Korg multi/poly native: Going Deep

Korg multi/poly native puts the virtual analog hardware synthesizer in your DAW – but is it powerful enough to hold its own in a crowded market?

You may not immediately think of Korg as a software developer. The company has been building hardware synthesizers for more than 50 years, after all. And yet its soft synth side is no joke, with top emulations available for some of its best-loved classics, like the MS-20, Prophecy and microKorg. It’s also been porting its recent digital synths into the software realm as part of its native series, with multi/poly native the latest to make the transition. The virtual analog synth works great in the hardware realm. Does it still hold up as a software port?

Four-Layer Cake

As with the other synths in the digital series, multi/poly updates a classic Korg instrument for the 21st century. This time it’s 1981’s all-analog Mono/Poly, which can be run as a four-oscillator monosynth or a four-note polyphonic (actually paraphonic – there’s only one filter and VCA) one, with a unique mode that lets you cycle through the oscillators. Set each one slightly differently and you can get massive-sounding chords or unique, alternating arpeggios. multi/poly (both hardware and native) takes this concept and runs with it, giving you not just four oscillators but four individual layers, each with its own quadrant of oscillators, dual filters, VCA, effects and more.

Although it may seem intimidating at first, what with so many layers and synthesis options, if you think of multi/poly native as four complete synths under a top main level holding an arpeggiator, effects, Kaoss Physics (more on this later), and keyboard splits, it starts to make more sense.

The layout itself is divided into three main areas: Play, which is an overview page with all main controls arranged handily; Edit, which lets you make all adjustments; and Librarian, which organizes presets. Despite the wealth of functionality, which also includes per-layer motion sequencing, chords, and effects, plus all the modulation assignments that you’d expect, the GUI is remarkably intuitive, with parameters and features arranged in squares and tabs.

Assigning modulation, which can often be a sticking point for using a soft synth, is also intuitive, with drag and drop assignment from the modulation section, which is always visible at the bottom of the screen no matter what’s happening above it. The four macro Mod Knobs, which appear on the upper right, behave the same way but work across all four layers, useful for assigning high-level control like overall effects changes and modulation.

multi/poly Sound Design

To get an idea of how everything works, rather than explain every section in detail, let’s walk through designing a patch to see how everything comes together.

Basic Synth Patch

Start by loading up an initialized patch by clicking on the preset window or the Librarian tab, selecting User from the categories, and then finally Init Performance. A ‘performance’ is what Korg calls a patch, which includes all four layers plus main functions like top-level reverb and EQ.

Click on Edit and start adding oscillators to Layer A. multi/poly native has three types of oscillators: Classic, or basic shapes; Digital, which is wavetables; and Waveshaper, which gives you Buchla-like folded triangle and sine waves. It’s nice having wavetables in an ostensibly ‘analog’ synth. You can get some nice bells and other sample-like sounds that you couldn’t with just the usual wave shapes.

Next, bring in the filter. The synth gives you a number of different models to choose from, from classic Korgs like the Mono/Poly and MS-20 to more generic ones and even Ladder and SEM types. There are two that you can run in series or parallel; one is good enough for now.

Next, adjust the amp envelope by clicking on the Amp square in the modulation section and adjust the curve, either by dragging on the (rather small) graphic or adjusting the knobs. Finally, add layer effects like chorus and delay, and fine-tune the Main Effects reverb and EQ.

Here’s what one layer with four oscillators and a single filter sounds like:

Korg’s multi/poly may be one of the best hardware synthesizers of recent years (certainly the best of the company’s digital lineup), and multi/poly native is every bit as good

Layer Rotate Arpeggio

Next, let’s hear what multi/poly native sounds like when it’s rotating through layers, so every note is sounded by a different group of oscillators, filters and effects.

The easiest way to do this is to save Layer A as a preset at the layer level, recall it in each subsequent layer, and then tweak each one that it sounds slightly different.

Here’s what that sounds like before engaging Layer Rotate:

Next, turn on the Arpeggiator, either in Edit or on the Play screen.

Here’s what that sounds like:

Finally, on the Play screen, engage Layer Rotate. You can choose the direction that it rotates (forward, backwards, fwd/back, or random), how many layers per note, and other parameters based on performance.

Here it is rotating forwards with one layer per note:

Motion Sequencing

multi/poly native has a Motion Sequencer, which is based on the Wave Sequencer from the wavestate. Rather than affect notes, it targets voices individually. When you combine this with keyboard splits and layers, you can create moving sequences that can either add interest to a pad or even set up multiple lanes for bass and drums. This is also where you’ll set up step modulation sequences.

Here we’re using the Pitch lane to change the pitch of each 1/8 note, with Sequencer A affecting the amount of cross mod with additional shape modification of Sequencer A amounts. Remember, Motion Sequencing is per layer, so you could conceivably do this for every layer.

Here’s what that sounds like:

Kaoss Physics

Lastly, let’s turn our attention to Kaoss Physics. Sort of like a Kaoss Pad with virtual gravity, Kaoss Physics imagines a virtual ball rolling over an X/Y plane, modulating parameters as it moves. You can affect the movement of the ball by creating virtual hills and adjusting things like gravity to modify speed. To assign, drag the miniature Kaoss Pad graphic from the bottom up to the destination.

It’s very unique and powerful but slightly disappointing in that you don’t have a physical pad to play with. For that you’ll need one of the Kaoss Physics-equipped hardware synths, such as the modwave or multi/poly. You can, however, launch the ball with your mouse or assign it to something like a keypress, or draw in movement automation in your DAW.

Here it is with the X axis affecting the amount of cross modulation, the launch triggered by note-on commands, and the ball moving in the Tilt Maze preset configuration:

Price and Competition

At $199, Korg’s multi/poly native is on par with other, similarly specced instruments. (There is an introductory price of $149, although you’ll have to grab it before March 31, 2025.) Owners of the hardware can crossgrade for $49, which is a solid price indeed, especially considering that you can swap presets back and forth. The native version can’t act as an editor, unfortunately, but it would be worth the outlay to have the extra space for programming.

In terms of competition, the obvious comparison is Arturia’s Pigments ($199). They share a number of similarities (indeed, there’s been some criticism that multi/poly native looks a little too much like Arturia’s flagship). Pigments has more oscillator types but multi/poly native has it beat in terms of sheer depth.

If you just need a solid VA soft synth without so many bells and whistles, Korg’s own Korg Collection microKorg ($149) sounds great, although it’s not nearly as powerful. Another one to consider is Diva ($179) from u-he, a stone-cold classic but again, not nearly as comprehensive.

Korg’s multi/poly may be one of the best hardware synthesizers of recent years (certainly the best of the company’s digital lineup), and multi/poly native is every bit as good. With its four layers, it’s got synthesis options for days, plenty of modulation (including the Motion Sequencing section), plus the wild Kaoss Physics. And, it has to be said, it sounds absolutely incredible. This is the code straight from the hardware, after all.

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