An expressive eight-voice analog polysynth that trades nostalgia for depth, movement, and serious hands-on control.
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At a glance, Kijimi MK2 presents itself as a compact desktop polysynth with a clean, almost understated design. Spend a little time with it though, and it becomes clear that this is not a polite or conservative instrument. But to understand where Kijimi comes from, it helps to know the story behind its creator.
Black Corporation is a Tokyo-based synthesizer company headed by Roman Filippov, who previously developed Eurorack modules under the brand Sputnik Modular. The company specializes in creating modern reinterpretations of rare, classic analog synthesizers rather than museum-style clones. Their approach has been described as creating “replicants” – instruments heavily inspired by legendary vintage synths but enhanced with contemporary features.
The company first gained attention with Deckard’s Dream, a polyphonic analog synthesizer heavily based on the Yamaha CS-80. At Superbooth 2018, they presented the Kijimi, another polyphonic analog synthesizer inspired by the vintage Polykobol. The company has since expanded their line to include the Xerxes, based on the legendary Elka Synthex, and more recently the ISE-NIN, inspired by the Roland Jupiter-8. All their instruments share a philosophy of combining vintage-inspired analog sound with modern features like preset storage, MPE support, and polyphonic aftertouch.
Kijimi is an eight voice analog polysynth inspired by the rare RSF Polykobol, but rather than attempting a museum style recreation, Black Corporation have used that inspiration as a starting point for something far more ambitious.
Each of Kijimi’s eight voices features two analog oscillators, giving a total of sixteen oscillators under the hood. The oscillators are quantised for musical tuning, but retain enough flexibility to allow detuning, sync, and harmonic complexity without feeling unstable. Continuously variable wave shaping lets you move smoothly between triangle, saw, and pulse shapes, opening up a wide palette of timbres that feel alive rather than static.
The signal path flows into a 24 dB per octave low pass filter that plays a central role in Kijimi’s sound. It is capable of clean, controlled filtering, but also happy to self oscillate and push into more aggressive territory when resonance is increased. Velocity and aftertouch can be assigned directly to filter cutoff and resonance, making the instrument feel extremely responsive under the fingers. Even subtle pressure changes translate into musical movement, giving patches a sense of expression that goes beyond simple envelope shaping.
One of Kijimi MK2’s defining strengths is its modulation architecture. While the front panel presents a knob per function layout that feels immediate and approachable, the underlying modulation matrix is deep and unusually flexible for an analog polysynth. Two envelope generators and two LFOs form the core modulation sources, but the way they can be routed sets Kijimi apart. Instead of limiting modulation to a small number of destinations, Kijimi allows sources to be sent to multiple parameters simultaneously, with polarity and depth controlled directly from the panel.
The envelopes themselves are more versatile than they initially appear. Both can be looped, effectively turning them into additional LFOs, and keyboard tracking can be applied to envelope attack times. This results in faster articulation on higher notes and slower movement on lower ones, adding a subtle but powerful layer of expressiveness, especially when envelopes are cycling.
Kijimi’s LFOs are equally flexible. They can operate in either monophonic or polyphonic modes, meaning modulation can be shared across all voices or run independently per voice. In polyphonic mode, each voice receives its own modulation timing, creating rich, evolving textures that feel organic and unpredictable. This is particularly effective for pads and evolving soundscapes, where movement never quite repeats in the same way.
A major evolution in the MK2 version is its deep support for expressive control. Kijimi fully supports polyphonic aftertouch and MIDI Polyphonic Expression. This allows independent pressure, pitch, and control data for each note, opening the door to highly expressive performance when paired with compatible controllers. Rather than feeling like a technical add on, MPE feels integral to Kijimi’s design philosophy. The instrument invites nuanced interaction, rewarding players who explore pressure, movement, and gesture as part of their sound design.
Despite its depth, Kijimi never feels like an instrument that demands constant menu diving. Most core parameters live on the front panel, and while there is a settings menu for deeper configuration, it stays largely out of the way during creative work. This balance between immediacy and complexity is one of Kijimi’s biggest strengths. You can dial in a great sound quickly, but there is always more depth available if you choose to go looking.
Sonically, Kijimi MK2 is wide ranging. It excels at warm, animated pads that slowly evolve over time, but it is just as comfortable producing sharp, cutting leads and complex, harmonically rich textures. There is a sense of weight and presence to the sound that feels unmistakably analog, yet the modulation and control options push it well beyond vintage behaviour. It is not a nostalgia piece. It is a modern instrument with a clear identity.
Physically, the MK2 refines the original design with improved stability, updated internals, and subtle usability improvements, while retaining the compact footprint that makes it easy to integrate into both studio and live setups. It feels solid, purposeful, and built for long term use rather than fleeting trends.
Kijimi MK2 is not a synthesiser for players looking for instant presets or simple one knob results. It is an instrument that encourages exploration, rewards thoughtful interaction, and grows with you over time. For musicians who value expressive control, deep modulation, and a distinctly analog voice that refuses to sit still, Kijimi MK2 offers something genuinely special.
