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Variations on a
Theme
When the
model 203a Polymoog was released, for the first two years of production it
was know as the "Polymoog Keyboard". In 1978, a new version of
the Polymoog appeared. This was designated the Model 280a and was know as
the "Polymoog Keyboard" and the 203a was now re-branded as the
"Polymoog Synthesizer". As if Luce's naming policy wasn't already
confusing enough, the prototype 280a had gone back to using the
"Apollo" name initially and from its physical appearance, looked
as though it may have been aimed at the domestic "home organ"
market!
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Where the new
Polymoog Keyboard (280a) differed was that whilst very similar internally,
the 8 presets were now expanded to 14, (Vox Humana, String 1, String 2,
Elec Piano, Piano, Honky Tonk Piano, Clav, Harpsi, Brass, Brass Chorus,
Pipe Organ, Rock Organ, Vibes, and Funk).
The first obvious difference however, was that
many of the synthesizer controls had been stripped out, making it
essentially a "preset machine" with more limited tweak-ability.
With many of the synthesizer controls missing, (the right hand section of
the control panel now being completely blank) what controllers remained
were rudimentary main volume, pitch adjustment over both VCO's using the
beat function, the pitch controller ribbon, volume for each of the three
keyboard sections, a high pass filter with control over level and a range
of 60 to 300Hz) adjustment, attack rate and controls for the modulation
amount and rate.
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Where the
280a differed from the 203a sonically was in the new preset patches available.
Each patch being hardwired with its own circuit meant that although there
was very definitely a core sound common to both models, it was not possible
to recreate the new Vox Humana sound on a 203a, (due to the unique filter
configuration of each circuit). You might achieve something vaguely
similar, but it would never be able to match the distinctive high pitched
haunting wail of this very unique Vox Humana sound.
It has to be
said that if it wasn't for the Vox Humana patch, (immortalised by Gary
Numan) the 280a would have very little to offer. Rather like the original
Mellotron or Roland VP330 Vocoder choir sounds or the TB-303 bassline, or
CR-78 / TR-808 / TR-909 drum machines, this is one of those unique and
distinctive sounds that is instantly identifiable and in the case of Vox
Humana, practically un-sampleable due to the complexity and delicacy of the
sound. It might be possible to create a passable imitation with a huge
multi-sampled set of each of the 71 notes at various velocities, (you would
probably need at least 250-500Mb) but then you would be unable to recreate
the pitch ribbon controller or vary the modulation as you would with the
real thing.
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