Manuals

With a workflow that is both inspiring and simple, Polyend Play is far from your average sample-based groovebox. Endless possibilities for your beats are at your fingertips with many sample packs to play with straight out of the box. Polyend Play takes an open sandbox approach for creating and performing grooves, with the freedom to instantly mix things up with tons of different playback functions.

Flexible sequencing with 8 audio tracks and 8 polyphonic MIDI tracks for controlling your outboard gear – Polyend Play really wants to be at the centerpiece of your studio. This is quite possibly the most fun groovebox ever created.

Polyend Play isn’t really about satisfying your expectations. It is about taking you to new and different musical places you didn’t even know existed. We made it to allow you to discover new ways of making music, and to inspire you by having a good time!

The Polyend Play user interface is divided into four sections. Starting from the left side:

A – High-resolution screen accompanied by five dedicated mechanical screen function buttons (the current description of each button is displayed on the screen) and a multifunctional clickable encoder. Press/click on it to enter the Main menu. Thanks to the encoder’s detents, you can precisely dial in the value of the chosen parameter value while turning it.

B – Middle section consists of fifteen dedicated touch-sensitive function knobs. You will be using these knobs to manage the step and track parameters as well as the global project status. Each knob controls two described parameters. The operational parameter is highlighted in the display. Double-tap a knob to switch its active parameter. 

C – On the right side there are six mechanical function buttons. Besides the Shift key itself, they offer two actions. Hold the Shift button to access the secondary action for each button.

D – The 8 x 20 grid of multifunctional (non-velocity-sensitive) silicone pads covers the lower half of the device. The grid pad brightness level is user-adjustable. It is vertically split into two main parts. On the left side, you’ll find 8 x 16 track steps columns. These can also be used to arrange your songs in Pattern mode or used to trigger the Perform effects. On the right side, you will find an array of 4 function pads for each track. These perform various duties, including selecting, muting, soloing tracks, and much more besides. This 4 x 8 array of pads can also be used as a note entry/keyboard controller in the View mode.

On the back panel, from left to right, you will find the following ports:

Sharing the same physical port:

• Line Output:

Output level: 9 dBu peak (when 10 kΩ Load)
SNR: 97 dB

• Headphone Output:

Output level: 17,6 dBm (when 16 Ω Load)
SNR: 98 dB

As mentioned in the previous manual section, Polyend Play’s workflow is based on an idea of a Sample Pack. Besides the available factory and extension packs, users can create their own. Two approaches can be considered here. The first one is arbitrary, up to one’s will, and can be just one folder full of random samples, as long as it works for the intended effect. Then the suggested way to approach the topic is arranged and ruled by the following hints, aiming at giving the most satisfactory way from the as musical output as possible.

• The use of sample packs allows the Fill tool to populate tracks with the appropriate sounds. For example, when using the Beat Fill, kick, snare, and hi-hat samples from the analogically named pack folders will be used. These particular sample folders must contain the words kick, snare, and hat in their name’s strings of characters to be properly recognized by the Fill tool algorithm.
• When there are two folders containing the same string of characters required by the Beat Fill algorithm in the sample pool, samples will be drawn from the top one only.
• All melodic samples should be tuned in C,
• It’s best to use about 10-20 samples per folder,
• The sample amount per pack is limited to 255,
• The sample pool is limited to 20 folders,
• The overall time depends on the quality of samples and is around 6 minutes in 44.1 kHz 16-bit,
• The sample volume should be 0dB,

Each track is defined by a single horizontal row of grid pads. Each pad of the 16 leftmost columns represents a single step. The timeline/playhead advances from left to right and triggers steps containing data.

A step can be empty or it can hold a note. When a step has a note, it contains a set of sound parameters associated with that note. Each step has its own complete set of parameter values determined by the user with the use of the instrument’s set of knobs.

The Play will usually greet you with its multi-colored grid of pads. Step colors indicate their status:

• Off – an empty step.
• White – a step with a note.
• Blue – a selected note.
• Dim blue – selected empty step.
• Orange – currently played step (track playhead).
• Red – currently played step when in Live Rec mode.
• Pad blinks twice – “quick-copied” step or function pad. When you momentarily press and hold a pad, that pad and all of its parameter values will be copied, after which you can paste it to another location. The quick Copy function works with steps, patterns, tracks, and Variations.

Grid pads will be illuminated in different color sets when toggling between Play’s various modes and screens.

Patterns are created by engaging steps, placing them accordingly on the tracks, moving, copying, deleting, etc. A pattern holds all the sequencer playback data and steps parameters settings for the 16 available tracks. You can store up to 128 such patterns per project. Each pattern consists of 8 audio and 8 MIDI tracks. You can easily put these patterns together into an entire composition using the Pattern mode described later on.

A single track can be from 1 up to 64 steps long. Each track can have an independent length. If a track is longer than 16 steps it is split into the next page. There are four step pages available, signed as 16, 32, 48, and 64. Each of them can contain up to 16 steps. This makes it easy to create polymeters and polyrhythms.

As all tracks can have independent lengths, a pattern’s length is indicated by the longest track in that pattern. If you want to manipulate the pattern length as a whole, select all the tracks at the same time and use the Track Length knob.

• Press the Shift key while editing the pattern steps to visualize the length of certain tracks on the four rightmost function pad columns.
• Use Shift + one of the four function pads on a corresponding track to expand the next page of steps.
• If you want to extend a certain track length in an equal interval, you can press the Shift key and select an empty page.
• Press and hold the source track page pad while holding the Shift key + destination page to Quick Copy the track steps between the source and target step pages.
• You can Quick Copy the entire track pages with all the step parameters among the tracks. This will also work when selecting the entire track and copying/pasting it.
• You can change the default track length of 16 steps by using the Track Length knob or by Quick Copying its pages.

The 4 x 8 function pad columns are located on the right side of the grid. The use of these will affect an entire track and all of the steps it contains. While working in the audio sequencer mode, the function pads are green. You can switch to MIDI sequencer mode using the Shift + Patterns key combo, whereupon the steps will turn violet.

The function pads offer four default actions:

• Mute – allows you to mute each of the sequencer tracks separately by pressing these pads.
• Solo – allows you to solo each of the sequencer tracks separately by pressing these pads.
• Variation – gives you access to track Variation mode (explained in detail in a dedicated section below).
• Select – use these to select all steps on the corresponding track.

The rightmost 8 x 4 grid section of function pads can also serve as a configurable note input controller. Hit the View function key and they will change color to yellow. The upper row of pads allows you to change the octaves and indicates if you’re in audio (green) or MIDI mode (violet). You can switch their layout between Keyboard and Grid type in the Main menu.

The View controller can be used as an input source in the following scenarios:

• When no step or track is selected, the Note controller will use the ‘work step’ with its previously selected parameter values.
• You can press and hold one or more of the steps and input the desired note.
• In the Live Rec mode, you can record notes by playing them in real-time from pads while at least one track is selected. If you want to record chords as many tracks as there are notes in a chord need to be selected.
• In the Main menu Settings you can select if the View input controller will record notes to empty steps only, or will be overdubbing the existing steps.

Important:

• The View controller works both with internal and external MIDI instruments.
• The View controller can also be influenced by the musical scales filter, which you can enable and configure in the Main menu.
• View note input controller is available in Steps/Patterns/Perform modes.
• When changing notes selected in blue, hold shift + the desired note to change the selected notes.

The Piano Roll view transforms the grid into a familiar piano roll with rows of notes to quickly create melodic sequences or visualize chords.  Piano Roll is available on both the MIDI and Audio sides of the Play.

• To enter the piano roll select multiple tracks and hold down the view button. Selected tracks must have the same length, speed, and swing parameters.
• Each row in Piano Roll represents a note of the selected scale with root note(s) highlighted in pink.
• The number of notes that can be activated on a grid column is equal to the number of selected tracks.  For example, if 3 tracks are selected 3 notes can be placed on the grid on a step.
• Tap Shift quickly to select or deselect all active steps.
• Variations and Step Pages in Piano Roll are synchronized for all selected tracks. (If one piano roll track changed to 64 steps, all tracks in the piano roll will be 64 steps.)
• The length of a MIDI step is reflected on the Piano Roll grid.

This tool allows you to create alternative versions of your tracks. These can then be switched manually during playback. Press one or more of the Variation function pads to make quick changes to the entire track. Each track has its own corresponding Variation pad.

• The currently active variation is indicated in an orange colored pad.
• Variations with content are indicated with bright yellow colored pads.
• Empty variations are indicated with dark yellow colored pads.
• Each track has 16 variation pad slots available.
• Both audio and MIDI tracks have separate variations available.
• Press a pad to change the active variation.
• The Variation switches instantly if the pattern is not being played, or sequentially at the end of the currently playing pattern when the sequencer is running.
• During the sequencer playback, you can press a Variation pad while holding the Shift key to perform an immediate switch (on the next step).
• Press and hold a pad to select a variation and then:
  • Press another pad to copy the selected variation to it,
  • Use the Delete (Shift + Fill key combo) to get rid of the variation.
• Variations actions are accessible from the Perform and Patterns screens too.

Important:

• There is a Variation Page setting in the Main menu. It allows you to determine if the use of a single variation slot will display available only variation slots for Separate tracks, or for All Tracks at the same time.
• Click and hold the encoder and select a variation pad on any of the tracks to trigger the launch of a vertical column of all the available variations at once.

The Quick Copy function was introduced to manage your actions with Play in a fast and efficient manner. This works for steps, step pages, patterns, and variations.

To perform a Quick Copy, press and hold a grid pad for about half a second. The pad will flash twice, and its parameter values will be copied to the clipboard. While still holding the source pad, press the destination pad where it should be pasted.

The Quick Copy of an existing step copies its values to a ‘work step’ editing area.

Audio effects processors like Limiter, Reverb, Delay, Sound, and Saturator offer a selection of presets. These are available under the Master FX function button (Shift + View key combo). 

For your convenience, rather than potentially slowing you down with a load of obscure parameters to edit, all the Master effects offer a selection of curated preset parameter settings. The preset names are more or less descriptive. The following types of effects are available:

• Reverb.
• Delay.
• Sound.
• Limiter.
• Saturation.

Important:

• The limiter offers a sidechaining function routed from all the separate tracks.
• Sound and Saturation effects are the main output sound enhancers.
• Note:  some Sound options increase the stereo spread and can result in phasing in certain situations.  Choose “Flat” sound if you experience phasing issues.

The Fill function is a sophisticated sequence editing utility. It allows you to enter multiple-step values in a selected area with a single click. Access it by pressing the Fill function button. Use the encoder and the leftmost screen buttons to operate it. The fill tool is offering a separate set of functions for the audio and MIDI modes.

Select one or more tracks, then choose the desired settings and press the Fill key again to populate the selected tracks with steps.

Choose from the following Fill algorithms:

• Beat – gives you access to 128 pre-programmed rhythms in different musical genres (Acoustic, Breakbeat, Drum&Bass, Electro, Exotic, Garage, HipHop, House, IDM, Techno, and Trap).
  • The Beat Fill type requires a selection of one to three tracks. The algorithm will populate them with the kick, snare, and hi-hat sequences using samples from the pool. The first selected track is a kick, the second is a snare, third is a hi-hat.
• Kick, Snare, and HiHat – same as the Beat Fill, but this one draws upon steps and samples from the pre-programmed rhythms of the individual instrument, allowing you to mix and match rhythmic elements from the different musical genres.
  • The Kick, Snare, and HiHat Fill require the selection of only a single track
• Chords and Bass – Similar to beat fill but adds a chord and bass line. Select the number of steps up to 64 before filling with Chords or Bass.
  • 5 Tracks are required.  Synth and Bass folders are also required in the project. 4 Tracks will populate with a synth chord and the 5th will be a baseline.
• Chords – 4 tracks are required to create a chord.
• Bass – Single track creates a baseline.
• Euclidean – with adjustable Events numbered between 1 to 64.
• Random – with selectable Density from 10 to 100%.
• Random + – Adds randomized notes.

Important:

• The use of sample packs allows the Fill tool to populate tracks with the appropriate sounds. For example, when using the Beat Fill, kick, snare, and hi-hat samples from the analogically named pack folders will be used. These particular sample folders must contain the words kick, snare, and hat in their name’s strings of characters to be properly recognized by the Fill tool algorithm.
• When there are two folders containing the same string of characters required by the Beat Fill algorithm in the sample pool, samples will be drawn from the top one only.
• While on the previously selected Beat Fill genre preset, press the Fill button again to draw in a new set of your rhythm section samples.
• If you change the Fill genre type on the existing selection, Fill will draw in the new steps using the same samples.
• All Beat Fill patterns are generated with certain genre-related BPMs in mind. You can use any of them at any tempo, but keep in mind that the Fill tool is not linked to a given project’s tempo and might produce unexpected results.
• The sample packs are organized as a folder and subfolders. Please note that these subfolders cannot contain any additional subfolders. If they do, they will not be loaded into the sample pool.
• Beat type Fill workflow tip: after generating the sequences, use the Folder knob to set some tonal sounds, then randomize an octave. This way you can effortlessly achieve interesting melodic lines.
• In both audio and MIDI sequencing modes, the Fill tool will populate tracks with steps based on the previously created ‘work step’ with all its parameter values (this does not apply to Beat Fill mode), or with the previously selected/quick copied existing step.
• When using the Fill tool in MIDI sequencing mode, you may want to create a ‘work step’ by applying all the desired settings with the knobs first. When you’ll do this, the Fill tool will use these particular settings to draw the step randomizations.

Creating the Beat Fill Pattern

To successfully create a beat fill, these exact steps must be followed.  Deviating from the steps below can result in beat fills that do not populate the grid.  The critical step is loading the folders in the order listed in step 2. 

• Create a New Project
• Select “Load Files or Folders in the sample menu and load folders in the following order. (Sample folders MUST be loaded in this order):
  • Bass (reserved for future use)
  • Kick
  • HiHat
  • Snare 
• Create patterns with:
  • Kicks on Track 1
  • Snares on Track 2
  • Hats on Track 3
• Save your project.

Note: All parameters will save to a beat fill. Beat fills will only populate 16 steps.  Add chance actions to create beats with more variety.  

Move the Pattern to the “Beat Fills” folder.

Every pattern created following the steps above can be imported as a beat fill template by moving them into the beat fill folder on your SD card.  

•  From a computer, open the project folder.  Then open the pattern folder and select the desired pattern.
•  Move it to the ‘BeatFills’ folder in the root directory.
•  Rename it to any name that fits the fill screen.  The beat fill should have the .pattern file name extension, such as “LoFi_1.pattern.”
• Restart the Play.  The beat should be available on beat, kick, snare, and hihat fill options.

Creating Chord and Bass Fill Patterns

To successfully create a Chord and Bass fill, these exact steps must be followed.  Deviating from the steps below can result in fills that do not populate the grid.  The critical step is loading the folders in the order listed in the second step.

• Create a New Project
• Select “Load Files or Folders in the sample menu and load folders in the following order. (Sample folders MUST be loaded in this order):
  • Synth
  • Bass
• Create patterns with:
  • A Chord on the first 4 tracks
  • Bass on the 5th track
• Save your project.

Note: Chord and Bass Fills can be up to 64 steps.

Move the Pattern to the “Melody Fills” folder.

Every pattern created following the steps above can be imported as a fill template by moving them into the melody fill folder on your SD card.

•  From a computer, open the project folder.  Then open the pattern folder and select the desired pattern.
•  Move it to the ‘MelodyFills’ folder in the root directory.
•  Rename it to any name that fits the fill screen.  The fill should have the .pattern file name extension, such as “EmotionalChord_1.pattern.”
• Restart the Play.  The melody fill should be available on chord, bass and chord and bass fill options.

Once you’ve made some patterns, you can use the Pattern mode to chain them together in the desired order to form complete arrangements. Here you can chain existing patterns in compositions with the desired order of playback. This is a very flexible approach to what is often referred to as ‘song mode’. You can define many songs, separate song chapters, or multiple groups of pre-arranged patterns.

In Pattern mode, patterns occupy a single pad on the grid, and a pattern is chained to any adjacent pattern. You can make one long sequence and play it as a whole. Or make a few discrete, separate shorter pattern sequences representing different parts of your composition. You can then manually switch between them while performing live.

Basic Patterns mode rules and operations:

The punch-in effects categories are split into vertical grid columns represented by different colors. There are sixteen presets available in each category. Press and hold the pad to momentarily activate a punch-in effect, or press and let go to latch the effect. Press it again to turn it off. An enabled effect pad is brighter than the others. You can enable only one effect in a category, but simultaneous effects from multiple categories are possible.

Click the Encoder to enter the Main Menu section.

Gives you access to the basic project management options. Here, you can create new projects, load existing projects, and save the projects you’re currently working on. The following options are available:

• New Project – initiates a new project.
• Open Project – reveals a list of available existing projects which you can open.
• Save Project – this gives you an option to save your current project.
• Save Project As – same as above but with an option to input an exact name of the saved project.
• Export

An overview of the available File menu operations and rules:

• To load a project, highlight the desired position and use the Open screen button on the bottom of the screen. An adequate popup with a progress bar will appear.
• In the Main menu file browser, the project folders are displayed in orange.
• Both left screen buttons function as an Enter, in the same way as the encoder click.
• If Open Project or New Project is selected and the current project isn’t saved, a warning popup will be displayed.
• New Project and Save Project actions will be performed immediately, while Open Project or Save Project As will open the card browser, allowing you to select the project location.
• Open Project action will be performed immediately after selecting the location. After choosing the location for Save as, enter the name of the project and confirm it.
• If a current project wasn’t saved before, the Save Project command will behave like Save Project As.
• If the name entered in Save Project As already exists in the selected location, an information popup will be displayed.
• The Save Project As action will enable an on-screen keyboard allowing you to enter the exact preferred name for your project. You can use the grid pads for text entry, corresponding to pad labels displayed on the screen.
• The project name field is initially filled with the name of the current project. If the current project name in the selected location already exists, a suffix with the first appropriate number will be added.
• Turn the encoder to change the current character and press enter to add it to the cursor position.
• Hold the Shift key and turn the encoder to change the cursor position.
• Press the Delete key (Shift + Fill key combo) to remove the character before the cursor position.
• Use the Auto Name function to generate a random name for your project.

Exporting tracks to the SD card:

• Play has four export options:
  • Current Pattern Master – exports a stereo master file of the current pattern.
  • Current Pattern Stems – exports eight tracks and delay and reverb sends (10 tracks total) of the currently selected pattern.
  • Current Chain Master – exports a stereo master file of the pattern chain of the current pattern.
  • Current Chain Stems – exports eight tracks and delay and reverb sends (10 tracks total) of the currently selected pattern chain.
• Master export is sourced after Saturation, before sound FX (Sound parameter in Master FX): see the Audio Architecture section below for more details.
•  Stems export is sourced after the Mixer stage, before the Limiter.
• Mute / Solo behaves just like in normal playback, muted tracks will be exported as silent.
• All exports are created in the Export folder on the SD card with the appropriate folder name, which includes the project name, pattern sequence number(s), and export sequence number.

The Polyend Play workflow is powered by distinctively prepared sample packs. Such an approach was chosen to make it as playable and intuitive as possible. Nonetheless, users are not forced to use sample packs only. It’s possible to use your own samples with and without keeping them sorted in separate folders.

Technical note:

• The internal engine is working with uncompressed 16bit mono PCM WAV files with different sample rates.
• Polyend Play will import WAV files in any sample rate, 16/24/32 bit mono/stereo, and will convert them automatically to the supported format.
• The converted sample files contain a mix of both L/R stereo sample channels.
• The overall per-project sample pool memory allows for 6 minutes of monophonic 16-bit, 44.1 kHz sample files. However, Play can work with different sample playback rates, so you can reduce the required memory of a sample by reducing its sample rate. A sample played back at half the sample rate will use half the Pool memory. Conversely, doubling the sample’s rate will use twice the Pool memory. Because Play can use multiple different playback rates, your sample pool capacity may vary. 
• The Main/headphones output is stereophonic.

In this menu, you can locate the musical scales filter settings. This filter is per project.  It has an influence on MIDI output and input, but also on the View mode input controller and the Note knob. It gives you access to:

• Enabling the musical scale filter (see a list in the appendix).
• Setting the desired musical scale filter.
• Selecting the Root note.

Important:

• When a scale filter is applied, the available notes will be confined to the selected scale.
• The musical scales filter function is not limited to the View controller.
• A selected musical scale will influence all the existing sequences and the MIDI notes output, as well.
• When changing the track root note or scale, the notes in each step will be adjusted to fit the new scale – each being transposed up by one or two semitones.
• Using a scale on an existing sequence will quantize all of its notes and chords to that selected musical scale.
• If a scale filter is turned on, the Repeat tool filters notes to the chosen musical scale.

Available MIDI input/output controls:

• CC Mapping > select specific CC settings for particular MIDI channels for both Jack and USB ports. Allows you to set the following options:
  • CC numbers for Cutoff/Resonance, Sample Attack/Decay, Reverb/Delay send Overdrive/Bit Depth knobs.
  • Set Values for Polyend Tracker – integration mode for Polyend’s Tracker audio workstation instrument.
• Clock In > Internal, MIDI In Jack, MIDI In USB. When an external clock is enabled, the displayed tempo value reflects the tempo provided by the MIDI source.
• Transport In > Off, MIDI In Jack, MIDI In USB.
• Clock Out > Off, MIDI In Jack, MIDI In USB.
• Transport Out > Off, MIDI In Jack, MIDI In USB.
• Notes In > Off, MIDI In Jack, MIDI In USB.
• Notes In Channel > Select the specific channel for playback of the current work step from the MIDI input.  “Omni” will listen for MIDI notes on all channels.

The MIDI Channel for both MIDI TRS and USB outputs is a selectable per-step in the MIDI sequencing mode with the use of a Sample/Folder knob.

With the following available options:

• View Layout – sets the layout of the View controller > Piano Notes, Grid Notes.
• Grid Brightness – sets the brightness of the pads > High, Medium, Low.
• Double Tap – toggles the knob touch function selection > Off, On.
• Knob Preview – Choose if sample playback is triggered when changing parameters with playback stopped or running.
• Variation Page – allows you to set if the use of a single Variation slot will display available Variation slots for Separate tracks only, or for All Tracks simultaneously.
• Quantize Recording – toggles the Live Rec micromoves notation function > Off, On.
• Overdub Recording – toggles the Live Rec notation overdub function > Off, On.
• Fill Config – Select the Jack and Note that MIDI fills will use for Beats and Melodies.
• Firmware – displays the current firmware version and build numbers. Allows flashing the firmware files > Update firmware.

• Firmware files should be stored on the SD card in the “Firmware” folder. 
• Firmware Update is available from the “Settings/Firmware” submenu.
• To flash the firmware select it from the list and confirm the operation by pressing “Yes”.

Use the attached microSD card USB dongle reader to copy the firmware file (or any other files) to the Play MicroSD card.

Find the latest official firmware release here.

Beat and Melody Fills are also periodically updated with firmware releases.  If a firmware update also has new fill options, download the fill folders from the link above. Delete the old Beatfill folder and place both the “Beatfill” and “Melodyfill” folders in the root directory on your SD Card.

Note:  Firmware is not backward compatible.  For example, when loading a project created on firmware 1.2 on a device running firmware 1.1 you could experience data corruption causing playback issues.  Loading a project in 1.2 that was created in 1.1 will not cause any issues.

Where possible, Polyend will fix any firmware-related issues considered bugs. Polyend is always keen on hearing user feedback about possible functionality improvements, however, we are not obligated to implement such feature requests. Please respect that while we appreciate our customers’ opinions and wishes, we cannot guarantee or promise to implement them.

Polyend warrants this product, to the original owner, to be free of defects in materials or construction for one year from the date of purchase. Proof of purchase is necessary when a warranty claim is processed. Malfunctions resulting from improper power supply voltages, abuse of the product, or any other causes determined by Polyend to be the fault of the user won’t be covered by this warranty (standard services rates will be applied). All defective products will be replaced or repaired at the discretion of Polyend. Products must be returned directly to Polyend with the customer paying the shipping cost. Polyend implies and accepts no responsibility for harm to a person or apparatus through the operation of this product.

Please go to polyend.com/help in order to start a return to manufacturer authorization, or for any other related inquiries.

Important Safety and Maintenance instructions:

• Avoid exposing the unit to water, rain, and moisture. Avoid placing it in direct sunlight or high-temperature sources for a long time.
• Do not use aggressive cleaners on the casing or on the screen. Get rid of dust, dirt, and fingerprints using a soft, dry cloth. Disconnect all cables while cleaning. Only reconnect them when the product is totally dry.
• To avoid scratches or damage, never use sharp objects on the body or screen of the instrument. Do not apply any pressure to the display.
• This apparatus, by itself or used with amplifiers, headphones, and speakers are able to produce high sound levels. Do not operate at levels that are uncomfortable. Protect your ears.
• Unplug your instrument from the power sources during lightning storms or when it is not used for long periods of time.
• Make sure that the power cord is safe from harm.
• Do not open up the instrument chassis. It is not user-repairable. Leave all servicing to qualified service technicians. Servicing may be required when the unit has been damaged in any way, a liquid has been spilled or objects have fallen into the unit, if it has been dropped, or does not operate normally.

European Union regulation compliance statement. This product has been tested to comply with the Low Voltage 2014/35/UE and Electromagnetic Compatibility 2014/30/UE directives. The product meets the requirements of the RoHS 2 Directive 2011/65/UE.

• Power 4th
• Power 5th
• Major
• Minor
• Diminished
• Augmented
• Sustained2
• Sustained4
• Major 6th
• Minor 6th
• Major 7th
• Minor 7th
• Minor Major 7th
• Dominant 7th
• Major 9th
• Minor 9th
• Major 11th
• Minor 11th
• Major 13th
• Minor 13th

• Chromatic
• Minor
• Major
• Dorian
• Lydian
• Lydian Minor
• Locrian
• Phrygian
• Phrygian Dominant
• Mixolydian
• Melodic Minor
• Harmonic Minor
• BeBop Major
• BeBop Dorian
• BeBop Mixolydian
• Blues Minor
• Blues Major
• Pentatonic Minor
• Pentatonic Major
• Hungarian Minor
• Ukrainian
• Marva
• Todi
• Whole Tone
• Diminished
• Super Locrian
• Hirajoshi
• In Sen
• Yo
• Iwato
• Whole Half
• Kumoi
• Overtone
• Double Harmonic
• Indian
• Gypsy
• Neapolitan
• Neapolitan Minor
• Enigmatic

What values do the certain Polyend Play’s Randomizer tool types influence:

• Sample In Folder (Samples in selected folder).
• Sample in Pool (Samples from the entire sample pool).
• Sample Length (Sample Start, Sample End).
• Texture (Filter Cutoff, Resonance, Overdrive).
• 1 Octave (Plays notes within one octave).
• 2 Octaves (Plays notes within two octaves).
• Space (Panning, Delay Send, Reverb Send).
• Nuke (Samples in Folder, Filter Cutoff, Resonance, Overdrive, Panning).
• Duke Nuke (Samples in Pool, Filter Cutoff, Filter Resonance, Overdrive, Panning).

Polyend Play onboard original accessories.

• Original USB A power adapter (with different standard plugs set).
• Branded USB-C cable (2 m).
• 1x Stereo 3.5 mm jack to 2x 6.3 mm jack adapter.
• 1x MIDI 3.5 mm jack to DIN adapter.
• 16GB Micro SD Card.
• Micro SD to USB-A dongle adapter.
• Warranty and Quick Guide information brochure.

The Polyend Play size and Weight are:

• Height 8 inches (20.7 cm).
• Width 11 inch (28.2 cm).
• Depth 1.8 inch (4.5 cm) .
• Weight: 2.9 lbs / 1.3 kg (with accessories) 2.2 lbs / 1 kg (without accessories).

Polyend Play runs on 5V/1A and can be powered up from a power bank. The best method to power up your instrument is to use the original AC adapter or any other stable wall charger. Notice that an ‘intelligent’ power bank with advanced power management systems or even a ‘smart’ computer USB port used for powering your unit can possibly cause issues that may cause your Play unit to become unstable.

Polyend Play was brought to you by the Polyend Team 2022 members ✋

With highest regards to everyone else involved. Thank you for your inestimable help!

Scott Murray, Alex Cummings (ARC Noise), Alex Retsis (Qebo), Petr E.C. Rice, Julien Guillot (Stazma), Jerome Guiton (Renoizer), Paul Bohnencamp (Arcologies), Benn Jordan, Ziv Eliraz, Riku Annala (Recue), Martin Krajcir (Isobutane), Orchestral Tools Team.

Software licenses

Sample sounds license agreement