Tag: Moog Sub 37

  • Moog’s Subsequent 37 refines the Original Sub 37 Design – Synth News 7

    Moog’s Subsequent 37 refines the Original Sub 37 Design – Synth News 7

    Moog recently announced another upgrade to its already venerable Sub 37 synthesizer. We previously covered the Subsequent 37 CV, and now the Subsequent 37 (with no “CV”) has hit the market. I actually missed the CV tag the last time around. Sorry, it’s now fixed! By the way, I still think Sub 37 CV – Silver Machine Edition sounds cooler!

    The CV-less Subsequent 37 improves upon the original Sub 37 in a myriad of ways. Most notable is arguably the boosted headroom in the mixer section. The ladder filter and its multidrive circuit have also been redesigned, with a richer low-end and grittier sound as a result. Moog also upgraded the keybed. So there.

    Essentially, these are the same improvements found in the Subsequent 37 CV, minus the extra CV I/O. The street price for the Subsequent 37 is the same as the Sub 37 – around $1499.  Git ya one! I’m sticking with my still-loved Sub 37.

    Roland goes Boutique with the D-50

    Roland has been going gangbusters introducing new models in its Boutique series. We’ve talked about the TR-08 and SE-02 in previous posts. This time out Roland trains its eyes towards the late 80s and digital synthesizers with the D-05, a Boutique version of its classic late 80s synth, the D-50.

    roland_d-05
    The Roland D-05 emulation of their classic D-50 synth. Photo copyright Roland.

    Instead of the Analog Circuit Behavior design concepts used in other Boutique Series editions, for the D-05 Roland introduced something called Digital Circuit Behavior. Needless to say, they shouldn’t have any problem digitally emulating late 80s digital “linear arithmetic synthesis” technology. The street price for the D-05 is $349.

    Though I have taken a shining to the SE-02, the D-05 doesn’t inspire much gear lust.  I never had much interest in the original D-50, opting instead for the warm sounds of the Kawai K4, which still gets used now and again on my current musical projects. If your ears are more attuned to Roland’s classic late 80s digital synth sounds, the D-05 is likely right up your alley.

    Brainworx bx_console E adds Vintage British E Series Console Plugin

    Recently celebrating its 10th anniversary, Brainworx recently introduced a plugin sure to interest anyone looking to emulate those classic mixing consoles from the days of yore. The bx_console E is available through those kind and ubiquitous folks at the Plugin Alliance. It offers a full 72 channel emulation of the British SSL E Series mixing console, but goes beyond that with features from the G series as well.

    Each channel strip contains a compressor/limiter, expander/gate, 4-band parametric EQ, as well as high pass and low pass filters. Flexible routing within each channel is also possible, including sidechain processing. If you have any interest in creating dynamic, classic mixes, the bx_console E belongs in your plugin collection. Expect a street price around $299.

    Unfiltered Audio release Dent 2 and Indent 2 Effects Emulations

    The Plugin Alliance’s colleagues remain busy, including the folks at Unfiltered Audio. If you need to add some grit and grunge to your audio processing arsenal, check out the Dent 2 and Indent 2 plugins.

    Dent 2 allows you to distort waveforms at a “molecular” level; bitcrushers, clippers, and wavefolders abound, along with other useful and interesting features. Indent 2 offers a streamlined level of functionality compared to its big brother. Dent 2 is available for $99 and Indent 2 for $49, but if you buy Dent 2 you get a free license for Indent 2. Whoa!

    fielder audio join the Plugin Alliance with “stage”

    A newcomer to the Plugin Alliance family, fielder audio’s first release is “stage.” A plugin focused on psychoacoustic reverb algorithms for both tracking and mixing, stage looks to be an essential tool for musicians and audio engineers. Additional functionality includes unique panning algorithms, as well as an LFO for outer rim spatial modulation effects.

    The intuitive user interface offers real-time visual feedback on parameter settings. You can pick up stage from the Plugin Alliance for $179.


  • Review: Space Out with the TC Electronic T2 Reverb

    Review: Space Out with the TC Electronic T2 Reverb

    Effects pedals haven’t been the sole domain of guitar players for decades. Increasingly, keyboardists and synthesists use pedals to transform their sound for a variety of purposes. Reverbs and delays are especially useful when paired with a synth, as they facilitate travel to the outer regions of space and time.

    My Moog Sub 37 pairs nicely with the Moog MF Delay, as noted in a previous article. I wanted to get a reverb pedal for the Sub 37, with the Strymon Blue Sky being at the top of my list. Budgetary considerations prevailed – don’t they always – so I decided on a TC Electronic T2 reverb unit instead. I wasn’t sorry.

    TC Electronic T2 – Features and Functionality

    The T2 sports a similar footprint as many other TC Electronic effects pedals; in fact it looks very similar to my Dark Matter distortion pedal. The Celtic rune on the front brings a nice stylistic touch. A solid footswitch with true bypass, four knobs, stereo quarter-inch I/O connections, and a toggle switch used for pre-delay round out the pedal’s controls.

    tc-electronic-t2-reverb
    The TC Electronic T2 reverb pedal carries the weight. Image copyright TC Electronic.

    Three of the knobs control decay, tone, and mix, while the fourth switches between the T2’s 11 different reverbs. The unit is powered by either the traditional 9-volt battery or an AC adapter; I opted for the latter after forgetting to unplug the input and draining the battery more than once. A USB port is used for the pedal’s TonePrint capability (more on that later).

    The 11 reverb types range from the subtle to the spacey to the ethereal. Of course, the decay, tone, and mix controls influence the ultimate sound of each type. Two ethereal reverb types (E1 and E2) are suitable for ambiance, with the latter adding a cool pulsing drone to the sound.

    All told, there is enough variety in the reverb types to meet the needs of both synthesists and guitar players looking for something otherworldly from an effect pedal. Use the controls to dial in the exact sound you need.

    TonePrint your Mind, Man

    The T2 is compatible with TC Electronic’s TonePrint feature. This lets you download a customized effect using either an application for Windows or Mac over a USB cable, or by “beaming” it into your guitar’s pickup with a smartphone. Synth players are out of luck on the latter method.

    Many popular music artists designed their own signature TonePrint effect; you can also build your own with the desktop app. As an added bonus, any TonePrint patches from other TC Electronic reverb pedals are compatible with the T2. Given a list of guitarists from the worlds of metal, rock, and prog, I chose an effect from the esteemed Gary Lucas, whose talent and pedigree (Peter Hammill, Captain Beefheart, and Jeff Buckley for starters) shine above most. I may try the Steven Wilson effect in the future (my old band, Quarkspace played with Steven and Porcupine Tree earlier in the 2000s).

    The free TonePrint application is easy enough to use, but it needs some additional user interface shine. On Windows, there was no installation program (just an unzipped .EXE) and no confirmation dialog box when a patch was successfully downloaded to the pedal. If I ever get into building a custom reverb patch, I’ll write a more detailed review.

    At a street price of $149, the TC Electronic T2 offers good value for anyone looking for a great reverb pedal at a reasonable price. I used it extensively with the Moog Sub 37 on the Church of Hed album Brandenburg Heights. The T2 is especially useful for space rock, psychedelia, electronica, ambient, as well as the cooler forms of prog.

  • Review: The Korg SQ-1 is a Perfect MIDI Sync Traffic Cop

    Review: The Korg SQ-1 is a Perfect MIDI Sync Traffic Cop

    Korg released its SQ-1 sequencer originally as a pair with the re-imagined MS-20 synthesizer. Faced with two Volcas, a Monotribe, a Moog Sub 37, and a Teenage Electronics PO-12, I wondered if the device could essentially serve as a sync traffic cop; keeping all five instruments in rhythmic “harmony” suitable for some long-form Berlin School action. Read further to check out the results of my experimentation.

    A Closer Look at the Korg SQ-1

    At its core, the SQ-1 is a bare-bones 2 x 8 analog sequencer perfect for any synth with a CV input. The unit doesn’t even provide memory for storing sequences; lending itself more to improvisation and experimentation instead of composition. This isn’t a drawback at all.

    Korg SQ-1
    The Korg SQ-1 Analog Sequencer. Photo Copyright Korg.

    The SQ-1 features two CV channels (A and B) for sending voltage control and gate signals to connected synths. A separate output is compatible with the littleBits Synth Kit (I haven’t had the time or space to experiment with this yet). Sync I/O, a MIDI out (the 5-pin adapter cable is included), and a USB jack round out the SQ-1’s ports.

    The panel of the SQ-1 is dominated by two sets of 8 step knobs and buttons. Simple button presses turn a step on and off, while the associated knob controls the voltage output for that step. Like the Volca series synths, each button also serves another role when holding down the Function button; these are used for controlling the CV range (for compatibility with older synths) and the associated scale.

    Speed and Duty knobs and a Start/Stop button handle sequence playback. A Sequencer Mode selector switches between different playback modes, which let you do a variety of things from the simple — like choosing either 8 or 16 step sequences — to the more esoteric, like using Channel B’s knobs to vary the Duty or Slide for each step. This ease of control lends itself well to real-time experimentation with sequences.

    The Korg SQ-1 controlling your MIDI Sync

    When I bought the SQ-1, I figured it would be nice to have an easy to use analog sequencer always at the ready, but my most important short-term need involved keeping my two Volcas, Monotribe, and PO-12 in sync with the Moog Sub 37 or any other MIDI synth with an arpeggiator. The basic question came down to whether the SQ-1 would send a Sync Clock signal over MIDI when the sequencer wasn’t on. This allows the Moog’s arpeggiator to stay in sync without any SQ-1 sequencer data overriding the arpeggiator.

    Needless to say, this worked perfectly. The SQ-1 outputs MIDI clock sync when the sequencer is turned off. Additionally, the Speed knob functions as expected.

    I was able to build Berlin School sequences of doom using all five devices. Sync cables were used for the Volcas, Monotribe, and PO-12, while the SQ-1’s MIDI out was connected to the Moog. The next Church of Hed album, Brandenburg Heights, uses this setup extensively.

    One issue worth noting involved keeping the Sub 37’s Pitch CV input disconnected when also using the MIDI signal from the SQ-1. With everything connected, it’s difficult getting the Moog to play in key or at the right octave. As an aside, you need to use an expression pedal for the Filter CV!

    I’ve had a blast playing around with the SQ-1 sequencer with the Moog, nonetheless. I can’t wait to get some Eurorack gear or the Make Noise 0-Coast in the house to really put the SQ-1 through its paces. The Sub 37’s powerful sequencer and arpeggiator lessens the need for an external sequencer for me. Serving as a sync traffic cop is a perfect role for the SQ-1 for now.

  • The Moog Minifooger MF Delay paired with a Sub 37

    The Moog Minifooger MF Delay paired with a Sub 37

    Within a day after working with the Moog Sub 37 analog synthesizer in my studio I needed some delay. I had purchased an Electro-Harmonix Deluxe Memory Boy a few months ago to pair with the Sub 37, but it ended up being used in another part of the studio. I wanted a dedicated delay pedal for the synth.

    Enter the Moog Minifooger MF Delay.

    Moog’s Inexpensive Minifooger Effects

    Moog entered the effects pedal industry a few years ago with the excellent, but quite pricey, Moogerfooger line. Considering the money I just spent on the Sub 37, a more inexpensive solution was needed. Moog introduced the Minifooger line in the past couple of years for just this reason.

    Moog MF Delay
    Moog’s Minifooger MF Delay resting on top of my Korg Z1. The Sub 37 lies just outside view. Photo by Author.

    The Minifooger MF Delay sports a street price of just under $200, making it a perfect partner for the Sub 37. One arrived at my door two days later.

    The MF Delay is the Antidote for Anger

    Sitting on top of my Korg Z1, the MF Delay easily found a home with its partner in crime, the Sub 37. The controls and their functionality feel familiar to anyone who has ever used a delay pedal. The standard array of Time, Feedback, Drive, and Mix controls work as expected.

    I/O is also as expected, with 1/4-inch inputs and outputs as well as an input for an expression pedal. A switch in the battery compartment allows for pedal control of either the Time or Feedback parameters as needed. The pedal’s delay time varies from around 35 to 700 milliseconds, more than enough to give a synth a bit more color and motion.

    The MF Delay’s Drive knob adds up to 22 dBs of signal boost, which is really useful for grunging the sound up, especially when the Sub 37’s filter Multidrive setting is also boosted. Cranking the Feedback knob to 11 causes the pedal to self-oscillate, perfect for a bed of outer space inspired freak outs.

    Needless to say, Moog’s Minifooger MF Delay makes for a perfect companion to any of the recent spade of analog and virtual analog synths. Don’t let guitar players have all the fun — pick one up today!

  • Five Great Improvements for the Moog Sub 37

    Five Great Improvements for the Moog Sub 37

    Don’t get me wrong, the Moog Sub 37 is a stunning piece of analog synthesizer gear. The thing sounds wonderful and expressive, with a panel full of knobs and switches sure to delight any synth head. It’s my best musical device purchase in years — maybe ever?!

    Having said all that, there are still some potential enhancements to make the Sub 37 even better. Feel free to mention any mistakes or incorrect assumptions I’ve made in the comments. After all, I’ve only had the thing for a week and a half.

    Show Existing Memory Location Name when saving a Patch

    When saving a patch on the Sub 37, you can either overwrite its current location or anywhere else among the 16 banks that each contains 16 locations. But the interface doesn’t display whether there’s a patch currently stored when browsing locations, making it easy to mistakenly overwrite a patch.

    Moog Sub 37
    I did finally turn on the Sub 37. Photo by Author.

    I’ve spent a lot of time auditioning the factory presets and making little tweaks that I want to save somewhere else. Not knowing if I am going to overwrite another patch is a constant issue.

    When perusing memory locations looking for a safe home for saving a new patch, simply show the current patch name or “Init Patch” somewhere on the LCD display. The new name for the patch doesn’t need to be displayed after it is confirmed in save mode, so use that “screen real estate” for the memory location’s current contents.

    Move the Oscillator Section to the Left

    Since this is a hardware issue, I don’t expect anything to change, but it surprises me that the oscillator section of the Sub 37 is located in the center-right of the synth’s panel. It doesn’t seem intuitive, especially considering the original design of the Minimoog. Currently, the Glide, Arpeggiator, and Modulators (LFOs) take up that space.

    At a minimum, the oscillators need to be left of the modulators. I guess I’ll have to get used to it!

    Need to be able to edit Sequences

    The Sub 37’s robust sequencer and arpeggiator functionality is the main reason I waited 10 months for this Moog synth instead of getting a Sub Phatty. It is really easy to create new sequences, but I can’t find any way to edit them other than starting over. The firmware needs to add a way to edit sequences.

    I wish there was an Easy Way to see Loaded Patch Settings on the Panel

    This is a common problem with any recent analog or VA synth that combines hardware knobs with digital patch storage. It is impossible to “see” a freshly loaded patch represented on the panel. Moog does a nice job with flashing indicators denoting LFO or arpeggiator speed, as well as the modulation destination settings.

    I’d like to see something similar with the modulator sources and even the current waveform setting. Maybe potentiometers with an embedded LED to denote the original patch setting? Thanks to my ideas, the Sub 37 now retails for $6,000!

    Six Knobs for the DAHDSR Envelopes

    Hell, let’s increase the retail price of the Sub 37 a bit more. It’s a drag that you don’t have six discreet knobs to control the DAHDSR envelopes — you get four with a switch to bring in the Delay and Hold parameters. Two more potentiometers, Moog, just two more!

    I love my Sub 37; I really do! I realize that the hardware design of the synth won’t change, but hopefully a firmware update from Moog is in the works to improve the patch saving and sequencer editing use-cases.

  • First Impressions of the Moog Sub 37

    First Impressions of the Moog Sub 37

    Well, after a long wait — a bit too long methinks — Moog’s hot new analog synth, the Sub 37, arrived at my door yesterday. Our cats were quite intrigued with the box, but unfortunately for them it wasn’t to become their plaything du jour. The box contents are all mine.

    The Sub 37’s packaging is quite nice, including a basic introduction to analog synthesis on the box itself. A printed manual and a nearly poster-sized one-sheet listing the synth’s panel controls and functions rounded out the paper documentation.

    Tiptoe through the Sub 37 Presets

    I spent the next hour or so running through the Sub 37’s nice variety of presets. As expected, this synth covers a wide range of sounds with everything easily tweakable from the array of panel controls.

    Moog Sub 37
    The Sub 37 says “turn me on, please.” Photo by Author

    I wish I knew about Pot Mode before diving in, as the default ABS setting causes parameters to immediately jump to a knob’s physical value when touched. This led to some unmusical filter pops when tweaking the cutoff frequency knob. Moog recommends using either THRU or RLTV for live performance and ABS mode during sound design sessions. This setting is accessible using the Global menu.

    As you may have heard, the Sub 37 sounds incredible. The classic 4-pole Moog filter gets a little extra bite with the Multidrive control. This thing is capable of a full range of classic sounds from basses to leads to outer space.

    The synth’s paraphony comes into play in Duo Mode, where the two oscillators are capable of playing two notes at once through the same filter. Holding down a drone note with one finger while doing a lead with another is a blast.

    The Sub 37’s two DAHDSR envelopes are hard-wired to the filter and amplifier respectively. Both are capable of looping, which lends itself nicely to creating patches with a sense of motion. I would have preferred having six discrete knobs to control the envelopes instead of using a switch to access the Delay and Hold settings, but this isn’t a big issue.

    Yes Virginia, the Sub 37 Sequencer can do Odd Time Signatures

    Whenever I get new piece of musical gear — hardware or software — if there’s a sequencer, the first thing I check is whether or not you can vary the time signature. It’s not like everything I do is Crimson-esque avant-prog, but I want the option (3/4 is my favorite timing anyway.) Thankfully, the Sub 37 sequencer is capable of any number of steps from 1 to 32. Boom!

    Latching the arpeggiator also led to much fun with my TrapKat easily accessible for some quick motorik beats — in 15/8! I just bought the world’s most expensive and coolest metronome! Modulation options abound with the two LFOs.

    Needless to say, Moog has a winner on its hands with the Sub 37. The fact that I had to wait nearly 10 months for delivery after my pre-order beautifully illustrates that point. Expect to read more about the Sub 37 here at TabMuse as new discoveries are made!