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with any control will bring up the
associated view on Play’s display.
Each rotary controls two related
functions – to switch between the
primary and secondary you double-tap
the rotary or use a pair of buttons
along the edge of the display.
The functions of these controls
vary between sound design and
sequencer triggers. The former
elements are fairly straightforward.
Alongside sample selection, there are
controls for sample pitch, with both
chromatic Note and fi ne Microtuning
controls, plus controls for sample
level, pan, start and end positions,
and attack and decay. Each step can
also be assigned its own settings for a
bi-directional resonant fi lter along
with a wonderfully crunchy digital
overdrive and bitcrusher. On the
effect front, each step can also be
programmed with its own send levels
to the master delay and reverb (see
Master Effects).
The remaining rotaries control
additional sequencing functions. The
fi rst is a Tempo/Swing control. Swing
is always available per track, but can
Further controls allow you to apply
rolls and repeats, move steps and
adjust micromovements – ie nudging
individual steps off the grid. There are
also two controls for applying
variations and randomisations.
Chance is used to apply an element
of probability to each step. This can
control whether the step itself
triggers, be used to apply a touch of
humanising movement or be targeted
at various different sound parameters.
The Randomize parameter works
in a similar fashion, although
randomisations are only applied while
working on the relevant screen – the
moment you touch or adjust a
different parameter the Randomizer
deactivates, making it more of a
be set globally by selecting all
sequencer tracks at once. With one or
more individual tracks selected, the
tempo control becomes a track speed
control, allowing users to set a
playback rate by beat division synced
to the main tempo. Next to this is a
control for setting the step length for
each track. Each track can have its
own individual length between one
and 64 steps; combined with the
track speed parameter, this opens up
a huge, fl exible array of polyrhythm
options. The same control gives
access to 35 different play modes
that alter the playback order of steps,
with options ranging from switching
direction of playback to randomising
and remixing the order of the steps.
MASTER EFFECTS
Alongside the per-pad fi lter and distortion, and the punch-in Perform effects, Play features
a series of master effects that can add an extra layer of polish to the overall sound. Two of
these are auxiliary effects, the delay and reverb, which have dedicated front-panel rotaries
to control send levels for each sequencer step. The slight downside to these effects is that
they’re entirely preset-based, which Polyend claim is to avoid slowing users down. While I
can see their point, I often found myself wishing for more refi ned control of the reverb
length and the ability to
fi ne-tune delay times.
Faring better are the
limiter, saturation and
‘Sound’ effect. This latter
element can apply overt
stylistic treatments,
ranging from bass boost to
a muffl ed underwater
effect and faux-telephone
sound. It can be a bit
much at times but works
better than you might
think. The limiter and
saturation, meanwhile, are
great touches, and used
together add some serious
weight to Play’s sound.
THE ALTERNATIVES
Polyend Tr acker
£444
Polyend’s other
performance sampler
is a little more
esoteric, but has
already gained a
cult following
polyend.com
Elektron Digitakt
£630
Elektron’s mid-level
sampler boasts
onboard sampling
and more advanced
sound shaping.
Play’s sequencing is
arguably more fl uid
and inspiring though
elektron.se
Arturia BeatStep
Pro £230
BeatStep isn’t an
instrument in itself,
but this pad-based
sequencer shares a
number of creative
traits with Play’s
adventurous
sequencing approach
arturia.com
Play can store and chain up
to 128 patterns making it
appealing for a live setup
Reviews | Polyend Play
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