On first impressions, it looks like many of the other dance-oriented modules that have hit the market in the last couple of years, with lots of real-time modulation knobs, a grungy sound, and an analogue-style sequencer. But should the electronic instruments themselves be categorised in this way? What would have happened if Moog and ARP had declared that the Minimoog and Odyssey were only to be used for widdly lead lines played by knife‑wielding keyboard wizards? Ooh. You're unlikely to find many TB303s on prog‑rock revival CDs, nor many classical orchestrations for synth on the latest deep trance garage techno old school progressive hardbag (or whatever) releases. His side of it went something like this: "Gordon, would you like to review the new Polymorph for us? I know Quasimidi's background is in the dance market, so we weren't sure whether you'd be interested, but there's more to the Polymorph than just that, so perhaps.?" Do you find this as thought-provoking as I do? It suggests that the electronic music industry is divided into two: music for young people (for which read deep trance garage techno old school progressive hardbag - oh, pick an adjective) and music for older people (for which read widdly synthy stuff for boring old farts). I had an interesting conversation with Matt Bell, SOS's Senior Assistant Editor, a few weeks ago. The Polymorph does offer plenty to interest the dance fraternity - real-time modulation knobs, and an analogue-style sequencer and user interface - but behind the façade lurks a powerful synth. With several successful dance-oriented synth successes to their name, Quasimidi attempt to buck the trend with their latest offering.
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