band in the early 80's , along with a polysix both of which

I'm now using to produce progressive trance. The monopoly

puts out some crazy sounds through the effects function, most

of which I've never heard on any recording. I've got it patched in

in a couple ways to the polysix, one from the mono trig. out

to the arppegiator of the six, and the mono. CV to the fcM of the

six. It's fun having the two work as one, but I dont have very

much flexibility without sampling power. I do love the sounds I

get out of the monopoly, especially the bass. I dig hitting

a 4 note (in P5's) arpeggio going two 8va's up and down with

effects on and my EG intensity at about -3. It's groovy as hell

and leaves me with so much to manipulate . Keep in mind as you read this

I'm still young and not versed in the ways of synthesis as the big boys

but Ive been experimenting with this synth since I was 15, and I

still find newer phatter sounds. I love the Mono/Poly.

I like the sound of the M.P. very much, especially the flutelike, Zawinulish sounds which you create with a triangular or narrow PW waveform. You can also get nice hornstab attacks by modulating the

PWM waveform by the EG/filter. Another good thing is that you can modulate the timbre (read filter) by the pitch wheel. It makes your sound very expressive. A sad thing is that you can´t store your programs in a

memory bank. I´ve got a big loose-leaf binder with patches, but of course it takes time to change the patches in a concert. Overall, it´s a good synth, but don´t expect natural keyboard sounds ( even if you can program a good synth-clavinet),

and digital-sounding pads. The fonky bassounds are the baddest!