![]() At bar 13, seventeen notes try to play at the same resulting in the bass note dropping out. For example: a sequence sends to a 16 note device. Modern sound modules dynamically allocate the available notes across the parts, and the first note on will be the first note off. This can occur when playing back from a multitrack MIDI sequencer. Note stealing describes the condition where the polyphony limit has been exceeded. One “part” could also be drums where each note plays a different sound. For example a 16 part multitimbral sound module can play 16 different sounds together. Multi-timbral means a MIDI device is able to play different sounds simultaneously. Recently there has been a resurged interest in analogue synthesis and some of the current budget devices have limited polyphony eg the Korg MS2000 is a 4 voice synthesiser. Since then polyphony has become a non-issue for many keyboard players (there are not a lot of duets performed on a synthesiser). ![]() The Yamaha DX7 made a breakthough in 1983 by offering 16 note polyphony for around $2000 (not to mention FM synthesis and velocity sensing). As things developed the polyphony increased, firstly to two note (duo-phonic), then 4 note, 5, 6, and 8 note. Note priority could be low note, high note, or last note (this one being the only musically sensible one). In the early days synthesisers were mono-phonic meaning only one key could sound at a time. ![]() Polyphony is used to state how many notes can sound simultaneously from a MIDI keyboard or sound module. ![]()
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