We recently found this pic featuring a cute cat and a Korg Polysix on matrixsynth.
More from the matrixsynth post, where you can also see more photos:
via this auction
“Sadly, something has to give. Too much kit in my life!
This is a 1982 Korg Polysix in excellent condition. It’s been fully restored within the past two years, and is in really good cosmetic condition. If you’re looking here, you know the specifications already, so no need for copypasta here.
Old NiCad battery replaced with a brand-new NiMH battery. Not a lithium cell. The CPU card was blissfully unharmed by the usual battery leak problems that these get – check the photos.
The power supply transformer has been replaced with a super quiet, efficient toroidal unit, capable of running at 220V as well as 110V.
One VCF chip – an SSM2044 – was replaced with a brand-new old stock item.
Synth was completely recalibrated and tuned and is working perfectly.
A Tauntek MIDI input board was fitted. This really enhances the machine by allowing MIDI note in, as well as syncing the arpeggiator clock over MIDI.
Yes, I changed out the LEDs for blue ones, while replacing some scratchy, worn pots. Series resistors were recalculated to dial back the intensity. It’s not as piercing as in the photos. Will take some more pics soon. I think they really match the panel decals well, by YMMV. I’m happy to change them back to generic red (or anything, really) for the lucky buyer.”
No, it does not appear that the cat is included.
Additionally, there is a sample of a bass line played on this synth.
“A rather familiar bass-line. I’m just testing a newly-repaired Korg Polysix. This is playing in unison mode, although with only five ganged voices. No effects other than a small amount of reverb.”
When I went synth shopping for the first time in the mid 1980s (right after a birthday), among the first I encountered was one of this instrument’s more modest successors, the Korg Poly 800 II. The Polysix was long gone from the catalogs by then, and it was the time when digital synths were eclipsing analog instruments. I was quickly pulled in the direction of the Yamaha synths that dominated that era.
Winter Modular Eloquencer is the main sequencer with all 8 tracks used for: bass from Verbos Harmonic Osc, 4 drums from 2 Erica Pico Drums.
The chords are formed by Intellijel Shapeshifter, Mutable Instruments Elements and Braids, through Makenoise Erbe-Verb and Erica Black Hole DSP.
The lead and blips are from Tiptop Z3000 and Malekko Anti-Oscillator, triggered by the Varigate 8+.
Other modules, vcas, mixers etc: MI Veils, Doepfer A-132-2, A-143-2, A-134-1, A-138b, A-138p/o, Waldorf KB37, Low-Gain Submix7, Makenoise Maths and Optomix.
No sooner was I back from New York than I found myself preparing for another series of performances, this time in various groups for NextNow Present’s All Tomorrows After Parties 2016 at Berkeley Arts in the town of the same name. The three-day long festival was both a musical showcase for the community and a benefit for homeless action and support in the Bay Area. This article focuses on the first evening which featured a performance by Vacuum Tree Head.
[Photo by Polly Moller]
The band is ever evolving, with a changing cast of musicians joining Jason Berry and Mike de la Cuesta. On this night the band included Amanda Chaudhary on keyboards, Justin Markovits on drums, Richard Corny on guitar, Galen Stagner on bass, and Jason Bellenkes and Joshua Marshall on horns. From just the images alone, one can tell this is a new incarnation of the band, with a well-dressed frontline coincidentally featuring “Nord red”; and a funkier, jazzier sound anchored by a tight rhythm section. You can hear our entire set in this video.
While the funky finale EMS Deluxe might be the most memorable of the set, each song was played well and had something unique to offer. This was my favorite rendition of Nubdug to date. The “Mystic Chord” and Gnostic Charms medley was our most abstract, featuring synth, a Waterphone and complex tones evolving into a driving rhythmic finish. And Hegemony Cricket opened things up with a bang. The set was well received by the audience; and I think everyone in the band that night was very happy with the performance. We hope to play together again as a unit in the not-too-distant future, so please look for updates here on CatSynth and elsewhere.
Vacuum Tree Head closed out an evening that was primary focused on music with words, although like us the first set was entirely instrumental. Joshua Allen and Rob Pumpelly combined forces in a frenetic duo.
Joshua Allen brought his virtuosic saxophone techniques to the performance; and between the two of them the energy never let up for the entire duration of the set. Their set reminded me a bit of the Coltrane album Interstellar Space.
Next up was Cartoon Justice, a noise-jazz project featuring Mika Pontecorvo on guitar, flute, and electronics, Kersti Abrams on winds, Mark Pino on Drums, and Elijah Pontecorvo on bass. They were joined by Meg Pontecorvo who read some of her science fiction writings.
The music moved though a variety of sounds, but had a “space” vibe that complemented that texts. The concept brings to mind Sun Ra, though the sound was more reminiscent of Musica Elettronica Viva, a 1970s Italian improvising group that sometimes featured the likes of Steve Lacy and Frederic Rzewski. Of course, their sound is their own, particularly with Mark Pino’s unique drum style, Eli Pontecorvo’s bass bringing a bit of a rock/metal sound to the mix, Mika Pontecorvo’s electronic manipulations, and Meg Pontecorvo’s words.
Cartoon Justice was followed by Poetics of Narrative, a trio with guitar, electronics, and voice. I spied experimental writer Andrew Joron on theremin.
This group was fun and I liked there sound. It ranged from more noisy moments to playful songs with complex lyrics and melancholy melodies. In addition to the theremin, the performance featured accordion and other instruments among the ever-present small electronics. The combination of elements was reminiscent of the Tone Dogs and other avant-prog groups of that era. And the costuming and theatrics were a welcome addition.
I regret not being able to see the set by Oa, the duo of my friends Matt Davignon and Hugh Behm-Steinberg. But I know that their unique mix of electronic processing and poetry fit into the evening’s theme while taking the concept of music and words in a very different direction from the previous sets.
Overall, it was a wonderful evening of music, and in some ways I am still glowing from our Vacuum Tree Head set. We had a good and appreciative audience, and raised some good funds for the causes. We are grateful to have participated, and in particular would like to thank Mika Pontecorvo, Eli Pontecorvo and Mark Pino for all their help with both our set and the entire event.