Polymoog
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| Manufactured by | Moog Music |
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| Dates | 1975 - 1980 (Polymoog) 1978 - 1980 (Polymoog Keyboard) |
| Price | $5295 |
| Technical specifications | |
| Polyphony | 71 (Maximum range of keyboard) |
| Timbrality | Monotimbral |
| Oscillator | 2 VCOs |
| LFO | 1 |
| Synthesis type | Analog Subtractive |
| Filter | Low-pass filter, high-pass filter |
| Attenuator | 1 |
| Memory | 8 presets (Polymoog) 14 presets (Polymoog Keyboard) |
| Effects | 3-band EQ |
| Input/output | |
| Keyboard | 71 keys, velocity, split |
| External control | CV/gate |
The Polymoog is a polyphonic analog synthesizer that was manufactured by Moog Music from 1975 to 1980. The Polymoog was based on divide-down oscillator technology similar to electronic organs and string synthesizers of the time, and this led to a certain lack of flexibility compared to later polyphonic synthesizers such as the Yamaha CS-80 and the Sequential Circuits Prophet 5. Coupled with a reputation for unreliability due to its overly-complex design and fragile construction, the Polymoog quickly became outclassed and even derided. Nevertheless they are capable of making some unique and exceedingly powerful sounds, notably the soaring string sounds on Gary Numan's Cars.
The name Polymoog can either refer to the original Polymoog Synthesizer (model 203A) or the largely pre-set Polymoog Keyboard (model 280A) released in 1978. Confusingly, the 203a was originally badged Polymoog Keyboard but this was changed to Polymoog Synthesizer and the Polymoog Keyboard name transferred to the 280a. Serial numbers are said to have begun with the number 1000. The date of production was often written inside the top lid, which is easily removed by turning two knurled nuts underneath at each end of the keyboard and removing the vertical screws along the bottom of the interface sections at the back in under five minutes. Note the lid is not hinged and must be lifted off completely to reveal the layers of circuit boards. The top layer of boards are hinged and must be swung up carefully to reach the individual note cards.
The Polymoog features a 71-note weighted Pratt & Reed touch-sensitive keyboard divided into three sections with a volume slider for each. The synthesizer also has a 3-band resonant graphic EQ section, which can changed to be low/bandpass/high pass. The Moog designed 24 db filter section, allows modulation modulated from its own envelopes, LFO and sample and hold circuit. Ranks and waveforms of all notes are also adjustable combining waveforms, octaves, tunings, and their own independent LFO rates and amounts. Although the user can adjust the sounds of the instrument, the synthesizer also offers presets named "strings", "piano", "organ", "harpsichord", "funk", "clav", "vibes", and "brass". Presets were factory created as physical circuit cards and may be modified for live performance using Var(iation) buttons and triggering a red dot next to the preset number in the display. However the changes cannot be stored internally.
Although criticised by many for its limited programmability, the Polymoog was successful, and its unlimited polyphony was considered revolutionary upon its initial release. Gary Numan was also one of the Polymoog's most recognizable and prominent users employing both versions, most recognisably the Vox Humana preset from the 280a. This searing string sound, especially prominent on the track 'Cars' and most of the album The Pleasure Principle, became his signature sound in the late 1970s and early 1980s. (To re-create this sound one must use the 'Direct' output on the Keyboard to bypass the filter section.) A Polymoog is featured prominently in his music video for "Cars" as well as in live footage from his performances on Top Of The Pops and The Old Grey Whistle Test
The Polymoog Keyboard 280a is a stripped-down version of the Polymoog Synthesizer, although the two are similar in appearance sharing the same case and keyboard. Most noticeably, the right-hand control panel is absent, while the left-hand panel is sparsely populated by just a few sliders, thus giving the user much less control over the sounds. The Polymoog Keyboard does however feature more presets than its predecessor: "vox humana", "string 1", "string 2", "electric piano", "piano", "honky tonky", "clav", "harpsi", "brass", "chorus brass", "pipe organ", "rock organ", "vibes", and "funk". Control over these presets is limited to octave balance, envelope attack, and LFO modulation depth and rate (interestingly, adjustment of these LFO parameters is limited or unavailable on some presets). The lower two octaves may also be split off to play a separate bass tone, with some control over this tone allowed via a dedicated 'bass filter'. Filter control of the main preset sounds is not user adjustable other than via an external controller.
There are a few common misconceptions. In the mixer sliders on the left one may see a horizontal metal bar. Is it broken? No, it was added at the factory to prevent users from accidentally turning the audio fully off on stage or in a music shop. New users may mistake the red LED and centre dual pot for a coarse and fine tuning adjustment circuit. The inside knob and flashing LED are for control of phase beating between waveforms. Only the outer pot is for tuning and is not connected to the LED. Some of the lower and upper buttons on the far right are controls for assigning an external synthesizer and will appear to do nothing if one is not connected. The fastest way to begin modifying a preset is with the Var button on the 203 that is immediately to the right of the presets and then adjusting decay.
A separate foot pedal controller known as the Polypedal (model 285a) with numerous cv jacks interfaces with the back panel. It allows the user to switch between single and multiple triggering of envelopes, and controls for pitch, filter, and sustain. The range of the multi-octave pitch shift is easily limited by a foot-controlled pot allowing for Sun Ra-esque transpositions of chords containing dozens or all notes simultaneously, or a precise small shift of one note.
The Polypedal also can be interfaced with a standalone Minimoog to control its volume, pitch and filter for users who, when playing two keyboards at once, cannot use the Minimoog's pitch wheels. Other Minimoog interface features include a case top designed to hold one neatly on the Polymoog and the ability to have a Minimoog track the lowest or highest note played, with the option of combining the external audio through the Polymoog's mixer. This requires audio and cv cables, but also a simple female to male s-trig cord to gate/trigger the Minimoog's filter and VCA envelopes.
The Polymoog's sturdy cross-braced stand uses the same legs as the Fender Rhodes. Case feet designed to allow air circulation beneath also allow it to sit on other keyboards without using the legs. The fiberglass and aluminum channeled case design easily supports additional keyboards and prevents the case flex problems faced by the competing ARPQuadra. The original machine shipped with a heavy "Genuine Naugahyde" zippered bag. Anvil-style road cases are strongly advised for movement.
This is a keyboard that yields its best results to the player who takes the time to fit themselves to its style. It is not for those who expect the immediate satisfaction of a digital preset. It has character, a rich lush sound, and depth and was designed as much for studio use as live.
[edit] Notable players
- Wendy Carlos
- Tony Banks of Genesis on ...And Then There Were Three...
- Rick Wakeman of Yes on Going for the One and Tormato
- Cat Stevens used it throughout his album Izitso
- Chick Corea used in the albums Romantic Warrior and Musicmagic
- Ryuichi Sakamoto of Yellow Magic Orchestra used world tour and domestic tour live in 1979 and 1980.
- Gary Numan His albums The Pleasure Principle and Telekon are more or less predominated by the Polymoog.
- Isao Tomita
- Geoff Downes of Buggles and Asia
- Richard Tandy of ELO
- John Foxx on his album Metamatic
- Freeez
- Gary Wright On the album "Dream Weaver"
- Ralf Hütter of Kraftwerk used up to 2 of these live
- Jimmy Destri of Blondie used the Polymoog on every Blondie album, until the early 80's.
- Paul Davis used a Polymoog on his 1977 album, Singer of Songs.
- Anthony Phillips who played with Genesis on Trespass album in 1970, and used later the polymoog a lot on his solo like Private parts and pieces albums in the end of the 70', and the "1984" album from 1981.
