Korg Polysix Synthesiser For Sale
Korg Polysix Analogue Synthesiser For Sale Or Spares
I have owned this Korg Polysix analogue synthesiser from new & until last year it was still functioning properly but now the keys & lights for the voices are all working but only one oscillating sound comes from the output at different pitches according to which key is played. The internal battery was replaced around 18 years ago but the synth hasn't been played since then until I tried it out last year. I still have the owners manual & a cassette tape to load the sounds into the memory & also a wooden flightcase.
I found the following write up on line about the Korg Polysix.
The PolySix was released in 1981. It is easy to see why some people at the time referred to it as the poor man's Prophet 5. Its size and shape are very similar, excepting the front-to-back depth, which is smaller. It sports the same style of pitch and modulation wheels, and its front panel is graced with a selection of rotary pots and LED-embedded switches. The only thing missing seems to be a 2-digit LED display. The PolySix's livery is the same as its sister synth, the MonoPoly; a black aluminium panel, screen-printed with dark blue blocks dividing the controls into specific sections, with white legending. The whole thing is finished off by dark wood-veneered chipboard end cheeks. The PolySix bettered the Prophet's polyphony by one extra voice (hence its name), but unlike its two-oscillator-per-voice American chum, had only one oscillator for each of its six voices. In the patch memory department, the PolySix had 32 memories (four banks of eight) as opposed to the Prophet's 40 (which, in 1982, became 120).
It has a thoroughly squodgy, plummy character that has more in common with classic American analogues than the Japanese variety, although its 24dB-per-octave, harmonically-challenged filters could hardly be compared with those of the Prophets or Oberheims.
At the time the PolySix was released, even an on-board chorus was a bit of a novelty. Yet Korg fitted the PolySix with no less than three onboard effects; chorus, phasing and an ensemble effect as well, all of which had variable intensity. This particular effect makes it easy to believe you're listening to a synth with a lot more than six oscillators.
Editing of patches is very intuitive; moving any knob causes it to become 'live', and in the absence of a value display, settings are made by ear. The ADSR has an impressively wide range; the maximum attack time is around 18 seconds, decay 25 seconds, and release time also around 25 seconds. The filter, despite being 24dB-per-octave, has a rich concentration of low mids and bottom end. This fullness of sound is partly due to the fact that the PolySix uses VCOs, not DCOs. This, however, does mean that the oscillators' trim may drift slightly over time, requiring occasional recalibration (by a competent service engineer if you're not feeling bold enough to do it yourself).
In the controls/gimmicks department, the PolySix has a few useful features up its sleeve. Chord Hold will remember any chord shape and subsequently trigger it off a single note in any key you wish; great for harmonically ridiculous lead sounds. Unison mode stacks all six oscillators together into a monophonic monster of a sound, and the previously mentioned chorus/phaser/ensemble effect section adds even more weight and movement to the proceedings.
The arpeggiator is something that many folk would like to see re-implemented on current day instruments. The PolySix offers one octave, two octaves or the full keyboard length as its options. It includes up, down, or up/down movements. Also particularly useful is an arpeggio trigger input socket. For each trigger received at the input, the arpeggiator increments by one step, allowing pseudo-sequencer effects in sync with your music.
I am open to offers for this instrument which could be used for spares or may be a simple fix for someone with knowledge of electronics.