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Tag: Moog Synthesizer

  • The Moog One blows out the Current Synth Market

    The Moog One blows out the Current Synth Market

    Sell those stock options, as this week Moog released its benchmark polyphonic analog synth, blessed with the moniker of Moog One. Its price point places the synth squarely in the realm of the boutique. The 8-voice model runs $5,999; while the 16-voice edition rocks a street price of $7,999.

    Needless to say, short of winning the lottery, most synth-nards and electronic musicians are out of the budgetary range for this behemoth. That’s sad, as its features and sound quality rank at the top of the current synthesizer market. Let’s take a closer look.

    Moog One Specifications

    Unfortunately, Moog didn’t send me a model to review. My absconding with the unit is a risk they didn’t want to take. Nonetheless, we forge ahead with a review of the Moog One specifications, as well as an imperfect sonic analysis based on the videos of the synthesizer.

    Moog_One_Synth
    Unfortunately, this is not my Moog One Synth. Photo copyright Moog Music, Inc.

    As expected, the Moog One sports a robust analog synthesizer architecture, in both the 8 and 16 voice versions. The synth also includes a digital effects engine; simply bypass it to maintain a fully analog signal path. Those talented folks at Eventide licensed some of their excellent digital reverbs to give the Moog One a proper measure of space.

    The keybed hosts 61 keys capable of sending both velocity and aftertouch messages. Onboard controllers include the standard pitch and modulation wheels, as well as an X-Y pad. Kaoss abounds! You know, the Moog One bears a resemblance to their classic Polymoog.

    73 knobs and 144 buttons combine with an LCD screen; providing a state of the art synthesizer interface. Modular synth connectivity is accomplished with the two CV inputs and four CV outputs. There are also a host of audio outputs – stereo mains, sub outputs, dual headphone jacks, and audio inserts.

    It’s all about the Tri-Timbral Synth Architecture

    The tri-timbral nature of the Moog One’s design means each timbre acts as an independent polysynth, which its own sequencer, arpeggiator, and effects engine. Now, the high price of the unit makes more sense. This is a stunning piece of gear.

    Considering these independent features of the tri-timbral design, I think anyone who went for the 8-voice model will be killing themselves for not spending the $2,000 more for the 16-voice. In short, the Moog One’s architecture appears to make running out of voices easy.

    The Moog One’s three oscillator design includes practically every required analog waveform. FM, ring modulation, and hard sync are all available for your patch manipulation needs. A dual source noise generator with a host of colorful options rounds out this section of the synth.

    Of course, the Moog One boasts Bob’s classic resonant ladder filter, with a host of slopes. The additional two state variable filters enhance the filtering options. Four LFOs, three envelopes, and a glide circuit make up the synth’s modulation section. There is also a full featured modulation matrix.

    Moog’s Arty Video for the Moog One

    Moog’s introductory video, while a bit too arty for someone just looking to dive into the details, nonetheless offers an interesting overview of the Moog One. Suzanne Ciani’s insights are especially worthy of note. Chick Corea does his thing with what sounds like Moog’s take on a DX7 polyphonic synth patch.

    Check it out. It’s 20 minutes that won’t waste your time nor mind. As an aside (at the 10 minute mark), what’s the point of placing your book collection in large vertical stacks instead of a bookcase? It’s almost like designing a website where the information flows horizontally instead of vertically, like the rest of the Web.

    This video as well the others I perused, reveals a stunningly powerful analog polysynth. The Moog One sounds great and works well as the centerpiece of an electronic music studio. Synth musicians who already own a ton of hardware and software gear might find they really don’t need Moog’s new behemoth.

    Ultimately, the Moog One ranks at the top of the synthesizer world. Is it the Yamaha CS-80 for the 21st Century? Time plays the ultimate arbiter in that determination. While I likely won’t be able to afford one anytime soon, gifts are always accepted here at TabMuse. Anyway, the Moog Sub 37 maintains its status as the favorite synth in my studio!


  • 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.

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  • 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!

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