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Say Hello to Synth: an Interview with Polyend

Polyend CEO Piotr Raczyński on Synth's History + Workflow

Chris Hadley · 11/12/24

Polyend is a Polish electronic instrument company that has been creating innovative tools for musicians over the past nine years, all starting with their ineffable robotic percussion interface, Perc in 2015. Since then, Polyend has made a name for itself creating sequencers and samplers, releasing multiple grid and tracker-based interfaces for creatively organizing musical material. All the while, these instruments have had some slick and flexible sound design tools for manipulating samples and even generating synthesized tones, though the focus of their devices remained firmly devoted to creative sequencing and automation control.

Today, Polyend introduces a new approach to design with the Synth - a three part multitimbral and multialgorithm digital synthesizer that boldly invites realtime interaction and performance while staying true to Polyend's knack for creating intelligent, grid-centric devices. With a wide range of synthesis types from virtual analog to granular, captivating effects, and a configurable grid layout with innovative chord-following tools, Synth excels at powerful and intuitive sound design while enabling new modes of expression through its unique interface.

To get to know this new instrument, we spent some time making music with the Synth before talking with Polyend's founder, Piotr Raczyński. In our conversation, we talked about how Polyend came to the design principles behind Synth, and how it fits into Polyend's broader goal of empowering musical creativity with technology. After peeling back the curtain on the process of design and beta testing with artists, we're more excited than ever to see how this unique and wonderful sounding instrument inspires musicians towards new expressive territories. Read the full interview below!

An Interview with Piotr Raczyński of Polyend

Perfect Circuit: Hello Piotr! Thanks for taking the time to answer some questions about the powerful new Polyend instrument, Synth. Before diving into some deeper details about the instrument, I'm curious about the Synth's name and what it tells us about your design goals with the instrument. While obviously the most synth-forward unit in Polyend's contemporary offerings, its unique interface sets it apart from what most people think of when they hear the word. What led you to choosing the straightforward moniker for Synth?

Piotr Raczyński: Initially, we called it "Wave." I checked the trademark availability in the US, and since it was available, we registered it. However, we later discovered that it was already reserved in the EU. To avoid any trademark disputes, we decided to change the name.

Next, we considered calling it "Synthesis." I appreciated the dual meaning of the word. One aspect relates to sound, while the other refers to blending various ideas to create something new. The meaning is fitting, but the name feels too serious for our style. We prefer short, catchy names that are short and direct, like Perc, Seq, Play, or Press.

Polyend electronics designer Daniel at work Polyend electronics designer Daniel at work

After spending so much time focused on grooveboxes or DAWs-in-the-box, we decided to create an instrument that's designed for real-time play. We wanted the name to reflect this concept. Our challenge was to develop a device that is both complex and highly playable, which are qualities that usually don't go hand in hand. It required a lot of research and development, but I believe we achieved our goal.

PC: Synth gives us a cornucopia of different synth engines, many with some clear nods to instruments both contemporary and classic. I'm curious what sort of synthesizers have inspired you in your life with music and/or engineering, and whether any of them have made it into the new or returning engines of Synth.

PR: Many of the engines were inspired by things we use and enjoy.

My first analog synthesizer and favorite instrument is the SH-101, which serves as the backbone of ACD's architecture and components. It’s simple to use, yet it can produce a wide range of exciting, acidic sounds. Additionally, we incorporated a 303-inspired filter for an extra touch of sourness ;). You can also play it polyphonically.

Karol, the developer of PHZ, a phase distortion engine, was interested in purchasing the classic CZ-101, which was Casio’s response to FM synthesizers in the 1980s. Unable to find a decent unit, he decided to explore the potential for developing his own version. He took Casio’s concept and enhanced it with numerous new functions, allowing it to sound either strikingly similar to the original or completely unique. I wish I had that kind of talent!

The VAP (Virtual Analog Polysynth) is inspired by our favorite polyphonic synth - the Prophet 6. Whenever I’m hyped about an instrument, I want to share the excitement with the team, so my unit travels between different homes. I used to miss my Prophet a lot, but now I feel like I have its essence captured in the Synth ;)

PC: We get the pleasure of hearing some new synth engines in Synth, with PMD and Grains bringing us all new types of sounds alongside familiar favorites. What was the thought process behind these new additions, and which are you most excited about in Synth?

PR: Much of our work is also inspired by the music we enjoy. After listening to Autechre’s live performance in Krakow last year, we decided with Wojtek (Head of Software Engineering) that we needed to include a physical modeling engine. Here, we utilized algorithms from Mutable Instrument Elements, which we both love and use frequently, and based the PMD engine on.

The one that excites me the most is the GRAIN. It can sound very different from all other synthesis methods, especially if you want the Synth to sound more imperfect and organic. It’s easily expandable, too, as you can use your wav files. Also, the unique Burst mode allows you to play the granular engine rhythmically. It means that it generates grains in cyclic bursts, and if synced with the tempo, you can produce some unusual, unheard-of beats. It's definitely my favorite engine.

PC: What about Wavetables? You have been exploring this type of synthesis for quite some time.

PR: We’ve had a long-standing fascination with wavetable synthesis. Our journey began with Medusa, where we utilized a simple one-oscillator solution. We then expanded our capabilities with Tracker, which improved upon Medusa but still relied on a relatively simple one-oscillator approach. In Synth we needed a more advanced solution, we developed WAVS—a proper two-oscillator engine complete with auto-mapping and complex warping features. Users can easily expand their sound library by loading their own files onto an SD card. Additionally, we incorporated a Retro mode that disables interpolation in the oscillator, resulting in more aliasing and sizzling in sound.

We even added wavetables to our FM synth engine (WTFM), which solved the default FM workflow of just turning knobs to hear terrible sounds. Our goal was to create a simplified interface without limiting the scope of FM tones that could be created. Using sweepable wavetables in a 2-operator engine with a feedback system gave us sounds that range from soft, DX7-style keys to harsh, metallic percussion without the heavy programming and complicated algorithms of many FM synths.

PC: The effects in Synth are quite expansive, with modulation, delay, and reverb adding tons of depth to its sound design possibilities. How do these effects differ from those we find in the other Polyend offerings?

First, we have MOD, which is excellent for producing a chorus, a phaser, or a flanger effect. If pushed to the extremes, it can completely change the input sound.

Next, there's the DEL (delay) effect, which features different topologies like Single/Dual/TripleTap using one delay line and Stereo/Pingpong using two delay lines. There is also a bandpass filter in the feedback loop of the effect, and we added a Flutter parameter for some detune and wobble to achieve the tape effect. And, of course, it can self oscillate.

Finally, we have REV, an amazing-sounding reverb with three different Models: Room, Plate, and Warp. The last one adds modulation to various parameters, making it quite a unique effect.

You can also route modulation to delay, modulation and reverb, or delay to reverb. As you can imagine, this gives a massive array of possible setups.

PC: One of the most innovative features in Synth is the ability to have grids of one or two engines following the harmony of another instrument, making it intuitive and fun to perform with multiple instruments simultaneously. While we've seen plenty of algorithmic, scale-quantized pattern generators, the ability for multiple tracks to follow specific chord tones of another track makes for some wonderful happy accidents, especially when defining your own chord packs. How did you arrive at this functionality, and what do you think it brings to the Synth's unique workflow?

PR: We knew that having a grid interface opens up many new possibilities, and we explored some of them while designing Medusa. While it’s easier to transpose on the grid in comparison to piano keys (which might explain why many guitarists enjoy using the Synth), the interface is not always super obvious, especially having switchable layouts, scales, and not too many coordinates to make you feel comfortable while playing without hours of practice.

Polyend's first product, the Perc - a MIDI/CV controlled robotic percussion implement Polyend's first product, the Perc - a MIDI/CV controlled robotic percussion implement

This is where technology comes in. I believe that it should empower you as a musician and help you break through traditional limits (no matter how cliché that sounds). If you look at Polyend’s products, you can clearly see proper examples of that – even starting with our first product, Perc. In the Synth, there is a mode where you can set a „chord leader” and „note follower.” This feature enables the follower notes to automatically adjust whenever you switch chords, ensuring all notes remain in harmony. It also works with arps and pre-recorded sequences.

One interesting aspect is the ability to "latch" the arpeggio or sequence, allowing it to adjust dynamically while you play. It was surprisingly hard to implement this complex feature. Fortunately, our development team includes skilled musicians who have a deep understanding of music theory and can translate it into sophisticated algorithms.

As a result, we have developed a unique system that generates advanced arrangements of chords, arpeggios, notes, various sounds, and effects in a fun and inspiring way. We understand that the grid may not appeal to everyone, particularly those accustomed to piano keys. Therefore, we ensured that the Synth is fully compatible with MIDI connections (in both directions).

PC: Synth allows the user to define the grid space and shape for each instrument, making for a very open-ended approach that I'm certain many users will develop their own personal takes on. What have been some of your favorite ways to arrange and interact with the customizable layout in Synth?

PR: We have been researching grid layouts for a long time. Initially, we developed an open grid editor that allowed users to define which pad was responsible for each engine. We also created a few obvious grid layouts as examples of what could be achieved. After completing this, we sent the feature to our test group.

However, we later discovered that none of the participants were using their custom grids, everyone opted for one of the pre-made presets. We found that we were no different in this regard. As a result, we decided to create more layout presets and abandon the complicated editor solution.

I think this feature was not enjoyable for users and required them to make decisions and put in extra effort. Realistically, there are only a few reasonable layouts for a 5x12 grid divided into three spaces. Sometimes, the best feature is no feature.

PC: The many preset Scenes in Synth give us a window into multiple approaches for using the instrument from a variety of different preset designers. What was it like working with musicians approaching this instrument for the first time, and did any of their creations surprise you?

PR: Giving your invention to the first users is always exciting. We mostly got positive feedback, and based on that, we were happy that the initial assumptions of the projects were realized.

It is a challenging process for the beta users as they get the units on the early stage of the development, so they might stumble upon some system hiccups. We wanted to reach out to as broad (sonically) a group of musicians as possible, having producers in genres like hip-hop, techno, ambient, house, experimental, drone, game soundtrack, film score, metal, pop, etc. on board.

We did realize that combining three distinct synth engines along with a variety of effects and grid layouts could lead to a lot of possible outcomes. However, the feedback from artists truly exceeded our expectations and showed the true potential of our vision.

PC: Considering the open format for loading different engines and grid layouts in Synth, I never ran into crashes despite trying to push the instrument as far as I could with CPU hungry engines, fast arpeggios, and loads of effects and modulation. How did you manage creating a platform that was so flexible yet accounts for the possibility of pushing into Synth's processing limits?

PR: Code optimization is essential, and we continually focus on it. This is especially important as we often add numerous functions after our products are released. For example, even though Medusa uses almost a calculator-like CPU ;), we successfully integrated FM synthesis into it. The Tracker, which started as a basic tracker, has evolved into a nearly fully-fledged DAW. Managing the limitations of our products' computing power is a daily challenge. As a result, we sometimes need to invest more time in developing promised features than we initially anticipated, which can understandably frustrate some users—our apologies for that!

PC: As with most digital hardware instruments, there is always the possibility of firmware updates adding functionality in the future. Do you have any additional features or engines in the works for Synth that you can share with us?

PR: We have a long list of features that we wish Synth had, and some of those are currently being developed. However, we've learned that it's better not to make promises about future updates. So, if you're considering getting Synth, do so based on its current capabilities, which are already impressive!