounds via cassette interface or manual entry. The instrument's launch emphasized these capabilities alongside its integrated effects, positioning it as a versatile tool for both live performance and studio work. The Polysix enjoyed strong initial market reception, with sales totaling around overall, driven by its value-for-money appeal in an era when polyphonics often exceeded $3,000. It was praised for bringing professional-grade synthesis to a broader audience, though some critiques noted its particle-board construction felt less robust compared to competitors' metal chassis. Contemporary reviews highlighted the Polysix's innovative built-in effects section, including chorus, , and phaser modes via (BBD) technology, which added lush modulation without external gear. An August 1982 review in Electronics & Music Maker called it a "winner" for its rich orchestral tones and sturdy build at £1,200, dubbing it an essential instrument for budget-conscious players. Similarly, coverage in Keyboard magazine around the same period commended the effects for enhancing its warm, versatile sound palette. Early units faced minor controversies over tuning stability, with some users reporting drift due to the analog circuitry's sensitivity to and component tolerances, though these were often resolvable via .

Design and Specifications

Technical Specifications

The Korg Polysix is a 6-voice polyphonic featuring a 61-key velocity-insensitive keyboard spanning five octaves from C to C. It supports polyphonic operation for up to six simultaneous notes, with additional modes including monophonic (stacking all voices on one note) and chord memory for holding chords. The instrument includes 32 programmable memory locations for storing user patches, with factory presets loadable via cassette interface. Power requirements are 25 watts at local AC voltage (50/60 Hz), compatible with 100-120V or 220-240V regions via internal selection.
CategoryDetails
Keyboard61 keys (C to C), non-velocity sensitive, octave selectors (16', 8', 4')
Polyphony6 voices; monophonic unison and chord memory modes available
Dimensions980 mm (W) × 373 mm (D) × 132 mm (H)
Weight11.5 kg (25.4 lbs)
ConnectionsAudio output: 1 × 1/4" mono line out (high/low level switchable)
Headphone: 1 × 1/4" jack
Tape I/O: Cassette interface for backup (in/out)
Chord Trigger In: 1 × 1/4" jack (S-trigger)
Trigger in: Arpeggiator sync (S-trigger)
CV in: VCF modulation (-5V to +5V)
No native (retrofit kits available)
PowerAC 100-120V/220-240V (50/60 Hz), 25 W consumption
Memory32 patches (programmable, cassette loadable)

Signal Architecture

The Korg Polysix employs a polyphonic voice structure consisting of six independent voices, each equipped with one (VCO), one (VCF), and one voltage-controlled amplifier (VCA). Envelope generators and effects processing are shared across all voices, allowing centralized control of dynamic and spatial characteristics while maintaining per-voice signal generation. This architecture enables true analog for up to six simultaneous notes, with voice assignment handled by a dedicated key assigner . The primary signal flow per voice begins at the VCO, where waveforms (sawtooth, pulse, and sub-oscillator) are mixed before passing to the VCF, a 24 dB/ that shapes the . The filtered signal then routes to the VCA for control, after which all voices converge into a shared effects chain implementing chorus, phaser, or via (BBD) delay lines for modulation depth and speed. This post-VCA effects application adds lush, analog warmth to the summed output without per-voice variation. Key components include CEM3340 integrated circuits for the six VCOs, providing stable oscillation with waveform selection and capabilities; SSM2044 chips for the VCFs, delivering the characteristic resonant low-pass response; and discrete transistor amplifiers for the VCAs, ensuring linear gain control under or gate modulation. These elements contribute to the Polysix's distinctive analog tone, with the CEM and SSM chips reflecting era-typical semiconductor designs for compact . Polyphonic allocation is managed by an 8049-based voice assigner on the main voice board (KLM-366), which scans the 61-note keyboard and assigns available to pressed keys using rotary assignment with last-note priority in poly mode. In mode, all six stack on a single note for thicker monophonic output, detuned slightly for chorusing effects, while the shared envelopes— one ADSR for VCF and one for VCA—apply uniform attack, decay, sustain, and release parameters across triggered by individual key gates. This logic supports efficient note stealing if all voices are occupied, prioritizing newer .

Features and Capabilities

Oscillators and Filters

The Korg Polysix features six voltage-controlled oscillators (VCOs), one per voice, serving as the primary sound sources for its polyphonic architecture. Each VCO generates sawtooth and pulse waveforms, with the pulse wave supporting pulse-width modulation (PWM) for tonal variation, alongside a sub-oscillator producing a square wave at selectable intervals of one or two octaves below the fundamental pitch. Octave selection allows transposition across 16', 8', and 4' ranges, while detune and octave controls provide pitch adjustment and extended range flexibility, with chorusing available via the dedicated effects; the overall frequency spanning approximately 8 Hz to 16 kHz to cover sub-bass to high-lead registers. The filter section employs a per-voice voltage-controlled (VCF) based on the SSM2044 chip, delivering a steep 24 dB/ roll-off for smooth frequency shaping. adjusts from 50 Hz to 15 kHz, allowing broad tonal control from muffled warmth to bright openness, while boosts the point up to self-oscillation for whistling peaks and formant-like effects. Keyboard tracking modulates proportionally to note pitch (0-150% range), ensuring even timbre across the keyboard, and intensity applies positive or negative modulation for dynamic sweeps. Envelope shaping is handled by dual ADSR generators shared between the VCF and voltage-controlled amplifier (VCA), providing attack times from 10 ms to 10 s, decay and release from 20 ms to 15 s, and sustain levels from 0% to 100%. This configuration allows precise control over note articulation, with the VCF influencing filter sweeps and the VCA managing , optionally simplified to a gate-on/gate-off response for organ-like sustain. These components yield the Polysix's signature warm, analog tones, characterized by creamy SSM filter response and stable VCO output ideal for lush , deep basses, and piercing leads. Classic patches, such as evolving string ensembles or brassy stabs, leverage the resonant filter and PWM detuning to evoke 1980s synth textures, often enhanced briefly by modulation routing for added movement.

Effects and Modulation

The Korg Polysix features integrated analog effects including chorus, phaser, and , realized through three Panasonic MN3004 512-stage (BBD) chips that process the mixed output from all six voices post-VCA. These effects enhance the polyphonic timbres with spatial depth and movement, using a selector switch to choose between chorus (for detuned doubling), phaser (for sweeping notches), (for intensified chorusing simulating additional oscillators), or off, complemented by speed and depth controls that govern the modulation rate and effect intensity. In polyphonic mode, the effects are typically engaged to contribute to the instrument's lush, orchestral-quality sounds, though they can be disengaged via the switch; the BBD implementation imparts a signature analog warmth and low-level noise that defines the Polysix's polyphonic character. Modulation is provided by the onboard Modulation Generator (MG), a low-frequency oscillator (LFO) offering triangle and square waveforms as sources. The triangle waveform routes to VCO pitch (vibrato), VCF cutoff (filter sweeps, referencing the self-oscillating low-pass filter), or VCA level (tremolo) via a destination selector switch, with adjustable rate, delay time for gradual onset, and amount controlled by the modulation wheel. A separate square waveform LFO dedicated to pulse-width modulation (PWM) allows dynamic waveform variation on the pulse oscillator. The Polysix's modulation routing remains straightforward and internal, limited to MG sources without a programmable matrix or external inputs in the original design, though retrofits can expand these options. In unison mode, all voices stack for monophonic thickness, but stock functionality lacks inter-voice VCO synchronization or frequency modulation (FM), elements often added via modifications to emulate more complex interactions. This focused modulation approach, combined with the effects, enables versatile polyphonic expression central to the instrument's appeal.

User Interface and Controls

The Korg Polysix features a 61-note keyboard spanning from C to C, providing a five-octave range without velocity sensitivity or aftertouch, which was standard for analog synthesizers of its era. The instrument's front panel is organized into distinct sections for VCO, VCF, VCA, EG, MG, effects, and arpeggiator, with most parameters controlled via color-coded sliders and toggle switches for intuitive real-time adjustments. Wooden-veneered end cheeks frame the panel, contributing to its classic aesthetic, while pitch bend and modulation wheels sit to the left of the keyboard for expressive performance control. Programming on the Polysix occurs in real-time edit mode, where users select a patch using (A-D) and program (1-8) buttons illuminated by LEDs, then adjust sliders and switches to shape sounds, with changes audible immediately. The offers 32 patch memories across four banks of eight, preloaded with factory programs that can be overwritten, protected by a write-enable switch to prevent accidental changes. To store a modified patch, the user enables write mode and presses the write button after selecting the destination, though there is no alphanumeric display or patch naming—only numeric LED indicators for selection. For , patches can be saved and loaded via a built-in cassette interface using the tape enable button and dedicated input/output jacks, allowing transfer to standard audio cassettes in about eight seconds. The workflow emphasizes hands-on tweaking, such as adjusting parameters like attack, decay, sustain, and release via dedicated sliders for dynamic . However, the Polysix lacks built-in automation, sequencing, or connectivity, requiring external equipment like sequencers or controllers for complex setups and limiting standalone performance to manual control and the onboard arpeggiator.

Usage and Legacy

Notable Users and Applications

The Korg Polysix gained prominence among progressive rock and metal keyboardists in the 1980s and 1990s. Geoff Downes, keyboardist for Asia, incorporated the Polysix into his extensive live rig during the band's early tours and recordings, appreciating its warm analog tones for choir-like ensemble effects and polyphonic layers. Similarly, Jens Johansson, known for his work with Yngwie Malmsteen and Stratovarius, favored the Polysix as one of his primary instruments for crafting signature synth leads, particularly on Stratovarius albums such as Episode (1996) and Visions (1997), where its versatile oscillators and filter contributed to the band's neoclassical power metal sound. In the electronic music scene, the Polysix found applications in ambient and IDM productions during the 1990s. Eat Static utilized it for lush pads and atmospheric layers in their psytrance and tracks, leveraging the built-in chorus/ensemble effects to create evolving textures. Global Communication employed the Polysix in their IDM productions, utilizing its polyphonic capabilities for immersive soundscapes. The Polysix's practical applications extended to both live and studio environments. In 1980s progressive rock and metal performances, artists like Downes integrated it for real-time polyphonic string sections and dynamic solos, often stacking it with other keyboards for layered arrangements. In studio work, its six-voice polyphony and modulation options made it ideal for building rich, evolving textures such as brass stabs and sustained pads, as seen in Johansson's lead constructions. Post-1983 MIDI retrofits, available from manufacturers like Kenton Electronics, enabled seamless integration with sequencers, allowing users to sequence arpeggios and parameter changes for more complex compositions in electronic and rock productions. In the 2020s, the Polysix has seen renewed interest in retro productions, where its signature lush pads—inspired by the original's oscillator and filter design—inform emulations and hardware revivals by modern electronic artists seeking nostalgia. also utilized the Polysix for its lush ensemble effects in productions.

Cultural Impact

The Korg Polysix, released in 1981, marked a significant milestone in history by democratizing , making six-voice analog accessible to a broader range of musicians at an affordable of around $1,000—far below competitors like the Sequential Circuits Prophet-5. This breakthrough helped bridge the analog and digital eras, as the Polysix combined traditional paths with innovative digital patch memory storage via a cassette interface, paving the way for hybrid designs that blended warmth with programmability. Its success inspired other manufacturers to pursue similarly budget-friendly polyphonic instruments, accelerating the shift toward more inclusive markets in the early . The Polysix's rich, organic tones contributed prominently to the pop and rock landscape, particularly in new wave and , where its versatile oscillators and filters produced lush pads, brassy leads, and orchestral strings that defined the era's sound. These characteristics extended its legacy into electronic genres, with the synthesizer's sounds frequently sampled or emulated in ambient, experimental, and broader electronic music productions for their distinctive analog character. As of 2025, collector values for fully functional units typically range from $1,200 to $2,000 or more, reflecting demand in the growing retro music scene. In terms of design influence, the Polysix's integrated (BBD) chorus and phaser effects—using three MN3004 chips for a lush ensemble—popularized built-in modulation in affordable synthesizers, a feature echoed in later offerings like the DW-8000 and influencing the trend toward all-in-one instruments. Its user-friendly interface, including 32 programmable patches and an advanced arpeggiator, played a key role in the home studio revolution, empowering independent producers with professional capabilities previously confined to high-end studios. Modern appreciation for the Polysix remains strong, as evidenced by its inclusion in documentaries like Alex Ball's 2022 Korg feature film, which highlights its engineering legacy, and in authoritative books such as Mark Vail's Vintage Synthesizers (2000, revised editions), which details its impact on analog . In 2025, the vintage market continues to trend upward, with analog instrument values appreciating amid a resurgence of retro-inspired ; announcements of affordable clones, such as Behringer's planned eight-voice PolyEight (a Polysix variant), underscore ongoing demand and the instrument's timeless cultural resonance.

Maintenance and Modifications

Common Issues and Repairs

One of the most prevalent hardware issues in vintage Korg Polysix synthesizers is the leakage of the rechargeable Ni-Cd CMOS RAM on the KLM-367 board, which can cause severe of traces, sockets, and nearby components like the Z80 CPU and RAM chips. This corrosion typically manifests as intermittent or complete loss of patch memory, dead voices, or failure to retain settings after power-off, as the battery maintains for the 32 user patches and program data. The original Varta-branded battery, rated at 3.6V, was prone to failure after 30-40 years due to degradation, exacerbating damage if not addressed promptly. Repairing battery leakage involves several methodical steps to mitigate and restore functionality. First, disconnect power and remove the KLM-367 board by the battery and extracting affected ICs (e.g., IC7 Z80 and IC8 RAM) to prevent further damage during cleaning. Clean corroded traces and pads using a mixture of 90% and , or a mild solution for heavy oxidation, followed by thorough rinsing and drying; resolder components only after verifying continuity with a . For enhanced results, technicians recommend ultrasonic cleaning baths with a deoxidizing solution to remove residue without abrasion. Replacement batteries include 3.6V Lithium battery kits (such as Syntaur's, which include a ) or non-rechargeable 3V CR2032 coin cells with a blocking and holder to prevent charging damage, as the circuit trickle-charges the backup. These are readily available from specialized suppliers, ensuring long-term stability without directly to the board. Post-repair, recalibrate memory backup voltage to 3.6V as specified in the service manual. Beyond battery problems, voice circuit failures often arise from degraded SSM2044 dual VCF/VCA chips or SSM2056 envelope generator ICs on the KLM-366 voice board, leading to missing notes, distortion, or uneven across the six voices. These chips, integral to each voice channel, suffer from and age-related parameter drift, resulting in dead or weak voices that require socketed replacement with modern reissues to avoid repeated . Tuning instability is another frequent complaint, typically caused by electrolytic capacitor degradation on the oscillator and filter boards, which alters pitch tracking and stability over time; a full recap with high-temperature, low-ESR equivalents (e.g., 105°C rated) resolves drift and improves overall intonation. Additionally, sticky or unresponsive keys stem from dust accumulation and oxidized carbon contacts on the Fatar-style keybed strips, which can be refurbished by disassembling the keyboard, cleaning strips with warm soapy or DeoxIT contact cleaner, and lightly abrading with a pencil eraser for restoration. Essential tools for DIY repairs include a digital multimeter for continuity and voltage checks, a temperature-controlled (40-60W) for precise desoldering, and an to verify in voice and tuning circuits. Professional servicing, often encompassing battery replacement, recapping, and voice chip swaps, typically costs $500-1000 or more as of 2025 depending on damage extent and availability, as some shops have ceased support for this model; DIY efforts range from $100-300 for parts alone. Replacement components, including batteries, capacitors, and SSM chips, remain accessible in 2025 via vendors like Syntaur and marketplaces such as Reverb, supporting ongoing maintenance of these instruments, though parts is increasing. As of 2025, availability of professional repairs has diminished, with some technicians no longer accepting Polysix due to parts and repair complexity; DIY remains a viable option with accessible components.

Retrofits and Upgrades

The Korg Polysix, originally lacking MIDI connectivity, has benefited from several aftermarket retrofit kits that add modern digital interfaces while preserving its analog architecture. One of the earliest and most basic options is the Kenton Electronics MIDI retrofit kit, introduced in the , which provides MIDI In, Out, and Thru ports along with channel selection for incoming notes (MIDI numbers 36-84) and basic velocity sensitivity. This kit enables fundamental control from sequencers or DAWs but does not include advanced sequencing or CV outputs. In the 2020s, more comprehensive MIDI solutions emerged, such as Tubbutec's ModyPoly (previously known as Modysix), a CPU replacement board that offers full In and Out implementation, including polyphonic aftertouch support when paired with a modified keybed, arpeggiator , and output of sequences or chords via . It also integrates a programmable PowerArp sequencer capable of up to 128-note polyphonic sequences in modes like up, down, alternating, or random, with features such as recording and transpose functions added in version 2.0. Unlike basic kits, the ModyPoly extends play modes to include polychord, extended unison, and microtuning scales via an optional HiRes upgrade, facilitating deeper integration with contemporary setups. Other notable upgrades address hardware reliability and expand functionality beyond MIDI. The Kiwi Electronics KiwiSix replaces the original KLM-367 voice assigner and memory board, which is prone to from its internal NiCad battery, with a modern equivalent using for battery-less preset storage of up to 512 tones. This upgrade incorporates full In and Out with SysEx and NRPN support for precise parameter control (up to 4096 steps), an 8-track 124-step polyphonic sequencer, chord memory, and arpeggiator modes, all while maintaining the Polysix's core sound engine. By eliminating the battery entirely, it prevents future damage to RAM circuits and traces, a common failure point in vintage units. Installation for these retrofits varies but prioritizes non-destructive approaches where possible to avoid altering the original circuitry irreversibly. The Kenton and Tubbutec kits involve straightforward board swaps with minimal , often completed in a few hours by users with basic skills, while the KiwiSix requires more involved to replace the KLM-367 board but includes detailed instructions and components like an IEC power inlet. Costs typically range from $200 to $750 as of 2025, depending on the kit: Kenton approximately 550−550-750 USD, Tubbutec ModyPoly approximately 190−190-265 USD, and KiwiSix at $295 USD plus shipping. These modifications enhance DAW integration through sequencing and automation, with some like the ModyPoly enabling poly aftertouch for expressive control when combined with aftertouch-enabled keybeds. Recent developments in the include Tubbutec's updates for the ModyPoly, such as , which improved sequencing with real-time legato handling and rhythmic break points for more dynamic arpeggiation. Community-driven modifications have also focused on compatibility, such as the Vintage Synth Lab's NoisySix kit, which adds CV-controllable noise generators and LFOs via patch points, allowing the Polysix to interface with modular systems for expanded modulation options.

Software Emulations

Korg Legacy Collection

The Legacy Collection, introduced in 2004, marked 's entry into software emulation with the Polysix as one of its inaugural offerings, providing a digital recreation of the 1981 using Component Modeling Technology (CMT) to replicate the original's (VCO) and filter (VCF) behaviors at the circuit level. This initial version faithfully modeled the Polysix's core sound engine, including its six-voice and built-in effects like chorus, phaser, and ensemble, while adding modern enhancements such as an expanded arpeggiator and step sequencer for greater creative flexibility. In the 2010s, the Polysix emulation evolved into version 2 as part of the expanded Collection series, introducing 32-voice —far exceeding the original hardware's capabilities—and support for up to 16-voice unison with detuning and spread functions to emulate analog warmth. Key additions included two new multi-effects units offering 21 total effect types, such as delay and reverb, alongside the original's BBD-based chorus, phaser, and , with CMT ensuring accurate reproduction of analog instabilities like detuning and BBD noise for authentic tonal character. The update also provided 300 factory presets, emphasizing strings and pads, to streamline . Subsequent integrations extended the emulation's reach, with the Polysix engine incorporated into Korg's workstation in 2008 and the Kronos in 2011, allowing hardware users to access modeled Polysix sounds via EXi expansions without separate software. By 2025, Korg Collection 6 refined the overall suite with UI improvements, including a program browser for easier preset navigation, though the Polysix itself saw no major engine overhauls, maintaining its CMT-based fidelity. Available as VST, , and AAX plugins for Mac and PC, the software supports seamless DAW integration. Complementing this, the iPolysix iOS app, released in November 2012, offered a touch-optimized interface for iPad and , adapting the emulation for mobile production with controls over VCO, VCF, and sequencing.

Third-Party Emulations

Several third-party developers have created software and hardware alternatives inspired by or emulating aspects of the Polysix's analog polyphonic design, offering modern users access to similar sounds without relying on official products. In the software domain, the Polysix Rack Extension for , released in 2012, provides a detailed emulation integrated into the Reason DAW as a rack device. This version replicates the original's subtractive synthesis engine, including its VCF, VCA, and effects like chorus and ensemble, while adding enhancements such as up to 32-voice and 16-voice mode for broader possibilities. It also includes sensitivity and aftertouch support, making it suitable for contemporary production workflows within the Reason ecosystem. Hardware emulations include the DeepMind series, introduced in 2016, which shares architectural similarities with the Polysix through its path and polyphonic capabilities, though expanded to 12 voices per model. The DeepMind features dual analog VCFs (inspired by classic designs) and extensive modulation options, allowing users to approximate Polysix-like timbres via its four-part multitimbrality and built-in effects. More direct hardware cloning efforts are represented by the Polyeight, announced in 2021 as an eight-voice replica of the Polysix. This instrument mirrors the original's oscillator, filter, and envelope structure, with upgrades like increased , modern /USB connectivity, and an improved for easier programming. As of late 2025, production updates indicate an impending release, positioning it as an affordable analog alternative for Polysix enthusiasts. Other options in the 2020s include partial inspirations from plugins like u-he's Repro-5 (2016), which draws on vintage analog poly synth aesthetics similar to the Polysix for its warm, characterful tones, though focused primarily on modeling. For mobile users, apps such as Animoog (2012) offer tangential polyphonic synthesis experiences with expressive controls, enabling portable approximations of 1980s analog poly sounds. Community-driven freeware like Dexed provides adaptable FM synthesis capabilities that can be programmed to evoke Polysix-inspired textures through careful patch design, though it emulates the rather than direct analog modeling. Limitations across these emulations often include incomplete replication of the Polysix's signature (BBD)-based chorus and phaser effects, leading users to supplement with external plugins; additionally, community patches shared on forums can help bridge these gaps.

References

  1. https://www.korg.com/us/products/software/kc_polysix/
  2. http://www.korguser.net/re/polysix/POLYSIX_EFG.pdf
  3. https://www.vintagesynth.com/korg/polysix
  4. https://www.soundonsound.com/reviews/korg-polysix
  5. https://www.gearnews.com/the-history-of-korg-synthesizers-synth/
  6. https://www.soundonsound.com/music-business/history-korg-part-1
  7. https://www.synthmania.com/polysix.htm
  8. https://gearspace.com/board/electronic-music-instruments-and-electronic-music-production/937527-tips-simulating-polysix-ensemble.html
  9. https://syntaur.com/keyboard.php?keyboard=Korg_Polysix
  10. https://www.synthark.org/Korg/Polysix.html
  11. https://producerhive.com/editorial/korg-polysix-history/
  12. https://www.sounddoctorin.com/synthtec/korg/polysix.htm
  13. https://www.youtube.com/watch?v=cbNNxz8kKkk
  14. https://www.muzines.co.uk/articles/korg-polysix/4332
  15. https://gearspace.com/board/electronic-music-instruments-and-electronic-music-production/1177756-classic-analog-poly-synths-how-many-were-made.html
  16. https://forum.vintagesynth.com/viewtopic.php?t=45607
  17. https://www.vintagesynth.com/sites/default/files/2017-05/p6user.pdf
  18. https://www.oldcrows.net/~oldcrow/synth/korg/polysix/inspection2.html
  19. https://gearspace.com/board/electronic-music-instruments-and-electronic-music-production/609494-find-cem3340.html
  20. https://electricdruid.net/ssm2044-lp-filter-designs/
  21. https://cdn.korg.com/us/support/download/files/8cd053287f07dd501dc4bda2b22507f2.pdf
  22. https://www.midera-artist.com/korg-polysix-kiwi-edition/
  23. http://synthhacker.blogspot.com/2014/01/polysix-poly-unison-mode.html
  24. https://equipboard.com/pros/geoff-downes
  25. https://www.panix.com/~jens/instruments.par
  26. https://equipboard.com/pros/jens-johansson
  27. https://www.soundonsound.com/people/eat-static-chart-success
  28. https://www.synthtopia.com/content/2012/08/28/vintage-synthesizers-i-korg-polysix/
  29. https://forum.vintagesynth.com/viewtopic.php?t=71652&start=15
  30. https://kentonuk.com/product/polysix/
  31. https://reverb.com/p/korg-polysix
  32. https://www.ebay.com/sch/i.html?_nkw=korg+polysix
  33. https://www.youtube.com/watch?v=FSzT2lAiDWE
  34. https://www.musicradar.com/music-tech/synths/were-here-to-break-the-barriers-and-put-powerful-instruments-into-the-hands-of-real-musicians-not-collectors-heres-the-2025-update-on-all-the-synths-and-drum-machines-that-behringer-has-announced-that-arent-in-the-shops-yet
  35. https://vintageking.com/blog/best-synths-of-2025/
  36. https://synthanatomy.com/2023/04/behringer-polyeight-korg-polysix-clone-with-two-more-voices-more.html
  37. https://www.deepsonic.ch/deep/docs_manuals/korg_polysix_service_manual.pdf
  38. https://www.florian-anwander.de/korg_polysix/polysix_service_manual.pdf
  39. https://syntaur.com/Part-4447-Battery-kit-Korg-Polysix-Poly-61
  40. https://www.oldcrows.net/~oldcrow/synth/korg/polysix/index.html
  41. https://forums.syntaur.com/t/korg-polysix-keyboard-repair/853
  42. https://www.oldcrows.net/~oldcrow/synth/korg/polysix/inspection.html
  43. https://rosensound.com/pages/repairs-restorations
  44. https://kentonuk.com/wp-content/uploads/2019/05/KGP65000.pdf
  45. https://kentonuk.com/product-category/retrofit-kits-and-socket-upgrades/korg/retrofit-kits-korg/
  46. https://tubbutec.de/files/ModyPoly-User-Manual-v2.0.pdf
  47. https://tubbutec.de/modypoly/
  48. http://www.kiwitechnics.com/kiwisix.htm
  49. https://tubbutec.de/product/modypoly/
  50. https://modwiggler.com/forum/viewtopic.php?t=143770
  51. https://www.korg.com/us/products/software/korg_collection/
  52. https://www.korg.com/us/products/software/ipolysix_for_ipad/
  53. https://www.musicradar.com/news/behringer-polyeight-model-15
  54. https://www.reasonstudios.com/shop/rack-extension/polysix/
  55. https://www.gearnews.com/meet-the-clones-behringer/
  56. https://www.synthtopia.com/content/2021/04/02/behringer-polyeight-copies-korg-polysix-ups-polyphony/
  57. https://u-he.com/products/repro/
  58. https://asb2m10.github.io/dexed/
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