Review: multi/poly native synthesizer by Korg

Adam Douglas is back with a review of Korg’s latest analog modeling synthesizer, which is inspired by the early ’80s Mono/Poly paraphonic analog synthesizer.

multi/poly native is Korg’s latest hardware-to-software transition. It’s so good, you may want to skip the hardware altogether.

Exporting hardware synthesizers to software plugins is all the rage right now. I don’t mean emulations of analog synths, which has been happening since the very first VSTi, Steinberg’s Model-E, back in 2000. I’m talking about one-to-one ports, where the code from the physical synth is made available for use in your DAW. Korg is a big proponent of this, with its digital series of opsix, wavetstate and modwave all getting the ‘native’ software treatment. multi/poly is the latest to go native – and it may be the best one yet.

multi/poly native: What Is It?

If you haven’t been keeping up, multi/poly the hardware is the fourth in Korg’s digital series of synthesizers inspired by past, classic entries in the company’s catalog. As the name suggests, multi/poly follows in the lineage of 1981’s Mono/Poly, a four-oscillator analog monosynth that was capable of playing each oscillator not only separately for four-note chords but in round-robin succession, best heard in its arpeggiator mode.

The modern multi/poly is a virtual analog synth also with four oscillators. But that’s per layer, and there are four layers, meaning it’s capable of pumping out 16 oscillators per voice. Of course, it’s polyphonic, with all of the bells and whistles that a modern digital synth can provide, including effects, a kind of sequencer and even Kaoss Physics. It’s a deep and powerful synth, and the native version ports it over perfectly to software form.

The Lay of the Native Land

With such a complex instrument, it may be helpful to get an understanding of how it’s laid out. When you first open multi/poly native, you’re greeted by the Play screen. This has everything you need in one place for performing and patch auditioning, including all four layers with the Kaoss Pad, a selection of macro-level modulation knobs, Arpeggiator, and Layer Rotate controls in the center. That last one harkens back to the original Mono/Poly and its round robin voice assignment; more on that later.

The two other main screen are Librarian for keeping track of the many excellent presets as well as Edit, which is where you’ll probably spend most of your time.

I should mention that the look of the synth is somewhat utilitarian, with different sections organized into squares and rectangles. It’s not the most exciting thing to look at but it is intuitive and easy to understand, which goes a long way with an instrument this deep.

Four Layers

A Performance is what Korg calls a full patch in multi/poly native (and presumably the hardware version too). Each Performance includes top-level stuff like the Arpeggiator, Kaoss Physics and Main Effects section plus the four layers.

Each layer is practically a synthesizer in itself, with four oscillators, two filters, a noise generator, ring mod, mixer, modulation including four envelopes and LFOs, a motion sequencer, three effects and an amp with mixer. Frankly, it’s a lot, and that’s just one layer. There are four per Performance, remember.

Looking at the oscillators (four in each layer, remember), you get three types to play with: Classic, Waveshaper and Wavetable. Classic gives you a variety of analog-inspired waves, from basics like saw and pulse to combinations like square/triangle. Each offers a selection of additional controls, such as pulse width and morphing. Waveshaper oscillators, on the other hand, are restricted to two shapes, triangle and sine, but give you a variety of waveshaper tables to rough them up. Think West Coast, Buchla-style tones. Lastly, there are 200 wavetables to choose from for the ‘digital’ oscillator type, plus the ability to load your own.

The two filters are similarly multi-faceted, with 17 different types available covering lowpass, bandpass, highpass and notch types in 2- and 4-pole slopes. As you expect, you get some emulations of famous Korg filters, including MS-20 and Mono/Poly, but also Minimoog Ladder and Oberheim SEM. The two filters can be run in series or parallel.

There’s more – a lot more – including an amplifier section with drive and all different kinds of VCA emulations should you want to get really deep, plus a Motion Sequencer that takes up more than 10 pages in the manual. That’s per layer, remember.

Main Force

As mentioned before, the four layers come together at the main level. Interestingly, there’s no main mixer – all volume is handled at the layer level – but there is a Main Effects section with reverb and overall EQ. You also get four Mod Knobs, which act as macros for cross-layer modulation, such as filter cutoff and amplitude attack. Other main-level parameters include Arpeggiator, Keyboard Zones for splits and layers, and Kaoss Physics.

Kaoss Physics is simultaneously the most unique aspect of multi/poly native and also, perhaps, the most underutilized. It models the behavior of a ball rolling on a physical surface, with parameters like gravity and launch force affecting it, and its position changing modulation. Think of it as a virtual Kaoss Pad with built-in physics.

You can trigger the ball’s launch with a key press or via an external controller like a MIDI device and can drag the ball around with your mouse but for complete control, you’ll need access to an actual Kaoss Physics pad on a physical multi/poly or modwave unit. (Of course, you can always capture the ball’s movement as automation in your DAW.) As it is, though, it’s great fun to get the ball rolling around the virtual plane, changing modulation destinations as it wobbles through the X and Y planes.

Deep But Not Too Complex

Although deep and very, very capable, multi/poly native is not so complex. Everything is intuitively laid out, and things that could be confusing – such as setting up modulations – is done in the standard drag and drop way. If you’ve used a modern synth plugin like Pigments, you’ll feel right at home.

What all that depth does give you is a very full and rich sound. With so many oscillators, filters, effects and modulation, and motion possibilities, multi/poly native excels at ‘big’ sounds like pads and atmospheres. The addition of wavetables also opens it up to more modern sound design options, freeing you from basic analog waveforms. However, the synth’s just as adept at simple tones like synth basses and leads – just put it into mono mode and you’re good to go, just like with the original Mono/Poly.

Speaking of the Mono/Poly, what about that round-robin mode? Looking at the presets, you’ll notice that most Performances don’t use more than two or three layers. All together, 16 oscillators is a bit much. But with Layer Rotate switched on, multi/poly will cycle through the layers per note, great for arps and unusual chord shapes.

Some sound examples of the multi/poly:

Final Thoughts

To put it simply, multi/poly native is a triumph. It’s deep without being overly complicated, exceedingly powerful, and sounds amazing. I would not be disappointed if I spent the $900 for this on the hardware so getting it for $149 (introductory price) is a steal. In fact, I actually prefer the software version as it’s so much easier to program with the additional screen real estate. (Owners of the hardware may want to take advantage of the $49 crossgrade price. While you can’t use native as an editor, you can swap presets between the two versions.)

I’ve never understood the desire to have just one synthesizer, but if I was forced at gun point to sell everything and be stuck with only one, it would very likely be this.

Thanks Adam, for your take on the multi/poly!

Available in VST3, AU and AAX plugin formats for Windows and Mac, multi/poly native is still on sale for the intro price of $149 USD at Plugin Boutique and from the KORG store until March 31st, 2025 (regular $199 USD).

Adam Douglas is a music technology writer based in Japan. When he’s not writing for outlets like Attack Magazine, Gearnews and Music Radar, he can usually be found in his studio making ambient music or else out searching for the perfect bowl of ramen.