mxm-poly-06

Sound

mxm-poly-06 follows the Roland JUNO-106 and has six voices. Each starts with a digitally controlled oscillator, then passes through its own low-pass filter and amplifier. The six outputs meet before a global high-pass filter and the built-in stereo chorus.

The DCO does not drift. Saw, pulse, and sub come from one ramp, so switching on more than one shape does not create beating. Noise adds a separate source. Pulse width and PWM depth use two controls, which keeps a manual width intact when you switch to LFO modulation.

Each voice gets one ADSR. That envelope drives both the filter and amplifier. A second envelope would make the synth more flexible, but it would also remove the coupling that shapes its patches.

The high-pass filter has four positions. Position 0 boosts bass instead of bypassing the circuit. The next setting is flat; only the top two positions cut. The editor plots that response together with the low-pass filter, so the boost is visible rather than hidden behind a number.

Six cards and three assignment modes

Poly 1 takes the first free voice. Poly 2 rotates through all six, including their small tolerance differences. Unison puts every voice on one note, in phase and without added detune. It gets louder, not wider.

The voice display shows which card each note took and how far its envelope has moved. A seventh key visibly steals one of the six instead of looking like a dropped note.

The stereo chorus ends the path. Two bucket-brigade delay lines share one triangle in opposite phase, with modes I, II, and both. Depth and wet level stay fixed inside this instrument because the JUNO-106 did not expose them.

Interface

Seven cards wrap in signal order. Voice and Modulator come before the Oscillator; Filter and Amplifier follow, then Chorus. The shared Envelope card remains visible because it reaches two destinations.

Cutoff and resonance use the largest controls. Bender depths stay behind a labelled expander in the Amplifier card, where they do not compete with patch controls. The editor opens with room for that expander, then reflows down to one card wide.

Rose is the identity accent. Envelope, LFO, key, status, and warning colours keep the collection meanings instead of changing with the product.

Presets

Fifty factory sounds are compiled into the plugin. User patches live in the same searchable browser used by the mono synths, with banks, categories, and favourites.

Patch Level sits before the chorus and travels with a preset. Master Volume sits after it. That split matters: Level changes how hard the chorus is driven, while Volume changes only what leaves the plugin.

Status

A JUNO-106 hisses through its chorus while idle. This plugin fades the noise floor and reaches exact digital silence when no voice or tail remains. That local deviation lets a host sleep the processor.