Name: Eddie Hale
Nationality: Australian
Occupation: Producer, label founder at Denude
Recent release: Eddie Hale's Far Beyond is out via Denude.

Tool of Creation: MonoPoly
Type of Tool: "Mono-polyphonic" analog synthesizer
Designed by: Korg  
Country of origin: Japan

If you enjoyed this interview with Eddie Hale about the Korg MonoPoly and would like to find out more, visit him on Instagram, Facebook, and Soundcloud.



What was your first encounter with the Korg MonoPoly?

I first had a software VST plugin (emulation) of the MonoPoly and I was using it so much that it made sense to buy the real thing.

I’m a bit interested in electronics and decided to modify it with a midi kit, which was really worthwhile.

The overview and layout of the machine is perfect and I am drawn to the rich sonic and visual aesthetics of it, the colours and design are really timeless. It’s a very charming instrument.

Just like any other piece of equipment, the Korg MonoPoly has a rich history. Are you interested in it? And if so, what are some of the key points from this history for you personally?

I know that MonoPoly was around in the early 80s, a bit before I was born. So from that point it has this kind of mystical element to it because it is old enough that it feels like an alien artefact to me.

Korg is also a company of Japanese origin, which makes it even more interesting - the Japanese design the most fascinating things.

What, to you, are some of the most interesting recordings made with the Korg MonoPoly?

The most interesting recordings that can be made with the MonoPoly are ones that don’t sound like things I know. The more alien and expressive they can be, the better.

The highly tactile layout of this synth can lead to some of these highly emotive and expressive situations, and that for me is key.

What interests you about the Korg MonoPoly in terms of it contributing to your creative ideals?

The MonoPoly is a versatile machine, but I am particularly drawn to the slightly gritty and weathered sounds that can be achieved with it. I find it can help bring a very honest and imperfect quality that can help humanize a track.

It is also complex enough to achieve unusual sounds that feel alien enough to give me inspiration.

Some see instruments and equipment as far less important than actual creativity, others feel they go hand in hand. What's your take on that?

It’s easy to get caught up in instrument fetishism. I have downsized the amount of gear in my studio to just a few key instruments that I am using now, which forces me to really dig deep into the few tools I have available.

I believe it’s somewhere in the middle. You still need some great tools, but I do believe the real magic happens from within.

What are some of the stand-out features from your point of view?

I love the modulation in it. Sometimes I get a bit lost within the routing and this is a great source of inspiration through experimentation and happy accidents.

The four VCOs are a nice feature and I like the way they are presented. I also really like the sound of the filter section, it has an interesting characteristic.

Prior to using it for the first time, how did you acquaint yourself with the Korg MonoPoly? Will you usually consult a manual before starting to work with a new device – and what was that like for the Korg MonoPoly?

I’ve never consulted a manual for the MonoPoly. It has always been experimentation and self-learning.

My previous experience of using the software plugin version was maybe a little helpful, but it has it’s own life as a hardware synthesizer.

I am still learning little tricks as I go, I find that every time I power it on I have a pleasant new experience.

Tell me a bit about the interface of the Korg MonoPoly – what does playing it feel like, what do you enjoy about it, compared to some of your other instruments?

Everything is laid out in nicely spaced rows and columns over a fantastic colour palette of dark blue and black. All the knobs are chunky and grey and clearly grouped within the graphic panel, they feel great to use. It’s a tactile machine and feels a little temperamental sometimes, which I enjoy.

The red diodes and the wooden panels on the side give it that vintage charm which is a nice change from the sleek modern interfaces of instruments that house only a few buttons to operate deep sub-menus.

How would you describe the sonic potential of the Korg MonoPoly?

It can really create some sci-fi edged palettes. Arpeggios and strange warbling basses.

I don’t find it great for lush pad sounds, but I’m sure with enough effort they could be achieved.

In which way does the Korg MonoPoly influence musical results and what kind of compositions does it encourage / foster?

I find it useful for ambient music, the modulation really leans it in that direction for me. It’s also great for future-leaning works and can easily fit into a techno piece.

Using it as a starting point, the first piece of gear I fire up, and just pressing record, can sometimes lead to something interesting.

More generally, how do you see the relationship between your instruments and the music you make?

Music needs to have an element of exploration to be engaging for me. To meander in the moment and just go with what is coming, not actively directing too much.

Any instrument where I feel comfortable enough with it to do that has a place in my studio. Not just the sonic capabilities and music that these machines can produce, but how the look and feel are all a part of the equation. It has to feel symbiotic in a way.

Could you describe working with the Korg MonoPoly on the basis of a piece, live performance or album that's particularly dear to you, please?

The MonoPoly features as the main instrument on the title piece from my recently released album Far Beyond.



It’s a meandering ambient track and it is special to me because it was one of those moments where I was able to really enter that bubble of channelling energy from a kind of dream state or spiritual source.

I can still visit that exact moment in my mind.

How does the Korg MonoPoly interact / complement / conflict with some of the other tools in your studio?

It pairs well with pad sounds and can cut through them to create a conversational element amongst the other voices.

I really like this combination and to me they build a synergy that can lead to some really beautiful or interesting moments.

Are there other artists working with the Korg MonoPoly whose work you find inspiring? What do you appreciate about their take on it?

I have no idea who else is using the MonoPoly. I am less interested in what tools other artists are using and am far more motivated as an artist in finding new or unusual techniques to harness these tools to generate something special.

In the light of picking your tools, how would you describe your views on topics like originality and innovation versus perfection and timelessness in music? Are you interested in a “music of the future” or “continuing a tradition”?

I try to achieve a timeless aesthetic by expressing myself in the most authentic and thus unique way possible. I’m not interested in trends.

There are aesthetics that influence me that carry through my music, but by pushing myself further and further and stepping outside what is comfortable, I feel in the end that’s all that matters.