The Official Sequential/Oberheim Forum
OTHER DISCUSSIONS => General Synthesis => Other Hardware/Software => Topic started by: Paul Dither on June 28, 2018, 04:39:18 PM
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If this turns out to be true, it seems like Moog answered the poly synth wishes:
https://www.matrixsynth.com/2018/06/moog-one-prototype-pcb-boards-patent.html
https://www.matrixsynth.com/2018/06/moogs-first-poly-synth-coming-in.html
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If this turns out to be true, it seems like Moog answered the poly synth wishes:
https://www.matrixsynth.com/2018/06/moog-one-prototype-pcb-boards-patent.html (https://www.matrixsynth.com/2018/06/moog-one-prototype-pcb-boards-patent.html)
https://www.matrixsynth.com/2018/06/moogs-first-poly-synth-coming-in.html (https://www.matrixsynth.com/2018/06/moogs-first-poly-synth-coming-in.html)
Can’t wait for photos!
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Can’t wait for photos!
(https://static.gearslutz.com/board/imgext.php?u=http%3A%2F%2Fi.imgur.com%2F2gOiwfx.jpg&h=24f4941bd5e99bd12f0930646df57210)
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Can’t wait for photos!
(https://static.gearslutz.com/board/imgext.php?u=http%3A%2F%2Fi.imgur.com%2F2gOiwfx.jpg&h=24f4941bd5e99bd12f0930646df57210)
Ha! I meant photos of the final product...
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I think this will be virtual analog though.
And “Moog’s first poly synth?” Huh?
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I hope I want one! :-)
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$6k to $8k
Unrestricted number of presets....
Built in Eventide Effects...
I think this is all a big nothingburger.
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Years ago I was given a hint my curiosity for a polyphonic Moog would be addressed sooner or later. Recently, I wrote that off figuring the increase of polys changed things. If this does come to fruition the landscape gets even richer.
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I will be curious how it will sound. I own a Minimoog and multi-tracking the individual voices in a recording does not always sound great. Too much raw power in the oscillator somehow. A high quality digital reverb makes total sense. I always add one at the back of my dry analogue synths.
If Moog makes it happen, it could be a "do-it-all" synth, encouraging people to ditch other gear (to recoup $$$), and master just one instrument like a guitar player or pianist would do.
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I'm more curious about the price... I bet it will place itself up amongst Prophet X and Quantum ;)
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I think this will be virtual analog though.
Doesn't look like it: https://patents.google.com/patent/US20160335998A1/
You can also spot parameters for wave variation, ring mod, and FM on the PCB.
$6k to $8k
Unrestricted number of presets....
Built in Eventide Effects...
I think this is all a big nothingburger.
I'm a bit skeptical about the Eventide collaboration too, but the prices look very realistic to me. Furthermore, the PCBs show a center display, which might be exactly the one Amos Gaynes and Geert Bevin talked about in their JUCE presentation last year.
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I'm more curious about the price... I bet it will place itself up amongst Prophet X and Quantum ;)
Rather twice as much. I think the rumored price of $6k for the 8-voice version and $8k for the 16-voice version sound very convincing. It's at least what I would have always expected a Moog poly to cost, especially when it comes with 3 oscillators and all the other bells and whistles (particularly if the rumors about the Eventide effects and the added state-variable filter turn out to be true). It was also rumored that Alex Hartmann did the hardware design.
Particularly the 4 LFOs to the left remind me of the DSI way of doing things, which—among other aspects—makes me wonder whether they consulted Dave during the project.
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I will be curious how it will sound. I own a Minimoog and multi-tracking the individual voices in a recording does not always sound great. Too much raw power in the oscillator somehow. A high quality digital reverb makes total sense. I always add one at the back of my dry analogue synths.
Yeah, I'm sure the oscillators' behaviour would be adjusted for poly duties.
If Moog makes it happen, it could be a "do-it-all" synth, encouraging people to ditch other gear (to recoup $$$), and master just one instrument like a guitar player or pianist would do.
A "do-it-all" synth concept is very likely if it indeed includes all the said features.
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I think this will be virtual analog though.
Doesn't look like it: https://patents.google.com/patent/US20160335998A1/
You can also spot parameters for wave variation, ring mod, and FM on the PCB.
$6k to $8k
Unrestricted number of presets....
Built in Eventide Effects...
I think this is all a big nothingburger.
I'm a bit skeptical about the Eventide collaboration too, but the prices look very realistic to me. Furthermore, the PCBs show a center display, which might be exactly the one Amos Gaynes and Geert Bevin talked about in their JUCE presentation last year.
Is this how they’ll be able to do unlimited presets?
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Will be interesting to see how this machine will look like once its announced. But to me it sounds like a discrete electronics machine with complex modulation. The "sound and features" type machine that some of us have been wishing to see from DSI for a few years now. Hope DSI take up that challenge at some point.
Wondering if the rumored state variable filter will be the Oberheim SEM design. Would be cool!
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I think this will be virtual analog though.
Doesn't look like it: https://patents.google.com/patent/US20160335998A1/
You can also spot parameters for wave variation, ring mod, and FM on the PCB.
$6k to $8k
Unrestricted number of presets....
Built in Eventide Effects...
I think this is all a big nothingburger.
I'm a bit skeptical about the Eventide collaboration too, but the prices look very realistic to me. Furthermore, the PCBs show a center display, which might be exactly the one Amos Gaynes and Geert Bevin talked about in their JUCE presentation last year.
Is this how they’ll be able to do unlimited presets?
I assume they might just plan to have an editor and librarian available immediately. The way Amos and Geert talked about implementing JUCE, this might rather be restricted to visual information provided by the center display.
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Isn't there a reason that Moog doesn't do polysynths?
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Isn't there a reason that Moog doesn't do polysynths?
And that reason is?
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The "Moog" sound is two 'heavy' for polysynths, or too expensive, I cannot remember which.
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If the price is going to be 4-8K it will be impossible for the general user to get their hands on it... though, I would not doubt that this would be the end price somehow... the 4K may be what some users might be able to pay, so I hope, that MOOG choose to make the 8 voice upgradeable with an add on card... like with the REV2... that would allow for users to split the cost over a longer period of time, but still get their hands on the device and use it.
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If the price is going to be 4-8K it will be impossible for the general user to get their hands on it... though, I would not doubt that this would be the end price somehow... the 4K may be what some users might be able to pay, so I hope, that MOOG choose to make the 8 voice upgradeable with an add on card... like with the REV2... that would allow for users to split the cost over a longer period of time, but still get their hands on the device and use it.
The rumors are more about $6-8k, not $4k.
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So if one takes a closer look at the alleged front panel PCBs (attached below in higher res), one can definitely identify the following:
- 4 LFOs
- 3 oscillators with dedicated OLED displays and controllers for frequency, beat, triangle, and pulse width, mod destinations, FM, ring mod, and hard sync
- selectable noise colors
- an arpeggiator (with octave, direction, and pattern buttons) and sequencer section (with note trigger, key transpose, and all synths buttons—the latter indicating multi-timbrality)
- chord on, hold, mono, and unison buttons, the latter of which definitely indicate polyphony
- a large centered display (probably the one Amos Gaynes and Geert Bevin talked about in their JUCE presentation) with the equivalent of DSI's soft keys and soft knobs above and below, and a few more navigation buttons
- 3 envelope generators to the right (the 3 rows of pots an buttons) that seem to be based on the Sub series as far as controls go (DAHDSR envelopes with multi-trigger, reset, looping, MIDI sync, latch, and individual control of delay, hold, velocity amount, and keyboard tracking)
As the rightmost PCB is too blurry, one can't really decipher anything related to the filter section.
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I know I’m in the minority here but this whole 8/16 voice options is getting a bit redundant. I’d rather see a company just stick with a number of voices for a synth and call it a day OR if if they are doing polyphony options go big or go home...10/20 voice options.
Also if this isn’t multitimbral then it’s a bit ridiculous. Isn’t the Baloran River a multitimbral Analog and less expensive than this?
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Also if this isn’t multitimbral then it’s a bit ridiculous. Isn’t the Baloran River a multitimbral Analog and less expensive than this?
Well, according to the rumors and the PCB there's going to be multi-timbrality. So this might be the analog workstation you've been asking for.
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Also if this isn’t multitimbral then it’s a bit ridiculous. Isn’t the Baloran River a multitimbral Analog and less expensive than this?
Well, according to the rumors and the PCB there's going to be multi-timbrality. So this might be the analog workstation you've been asking for.
We will just have to wait and see if this is all just hot air.
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4K$ seems pretty "cheap" for a 8 voice Moog, how much where the voyagers in the States?
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The rumor has it at $6k for 8 voices and $8k for 16.
Voyagers were about $3200-3500 new. I got mine for $2k when everyone sold them for the Model D.
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I posted this over on GS, but the Moog One thread there is locked because it descended into politics (its now impossible to say Moog over there without saying Behringer all over the thread).
But I think my comment there might be interesting to people hanging out here:
“Yes, there is a lack of restraint or an apparent attempt to make “one synth to rule them all”. It’s simultaneously worrying and mesmerizing.
Last night, because of the rumored filter specs, the enevelopes, the 4 LFOs, and the sequencer, I was thinking of this as an polyphonic analog VCO Pro-2. Then I got to thinking about the $1750 I spent on the Pro-2. If I estimated $1000 for the chassis, front panel, screen, knobs, keybed, and power - that leaves an estimate of $750 per voice. Well $1000 + ($750 * 8 ) = $7000! So $6k doesn’t sound as outrageous from that measure. Very expensive, but comparable. ”
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Still cheaper than a CS80.
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The rumor has it at $6k for 8 voices and $8k for 16.
Voyagers were about $3200-3500 new. I got mine for $2k when everyone sold them for the Model D.
Ah, 6k sounds more "reasonable"
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(https://media.sweetwater.com/api/i/q-82__ha-b7ffbbf6e615ddb5__hmac-d3717e7cca1e0e04bac930d120426bae67297c2a/images/items/750/MoogOne16-large.jpg)
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Fascinating specs (https://www.sweetwater.com/store/detail/MoogOne16--moog-one-16-voice-analog-synthesizer), but I want a bit more detail about the modulation matrix and to hear the oscillators and filters before I plunk down that kinda money.
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(https://i.imgur.com/yLZiyVh.jpg)
(https://i.imgur.com/aVHh4lL.jpg)
(https://i.imgur.com/mEmk7Nv.jpg)
(https://i.imgur.com/s6P71aD.jpg)
(https://i.imgur.com/snOQUZZ.jpg)
(https://i.imgur.com/ncCnJjv.jpg)
(https://i.imgur.com/Bx0EfBD.jpg)
(https://i.imgur.com/t6kjgP1.jpg)
(https://i.imgur.com/yEqaCm3.jpg)
(https://i.imgur.com/Dm7gsOC.jpg)
(https://i.imgur.com/hl98lhb.jpg)
(https://i.imgur.com/rWzuttT.jpg)
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This piece of kit will only interest those with a lot of money... 8000k is simply insane... even if I had the money I'd not use that much on it, no matter how good it was, that's a 100% certainty...
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It's certainly not meant to be a mass market product, rather one for the few, not the many. But everyone who was asking for a no compromise multitimbral analog super polysynth with Eventide effects is covered with this I guess. They certainly didn't save on the hardware side of things. Of course it'll be interesting to know details about its mod matrix and its sonic capabilities.
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Well, it's certainly not meant to be a mass market product, rather ONE for the few, not the many. But everyone who was asking for a no compromise multitimbral analog super polysynth with Eventide effects is covered with this.
Sure... but I doubt they'll be making much better music compared to a 2-3k synth with it anyway... you are simply paying for a bit more quality costing about the same... 2-3k... the FX part is really not that big a deal in my point of view anymore... external FX can do the trick, and plugins are getting much much better... there is a reason we're not seeing many hardware FX boxes made anymore from TC/Lexicon etc...
I think it's simply wrong to say, that you'd be making "something better" just because you spend that much on a MOOG... you may be able to do stuff that sounds "different" to anything else, but the old discussion about what "sounds best" is really silly these days... you could make just as good music with a simple one-voice synth if you recorded it right... the term "better" does not apply anymore in my point of view... it's much more important what brain is using the gear they have...
But sure... those who has the money, and feel they need this to be productive... all the power to them :) (and their wallet he he)...
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Sure... but I doubt they'll be making much better music compared to a 2-3k synth with it anyway...
Certainly not, yes.
you are simply paying for a bit more quality costing about the same... 2-3k... the FX part is really not that big a deal in my point of view anymore... external FX can do the trick, and plugins are getting much much better... there is a reason we're not seeing many hardware FX boxes made anymore from TC/Lexicon etc...
I agree insofar as I personally don't care much about internal effects either with the exception of how the delays have been implemented in the Evolvers and the P12/P2. They're mostly practical for live purposes. Other than that, what effects one prefers is a highly subjective thing.
I think it's simply wrong to say, that you'd be making "something better" just because you spend that much on a MOOG... you may be able to do stuff that sounds "different" to anything else, but the old discussion about what "sounds best" is really silly these days... you could make just as good music with a simple one-voice synth if you recorded it right... the term "better" does not apply anymore in my point of view... it's much more important what brain is using the gear they have...
Definitely. Nevertheless, I find some of the already known features interesting, not least because we haven't seen an analog polysynth with a ring modulator in a while. And not many come with 2 different filters either, let alone complex EGs with adjustable curves per stage to name just a few examples.
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Jeepers, I'd love to incorporate a bit of the Moog sound into my own overall sound, but the company certainly isn't making it easy. It's a bit of a leap from a Subsequent 37 to a One, isn't it? That Voyager/Minimoog slot needs a permanent occupant. Moog's synthesizers are either too small or far too expensive.
The Moog One is the magnificent sort of synthesizer that you sell all your other instruments in order to finance. That's about the size of it for many of us. Oh well....
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I'll be in the minority on this one but man I can't believe how uninspired that synth is. It is almost knob for knob to the Quantum.
Also I'm a bit over the 8 voice/16 voice version gimmick unless they are going to make them upgradable like the REV2 and even still...why not just go 10/20 at that price point?
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One thing that has me more intrigued as I think about it is the built-in effects. If aspects of them appear as modulation destinations, it can make them integrated into the sound and more than the sum of their parts. The DeepMind 12 has that quality--without the effects, it's just a nice (YMMV) Juno-106 revision. But with them and all the modulation you can do, it makes it a much deeper synth...even if I wish for a saw on the second oscillator rather a lot.
OTOH, I can buy a Modal 008 with effects and an H9 Max for less than this.
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I'll be in the minority on this one but man I can't believe how uninspired that synth is. It is almost knob for knob to the Quantum.
Well, Axel Hartmann has been involved in the design of both, but I fail to see how the One is similar to the Quantum. It's an obvious nod to the Memory Moog. It's also objectively not uninspired, as it contains a couple of new developments like the VCOs that are capable of more complex waveforms and 3 loopable DAHDSR EGs with variable curves.
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I'll be in the minority on this one but man I can't believe how uninspired that synth is. It is almost knob for knob to the Quantum.
Well, Axel Hartmann has been involved in the design of both, but I fail to see how the One is similar to the Quantum. It's an obvious nod to the Memory Moog. It's also objectively not uninspired, as it contains a couple of new developments like the VCOs that are capable of more complex waveforms and 3 loopable DAHDSR EGs with variable curves.
Yeah I guess you are right. The first thing I thought of when I saw the screen in the middle of a knobby synth is the Quantum.
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I can't find any info if the 8/16 is even upgradable or if it's a case of the Prologue's "one or the other" type approach.
On sweetwater it says 8 voices stereo/16 voices mono.
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I can't find any info on if the polyphony is upgradable or if it's a case like the Prologue's "One or the other" type approach.
On Sweetwater it says 8 voices stereo/16 voices mono....wait what? I'm confused.
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The Moog site isn't even officially ready yet, so there will probably be an official announcement later today alongside a video and/or more.
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Here's a good read for bypassing the waiting time:
(https://i.imgur.com/Rw5ydqp.jpg)
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Still cheaper than a Schmidt or even a CS-80.
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Here's a good read for bypassing the waiting time:
see magazine cover above
...stop describing me accurately. :'(
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I wonder if this will be at the Moog stand at the UK Synthfest this Saturday.
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I can't find any info on if the polyphony is upgradable or if it's a case like the Prologue's "One or the other" type approach.
On Sweetwater it says 8 voices stereo/16 voices mono....wait what? I'm confused.
My Sweetwater rep called me excitedly this afternoon suggesting a newly released polysynth might solve my recent searching for a beefy multitimbral controller with aftertouch. His excitement was infectious as he described how he got sounds out of it ranging from Oberheim, Roland, and yes, the Prophets. I had heard of rumors of a polyphonic Moog, but I dismissed them because it's been years of wishing. He prepared me for the sticker shock, but I'm foolishly thinking how I could finance it.
He mentioned an SSI filter, at which point I actually audibly gasped. This could explain the 8 voice stereo / 16 voice mono setup, similar to how the Prophet X is setup with its SSI filter. He didn't mention anything about stereo or mono though, I'll have to ask him about that. He also said that theoretically Moog could upgrade an 8 voice to a 16 voice, but you'd have to ship it to Moog and it would take a couple weeks.
When I got home, I took inventory of how much I would get for gear I could sell. I was surprised to find I could easily afford the 16 voice.
Andromeda around $3k
Rev2 for $2k
$2k for MIDI controllers and stands
$1.5k for a couple bass guitars
$1k for an XR18 and a subwoofer
$1k in various TC multiFX units
Matrix1000, Slim Phatty, Boog D
BCF, BCR, Micron, Minitaur
I imagine others will also look at what they can sell. If you look at it, almost all of the pieces I can sell were simply attempts at achieving the real deal of a beefy, multitimbral polysynth with aftertouch.
I could get rid of the pieces and streamline it all to a giggable Kronos + Integra for bread and butter rompler sounds, a Privia PX5S for piano action and zones, and a Moog One for all that vintage bass, lead, brass, pad, etc. Goodbye emulations, assorted boxy devices, and the spaghetti hassles of audio MIDI and power cords and warts and stands and controllers. Hello powerful, flexible, immediate, and reliable simplicity.
Guess I'd still need a multitimbral Blofeld for the wave tables and digital counterpoint. A Quantum Moog One combo is a bit overkill, right?
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I heard it's only Tri-Timbral meaning three sounds instead of something like the Andromeda with 16 different sounds at once.
If it's an upgradable option then for sure I'd be interested in the 8....hell 8 might be all I'll need.
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It's tritimbral. First time I ever said that word was yesterday speaking with my Sweetwater rep. The Rev2 I have from them 3 weeks ago is with their 2 year no interest plan, but I maxed that at 2k.
My Andromeda isn't reliable enough to use for daily inspiration, takes an hour or so before it settles. But having 16 way multitimbrality is very nice. I programmed a few multis with splits across 2 keyboards and really dug that. Damn, now I'm having 2nd thoughts about selling it.
I'm thinking a Moog One with 8 voices should be enough since I would use it mostly live. My Minitaur with only 2 OSCs holds it own, so 1 Moog One voice for left hand bass is more than sufficient.
If the top voices are overpowering, I could "thin" them out by only using 2 or even 1 oscillator, and add depth back in with subtle waveshape modulation, slow vibrato, and chorus before it hits that Eventide shimmer.
Hmm. Since the Moog One has multiple audio inputs, I wonder if I could apply Eventide reverbs to my other boards? One reverb to rule them all!
Back to the vintage future with Moog phatness layered with DX7 FM tones (via my Kronos) and PPG wavetables (via a Blofeld). Gnarly, dude.
That combo would definitely outdo a Virus TI2, which I was just auditioning at Sam Ash for $3k, and which I was not impressed with. Sad.
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The $6000 to $8000 price tag seems "reasonable" considering that it is a polyphonic Moog, the premium brand in electronic music instruments. If they can sell Minimoogs for $3500 there will be no problem to churn out polysynths for about twice that price. Battered old Memorymoogs have been selling for more. Potential buyers will probably be put on waiting lists to get hold of one One.
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I can't find any info if the 8/16 is even upgradable or if it's a case of the Prologue's "one or the other" type approach.
On sweetwater it says 8 voices stereo/16 voices mono.
I was fortunate enough to get a sneak peek at the One at Sweetwater’s GearFest in June. My first question to Moog was if there would be an option to upgrade the 8 voice to 16 down the road. The answer back in June was “no” which was disappointing as $8,000 is a bitter pill to swallow in one sitting. I opted for the 16 voice Rev2 out of the gate because I knew I wanted the polyphony so figured I would save money in the long run by buying the 16. But coming up with $1800 was a lot easier than $8000!
Maybe down the road they will offer the option. And I guess as previously stated sending it back to Moog which I guess could involve a complete swap of innards. The only photos of the inside that leaked were just the circuit boards for the user interface (knobs, switches, and screens). Until we see the layout internally to see if there are swappable voice boards we won’t know how involved or even possible an upgrade would be.
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If you look at it, almost all of the pieces I can sell were simply attempts at achieving the real deal of a beefy, multitimbral polysynth with aftertouch.
Have you considered the Modal 002? Especially used, you can get them for ~$3K-4K, and it's 12-part multitimbral, and gets both digital and analog waveforms through a very nice custom state-variable filter. It has a Fatar keybed with aftertouch.
It's got some limitations, but as far as doing bass, lead, brass, and pad sounds, it does all those quite well and lets you map stuff all over the keyboard.
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To tell you the truth I hadn't done any research into the various boutique polysynths. The Modal 002 looks pretty impressive and flexible. However, and I'll admit this is a bit rash, but I've decided to go ahead and order a 16 voice Moog One. Sweetwater has been good to me, and I trust them and Moog for quality service. And tbh, I am after vintage 80s sounds, and when Ben told me excitedly over the phone, out of his own accord, that he was coaxing from it a range of sounds like Rolands and Oberheims, I was sold.
And to clear up some misinformation, Ben has been told personally by Moog that they won't offer the voice upgrade path, due to the size and expense of shipping, and the upgrade is not something a user could do.
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To tell you the truth I hadn't done any research into the various boutique polysynths. The Modal 002 looks pretty impressive and flexible. However, and I'll admit this is a bit rash, but I've decided to go ahead and order a 16 voice Moog One. Sweetwater has been good to me, and I trust them and Moog for quality service. And tbh, I am after vintage 80s sounds, and when Ben told me excitedly over the phone, out of his own accord, that he was coaxing from it a range of sounds like Rolands and Oberheims, I was sold.
And to clear up some misinformation, Ben has been told personally by Moog that they won't offer the voice upgrade path, due to the size and expense of shipping, and the upgrade is not something a user could do.
Congrats!! Personally like I said I may go for the 8 voice model cause I don't think I'll need the 16 voices but even still I wish Moog include a way to "divide down" the voices so they could be played across the keyboard much like how the original Polymoog did.
Actually that brings me to another topic. Is there a way an analog synth can switch between being polyphonic and paraphonic or is there something that prevents it from switching between the two?
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Moog's front page is running a special on the history of their polyphonic models. The Apollo Polymoog (https://www.moogmusic.com/news/polymoog-synthesizer-1975) allowed users to alter presets and these were fully polyphonic. However, the user area where you could edit all parameters was only paraphonic. The VCF could not be individually retriggered per voice.
Seems to me this was a hardwired limitation. I'm not sure how modern paraphonics work -- whether it's hardwired, reroutable via digital magic, or some combination of both. Hopefully when Moog releaseses the manual for the One we'll get more answers.
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I see folks complaining about the price, but considering you're getting three synths in one, it's really not that bad. If you bought three P6s or OB-6s you'd be spending upwards of nine grand and aside from having two more voices, you'd not even remotely get the functionality the One has. Plus it has Eventide effects and the top of the line TP/8S keys. I would certainly buy the 16 voice if I had that kind of expendable cash.
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All spec and prices here...
https://www.sweetwater.com/store/detail/MoogOne8--moog-one-8-voice-analog-synthesizer
I'd LOVE to own this, looks like a colossus to me.
Nice to see that it isn't only Dave Smith/Sequential making aspirational polyphonic analogue synths.
Can't afford it, but it's on my wish list. :)
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Forgot to copy and paste the description and specs. Voilà:
The Ultimate Moog Dream Synth
As the first polyphonic Moog synthesizer in more than three decades, Moog One spearheads a new era of analog synthesis. Handcrafted at the Moog factory in Asheville, North Carolina, Moog One is a programmable, tri-timbral analog synth featuring an intuitive tactile interface that transcends the boundary between instrument and artist, allowing you to achieve your musical goals unimpeded. And then, of course, there’s that legendary Moog sound. Moog analog circuits are renowned for their unrivaled punch and rich harmonics, and Moog One represents the definitive evolution of these classic circuits. Years of research went into this analog dream synth, and it shows in every aspect of its masterful design. Under your fingers, Moog One will exceed your every expectation as it inspires your musical creativity and opens portals to a vast sonic universe.
Advanced sound engine architecture
Available in 8- and 16-voice versions, Moog One can simultaneously articulate eight or 16 voices, depending on the configuration of your instrument. The Moog One polyphonic sound engine is built upon the most advanced architecture ever conceived for a Moog synthesizer. Per voice, Moog One features three state-of-the-art analog voltage-controlled oscillators (VCOs), two independent analog filters (a Variable State filter and the famous Moog Ladder Filter) that can be run in series or parallel, a dual-source variable analog noise generator, an analog mixer with external audio input, four LFOs, and three envelope generators. You can split or layer the three timbres — each with its own sequencer, arpeggiator, and onboard effects library — across the premium 61-note Fatar keyboard with velocity and aftertouch.
Premium onboard effects
Moog One offers a growing library of programmable per-synth and master bus effects, including chorus, delay, phase, bit reduction, vocoding, and a suite of premium Eventide reverbs such as Blackhole, Shimmer, Plate, Room, and Hall. Effects can be applied as Synth Effects and Master Bus Effects. Synth Effects are applied to individual timbral layers, while Master Bus Effects can be accessed via sends from all three synthesizers. Though its onboard effects are digital, the Moog One audio path is completely analog when all the effects are true bypassed.
Creativity without constraint
Clad in a handcrafted ash cabinet, the Moog One aluminum front panel is fitted with 73 knobs and 144 buttons, welcoming hands-on interaction with all the sound-sculpting and performance controls. Extended on-screen functionality is effortlessly accessed via More buttons (one for each module) that serve up additional parameters in the center-panel LCD to deliver the most intuitive and efficient synthesis experience possible. To the engineer, Moog One is a sophisticated technological marvel; to the synthesist, it is an unparalleled facilitator of fluid musical expression that lets you create, sculpt, and transform your sound without constraints.
Performance Sets and Snapshots for instant recall
A valuable feature that vintage synths didn't offer was preset storage. If you haven't had the joy of playing, say, a Minimoog, imagine not being able to save or recall a patch for instant deployment in a live show. Moog One is a veritable playground for tone tweakers and sound designers. Its front panel is graced with scores of knobs and buttons; the status of each — as well as the countless under-the-hood parameters — is stored in memory for quick recall from a massive bank of presets.
The Moog One searchable Browser and interactive LCD center panel make finding your sounds quick and easy; saved Presets can even be assigned to the front panel Performance Sets for instant recall. When investigating a sound, pressing the Snapshot button lets Moog One capture and recall a time-stamped snapshot of a preset at its current settings, eliminating the need to incrementally save data manually while experimenting.
Store tens of thousands of presets
A Moog One preset is a self-contained blueprint, saving the parameters for all three layers of timbrality, along with each timbre’s sequencer, arpeggiator, and modulation settings. Moog One has the capacity to store and recall tens of thousands of presets that you can easily categorize, edit, notate, and even share via USB drive. Up to 64 presets can be arbitrarily grouped to a Moog One Performance Set, where they are immediately selectable via the front-panel Bank/Preset button configuration — a vital feature for live performances and session work.
Presets can be shared with an unlimited number of Performance Sets, allowing quick access to desired presets for each live gig, studio date, and composing session. Preserving more than just presets, User Spaces save global behaviors, MIDI settings, knob behaviors, port and pedal configurations, and even the LED brightness level of your working environment. This means that a USB thumb drive in your pocket can temporarily make any Moog One in the world your personal instrument.
Three polysynths in one
Moog One is not only polyphonic; it's tri-timbral (3-part multitimbral) — that is, capable of playing up to three individual Synths simultaneously — split, layered, or zoned across the keyboard — all from within a single preset. With each Synth capable of accessing its own sound parameters, note range, arpeggiator, and sequencer, you can create rich ensemble performances and deeply layered, evolving soundscapes.
Essentially three independently addressable polysynths in one, the Moog One tri-timbral architecture lets you easily assign, split, layer, and stack voices with up to 48 oscillators in Unison mode. What's more, each synthesizer is furnished with its own full-featured step sequencer, arpeggiator, and effects processor. The Panel Focus module simplifies and streamlines the complexities of multitimbral synthesis. Choosing a Synth for panel focus switches control of the Moog One front panel knobs and buttons to the selected Synth layer. You can also select multiple Synth layers concurrently to simultaneously tweak multiple Synths.
Cutting-edge triangle/saw and square/pulse oscillators
Each Moog One voice is driven by three newly designed analog VCOs. Each oscillator outputs a user-defined mix of the selectable triangle/sawtooth wave, plus a variable-width pulse wave. Unlike with traditional oscillator designs, you can shape and modulate the rise/fall time of the triangle wave, and the reset phase of the sawtooth wave, to build classic analog tones that are uniquely rich and complex.
Blending the tri/saw and square/pulse waves together opens the harmonic floodgates, resulting in waveform complexity not commonly associated with analog synthesis. The Moog One oscillator section is also equipped with waveform modulation, hard sync, ring modulation, and FM (Frequency Modulation) for virtually unlimited analog sound generation.
Dual-source noise generator
Each Moog One voice has access to an advanced dual-source analog noise generator that lets you select, mix, and dynamically articulate different noise colorations (white, red, and purple) via its dedicated noise envelope generator. This unique module is a potent tool for adding percussive attack, breathiness, or full-spectrum impact to a sound.
Flexible analog mixer
The Moog One mixer provides volume controls and filter routing for each oscillator, noise generator, ring modulator, and external audio input, allowing sound sources to be shaped by using filters independently or in combination.
Moog Ladder and State Variable filters
Moog One features two kinds of analog filters – a newly designed multimode State Variable filter for surgical precision and the legendary Moog Ladder filter with selectable 1-, 2-, 3-, and 4-pole lowpass/highpass modes. Between them, the two filters can process sounds — individually or together, in series or in parallel — to deliver a colorful spectrum of vintage, contemporary, and futuristic filter sounds.
Three assignable envelopes
The envelope generator (EG) is a time-honored tool for dynamic sound shaping. There are three Moog One assignable DAHDSR (Delay, Attack, Hold, Decay, Sustain, Release) EGs that go way beyond traditional ADHR envelopes in terms of flexibility. In addition to looping, synchronization, and time-scaling capabilities, the character of each of these envelopes can be easily molded by per-stage envelope curves.
Low-frequency oscillators
The LFO (low-frequency oscillator) is another classic synthesis tool for creating cyclical motion in analog synthesis. Moog One is spec'd with four wide-range LFOs that are assignable to nearly any destination. With capabilities that include MIDI synchronization and clock divisions, start delay time, number of repeats per instance, fade-in and -out times, and much more, these LFOs far surpass the traditional LFO's comparatively limited functionality. Using the Variation parameter, you can smoothly morph between sine and triangle, square and pulse, sawtooth and ramp, or sample and hold and noise waveshapes.
Premium Fatar keyboard and X/Y pad
The exquisite tactile experience of playing Moog One doesn't end with its knobs and switches. The keyboard feel is incredible! Its premium 61-note, velocity- and aftertouch-sensitive Fatar TP-8S keybed is semi-weighted evenly across its black and white keys. Particularly notable is the shape and matte finish of the black keys, allowing for a balanced, dynamic playing experience with natural, seamless fluidity up and down the keyboard.
The enhanced Left-Hand Controller (LHC) features pitch-bend and mod wheels made of high-quality milled aluminum and, beside them, a fully assignable, pressure-sensitive, 3-axis X/Y pad that provides additional emotive expression and continuously variable control.
A tour de force
Packed with cutting-edge technology and more than a half century of Moog analog synthesis design expertise, Moog One is nothing short of a tour de force, one of the most compelling synthesizers we have ever laid hands on at Sweetwater. We are, quite simply, blown away. We know you will be as well.
Moog One Analog Synthesizer Features:
8- or 16-voice polyphony
3 VCOs per voice with waveshape mixing and OLED displays
Unison mode (up to 48 oscillators on the 16-voice instrument)
2 filters per voice with filter mixing (2 multimode State Variable filters that function as a single filter, and a classic lowpass/highpass Moog Ladder filter)
3 DAHDSR envelopes per voice with user-definable curves
3-part multitimbrality
Separate sequencer and arpeggiator per timbre
Chord memory
Dual-source noise generator with dedicated envelope
Mixer with external audio input
Ring modulation with selectable routing
Oscillator FM and hard sync with selectable routing
4 assignable LFOs
Premium 61-note Fatar TP-8S keybed with velocity and aftertouch
Assignable pressure-sensitive X/Y pad
Digital Effects (Synth and Master Bus)
Eventide reverbs
Selectable glide types
USB and DIN MIDI
Save, categorize, and recall tens of thousands of presets
Create Performance Sets that make up to 64 presets accessible at the push of a button
2 x ¼" stereo headphone outputs
2 pairs of assignable ¼" outputs (supports TRS and TS)
4 x ¼" hardware inserts (TRS)
1 x ¼" external audio input (line-level)
1 XLR + ¼" TRS combo external audio input with trim knob
9 assignable CV/GATE I/O (5-in/4-out)
USB drive support for system and preset backup
LAN port for future expansion
Tech Specs
Type: Polyphonic Synthesizer
Sound Engine Type(s): Tri-timbral Analog Synth ; FM, Hard Sync, Ring Modulation
Analog/Digital: Analog with Digital Effects
Number of Keys: 61
Type of Keys: Full Size, Velocity-sensitive, Aftertouch, Fatar TP-8S
Other Controllers: Pitchbend, Mod wheel
Pads: X/Y Pressure-sensitive Pad
Polyphony: 16 voice
Presets: 64 Presets, 128 Performance Sets
Oscillators: 3 x VCO ; Sawtooth, Triangle, Pulse Width
LFO: 4 x LFO ; Dual-waveforms, Variable Shapes
Filter: State-Variable -12dB/Octave (notch, BP, LP, HP), Ladder Filter (mixable, parallel, series)
Envelope Generator: 3 x DAHDSR Envelopes ; Variable Curves per Stage, Multi-trigger, Loop, Sync, Latch
Effects Types: Bypassable Digital Effects per Synth 1/2/3, Eventide Reverbs, Master Bus Effects
Arpeggiator: Per Synth ; Octave Range, Pattern, Direction, Pendulum, Gate Time, Sync
Sequencer: 64-step, Step editing, Modulation
Audio Inputs: 1 x XLR-1/4" TRS combo (mic/line), 1 x 1/4" TRS (line), 4 x 1/4" TRS (audio inserts)
Audio Outputs: 2 x 1/4" TRS (main L/R), 2 x 1/4" (sub 1/2)
Headphones: 2 x 1/4" TRS
USB: 1 x Type B (system/data backup), 1 x Type A
MIDI I/O: In/Out/Thru/USB
Pedal Inputs: 1 x 1/4" TRS (sustain), 2 x 1/4" TRS (Expression 1/2)
Other I/O: 4 x 1/4" TS (CV out), 2 x 1/4" TS (CV in), 1 x RJ45 LAN (future expansion)
Power Supply: 4-pin 19V DC power supply (included)
Height: 7"
Width: 42"
Depth: 20"
Weight: 45 lbs.
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Height: 7"
Width: 42"
Depth: 20"
Weight: 45 lbs.
Ouch!!! Not sure if gigging with it is a good idea....
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I know the raw sound is going to be immense, but I'm also super curious about the FX. I'm hoping that in addition to all the glorious reverbs, there will at the least be some sort of EQ algorithm, like this one:
https://www.eventideaudio.com/products/algorithms/eq-compressor
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Height: 7"
Width: 42"
Depth: 20"
Weight: 45 lbs.
Ouch!!! Not sure if gigging with it is a good idea....
Well, you get a free workout as a bonus. ;D
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I know the raw sound is going to be immense, but I'm also super curious about the FX. I'm hoping that in addition to all the glorious reverbs, there will at the least be some sort of EQ algorithm, like this one:
https://www.eventideaudio.com/products/algorithms/eq-compressor
They speak of a "growing library," which might indicate future add-ons just like on the H9 boxes.
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Workout indeed. Keeps you young. Thing is, I've also got 2 other keyboards and all their cable connections, mic stand and monitor, and the PA tops and subs and all their connections. Blessing and a curse being bass, keys, and sound guy. I need roadies.
But I'd do it for The One. For the love of the One. To share the glory that is The One. And just for the sheer sound and joy of Jump and Subdivisions with real, beefy, analog goodness that makes your hairs stand on end. At least that's the justification I'll tell myself, right? ;)
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Workout indeed. Keeps you young. Thing is, I've also got 2 other keyboards and all their cable connections, mic stand and monitor, and the PA tops and subs and all their connections. Blessing and a curse being bass, keys, and sound guy. I need roadies.
But I'd do it for The One. For the love of the One. To share the glory that is The One. And just for the sheer sound and joy of Jump and Subdivisions with real, beefy, analog goodness that makes your hairs stand on end. At least that's the justification I'll tell myself, right? ;)
Oh, I can actually relate to being the bass, keys, and sound guy.
Let's see what the official demos say. They are allegedly due for next week.
On behalf of effects, it should be added that there are 4 inserts for hardware effects or chains thereof on the rear. So that's always an option too.
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I know the raw sound is going to be immense, but I'm also super curious about the FX. I'm hoping that in addition to all the glorious reverbs, there will at the least be some sort of EQ algorithm, like this one:
https://www.eventideaudio.com/products/algorithms/eq-compressor
They speak of a "growing library," which might indicate future add-ons just like on the H9 boxes.
Digital Effects (Synth and Master Bus)
Eventide reverbs
Effects Types: Bypassable Digital Effects per Synth 1/2/3, Eventide Reverbs, Master Bus Effects
Arpeggiator: Per Synth ; Octave Range, Pattern, Direction, Pendulum, Gate Time, Sync
Sequencer: 64-step, Step editing, Modulation
Audio Inputs: 1 x XLR-1/4" TRS combo (mic/line), 1 x 1/4" TRS (line), 4 x 1/4" TRS (audio inserts)
This growing library coupled with these audio inputs... that alone is very interesting. The flexibility in this behemoth is spectacular. Imagine wavetables piped into those new filters.... =)
And this talk of wavefolding... and the ability to "shape and modulate the rise/fall time of the triangle wave, and the reset phase of the sawtooth wave".... so much fun for deep synthesis.
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It looks great - mages here...:)
https://www.gearnews.com/more-moog-one-images-leaked-online-and-its-gorgeous/
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Looks like for each OSC you can independently choose between the state variable filter, the ladder, or both at the same time! Same with ring mod and noise. Noise even has its own attack, sustain, and release, and a mix between noise color types.
And if I'm understanding this correctly, not only can you waveshape either the saw/tri or the pulse width waveforms, but it looks like you can crossfade their mix amounts.
Since there is no dedicated knob for audio input level, I'm guessing that it's a menu item, and that's also probably where the distortion/overdrive will be as well.
Where's that dang manual?! I'm ready to read that thing front to back...
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It looks great - mages here...:)
https://www.gearnews.com/more-moog-one-images-leaked-online-and-its-gorgeous/
This is really a dream polysynth. But at this price, i only could afford it if i buy all my gear... maybe in another life :D
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Sound on Sound's Gordon Reid wrote a story about the birth of the Moog One:
https://www.soundonsound.com/news/birth-moog-one
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I wonder if this might be an indication that we will start seeing more larger scale analog synths in the near future.
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Sound on Sound's Gordon Reid wrote a story about the birth of the Moog One:
https://www.soundonsound.com/news/birth-moog-one
Thanks--that was really informative into how hard it is just to get something like that even making sound. It gives me newfound respect for what the team at Sequential go through every year or so.
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I must admit, the specs look impressive. On paper, I like it.
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I thought it sounded incredible even in less than ideal conditions! I’m really looking forward to digging into the manual. I hope it gets released Monday.
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I have spent quite a few $$$ on buying premium hardware synths, but I am waiting with this one for the moment. Post rationalizing why I bought hardware synths:
1) Having instant, immediate access, direct control for spontaneous performing. Loose yourself in the moment. (As opposed to more organized composing which actually works much better "in the box")
2) Buying a part of history: $$$ for owning an instrument that was used by artists who inspired you
The Moog One is definitely not 2) yet, and all the knobs and options makes it hard to support reason 1. The delays mentioned in the SoundCloud article (firmware, patches) makes me worry about the big concern: how making a Moog sound good with more than 1 voice (I tried stacking multiple voices of my Model D using a looper), will sound good.
With a proper audio interface, a powerful computer, I start to see more and more how a computer can match and exceed the sound capabilities of analogue equipment (I did a-b testing hearing them side by side). The main battle front is in the user interface to access them: mouse drags do not work in the heat of the create moment.
I am looking forward to seeing/hearing the reviews of what sounds it can produce, at that time it will be the time to make a decision.
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If you look at it, almost all of the pieces I can sell were simply attempts at achieving the real deal of a beefy, multitimbral polysynth with aftertouch.
Have you considered the Modal 002? Especially used, you can get them for ~$3K-4K, and it's 12-part multitimbral, and gets both digital and analog waveforms through a very nice custom state-variable filter. It has a Fatar keybed with aftertouch.
It's got some limitations, but as far as doing bass, lead, brass, and pad sounds, it does all those quite well and lets you map stuff all over the keyboard.
I've been following the Moog One thread on Gearslutz. It led me to other synth threads like the Quantum and Modal 002. Wish I had known about the Modal 002 earlier. Listening to Quantum7's sound demos now. =)
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If you look at it, almost all of the pieces I can sell were simply attempts at achieving the real deal of a beefy, multitimbral polysynth with aftertouch.
Have you considered the Modal 002? Especially used, you can get them for ~$3K-4K, and it's 12-part multitimbral, and gets both digital and analog waveforms through a very nice custom state-variable filter. It has a Fatar keybed with aftertouch.
It's got some limitations, but as far as doing bass, lead, brass, and pad sounds, it does all those quite well and lets you map stuff all over the keyboard.
I've been following the Moog One thread on Gearslutz. It led me to other synth threads like the Quantum and Modal 002. Wish I had known about the Modal 002 earlier. Listening to Quantum7's sound demos now. =)
Moog makes 'classic' subtractive synths. They are awesome sounding classic subtractive synthesisers. Modal and Waldorf make innovative synths with a variety of synthesis methods in one synth. They are amazingly versatile and unique synths. You know you won't find a synth on the market today that sounds close to a Microwave (I or II), except the Blofeld (and forget the MWI sound with it). But then you won't make a Microwave out of a Blofeld. My favourite instrument store have said they will call me when the Quantum is in the showroom (it's currently out back, I'm guessing Waldorf won't let it on the floor until it's got a stable firmware on it...did I just say that?)
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https://youtu.be/wdhzVFZlKsM
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I've listened to the official demo's on Soundcloud today... and even if I know from my own experience, that you should never judge a synth on factory sounds, then those demos does NO JUSTICE to this synth, if it's really 8k worth... really... and I mean that... I heard nothing in those demos that I felt sounded "better" for what I use my REV2 for to be honest, even the FX did not impress me which is kind of strange considering it's Eventide FX.
Sorry to say, but I stand by my previous concern, that this synth is NOT worth 8k... at least in my opinion... I'd definitely have to hear better demos of it to change that opinion... i will agree that it may have an advantage in the sound character, but this is only if you really are after the "MOOG Sound", which in my opinion does NOT tell anything about being "the best sound"... just DIFFERENT sound.
Don't get me wrong, I like MOOG products, I've had quite a few of the lower range devices myself over the years, but 8k!? ... divide this amount by 3 and we might be at a more logical price in my opinion. With the Prophet X and Quantum out in this price range (the divided by 3 that is), the MOOG One will surely be a hard sell to many who just want a 8-16 voice hybrid/analog synth with good engine depth... I mean... who would want to get a ONE, if they can get both Prophet X, Quantum and a third synth in that price range for the same price as one ONE?
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Don't get me wrong, I like MOOG products, I've had quite a few of the lower range devices myself over the years, but 8k!? ... divide this amount by 3 and we might be at a more logical price in my opinion. With the Prophet X and Quantum out in this price range (the divided by 3 that is), the MOOG One will surely be a hard sell to many who just want a 8-16 voice hybrid/analog synth with good engine depth... I mean... who would want to get a ONE, if they can get both Prophet X, Quantum and a third synth in that price range for the same price as one ONE?
I'm happy to send you a check immediately if you're able to build a One for about $2,666.
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Don't get me wrong, I like MOOG products, I've had quite a few of the lower range devices myself over the years, but 8k!? ... divide this amount by 3 and we might be at a more logical price in my opinion. With the Prophet X and Quantum out in this price range (the divided by 3 that is), the MOOG One will surely be a hard sell to many who just want a 8-16 voice hybrid/analog synth with good engine depth... I mean... who would want to get a ONE, if they can get both Prophet X, Quantum and a third synth in that price range for the same price as one ONE?
I'm happy to send you a check immediately if you're able to build a One for about $2,666.
My check is ready too... you can go into mass production!
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The build price is not the question here actually... I'm not questioning if it cost that much to produce at all, I'm questioning how much it can do and how it sounds, compared to OTHER DEVICES costing about a third of that, and I'll stick to my opinion on that... for me, it's not worth 8k as things stand right now :) ... the big question is then, how many other people will think the same, because that is the ultimate end-goal for MOOG i would guess... no matter how much it cost to produce, if they do not sell enough units because of the steep price, then what is it worth to them?
But allright... with that price, I would suspect that they do not need that many customers to "weigh it out" :D ... with that price they can afford to loose two out of three customers I guess :D
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The build price is not the question here actually... I'm not questioning if it cost that much to produce at all, I'm questioning how much it can do and how it sounds, compared to OTHER DEVICES costing about a third of that, and I'll stick to my opinion on that... for me, it's not worth 8k as things stand right now :) ... the big question is then, how many other people will think the same, because that is the ultimate end-goal for MOOG i would guess... no matter how much it cost to produce, if they do not sell enough units because of the steep price, then what is it worth to them?
But allright... with that price, I would suspect that they do not need that many customers to "weigh it out" :D ... with that price they can afford to loose two out of three customers I guess :D
I agree. For the price, a Rev2 16V and a Rev2 16V module would kill it.
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Just listening to the 20 minute video now, it does not blow me away.
Hopefully I can try one for real sometime (probably not in TLV though...).
This instrument maybe requires a different type of playing/sound design?
1) Not your typical 2-bass plus 3 chord, but maybe interesting 2-note combinations (i.e. less polyphony but fatter sound of individual notes???).
2) Pushing the effects more to the extreme???.
Don't know.
Let's hope that we have not discovered the true potential yet!
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There are demos on SoundCloud as well:
https://soundcloud.com/moogmusicinc/sets/moog-one
It's still early days, though. Sweetwater's Daniel Fisher will do a demo later. And Amos Gaynes from Moog will also do a live demo at 12:30PM Asheville local time.
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I get the need for hyperbole, but neither the Prophet X nor the Quantum are $8k/3. Why even write that? Makes it sound like a rant.
Okay fine, they are about 1/2. Neither have any VCOs either.
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Sounds incredible to me & would no doubt sound even better in person. I'm sure a lot folks who can't afford that kind of expenditure will want to write this off. It's out of my league, but I'm not the kind to dismiss the unattainable.
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I get the need for hyperbole, but neither the Prophet X nor the Quantum are $8k/3. Why even write that? Makes it sound like a rant.
Okay fine, they are about 1/2. Neither have any VCOs either.
I initially wrote ALMOST a division by three... but you're right, it's a little more than twice the price of an X or Quantum... anyway, and still... you could get both the X and Quantum for less than one ONE... and you'd have much more versatility and probably just as much depth... you'd have sampling, VA, wavetable, granular, FM... the ONE will only give you analog oscillators and NONE of the digital features... I still stand by my opinion here... the MOOG does not offer anything special these other two machines do not, except for the "MOOG sound"... and that's unfortunately not enough to impress me :)
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Sounds incredible to me & would no doubt sound even better in person. I'm sure a lot folks who can't afford that kind of expenditure will want to write this off. It's out of my league, but I'm not the kind to dismiss the unattainable.
Why do people always think, that when we write something off, it's because we do not have the money? ... yes it IS expensive, and would take some time to save up for (in my case), but it's certainly not because i cannot afford it in time... but I sure as heck would buy both an X and Quantum before sheding this kind of money for a synth with these specs... I'm not sure I'd even ever reach a point where i had that kind of money no matter how long I saved up because at next NAMM show, there will probably be something else that would reach my interrest before the ONE... and I would probably always feel that way every year new gear is out...
Still... don't get me wrong, I like MOOG, and I'm only presenting my own personal feelings about this ONE... if anyone think this is the bomb, and would want to shed that kind of money, i'd not even say that those people were stupid... it's their choice of course what kicks their GAS...
I'm just not impressed.... yet... I need to see what this expensive piece of kit can give me, that a REV2 + Prophet X and Prophet 12 cannot... sure it will give me something only the ONE can do, but is it enough to warrant an 8k investment? ... it will have to show me better what's so special about it, other than the MOOG logo and discrete oscillators :)
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by the way... i do not know why I initially calculated the price as three times an X... i see now that it's more likely twice the price, and then a little more than that... that makes more sense as a MOOG top model... the initial three times an X simply just made me drop my jaw... I know that MOOG synths are always quite expensive, especially for the features they provide to the user which is usually much less than any DSI/SCI or Waldorf gear in the same price range... I'm not fully familiar with the ONE specs yet, but if I'm right, it's specs would probably compare (to me at least) to a Quantum or Prophet X in complexity and flexibility (though not exactly the same of course)... which is why I have a hard time taking it serious as it cost about the double... in fact it could be better compared to a REV2 which is also a real analog synth with 16 voices, and that is even cheaper in comparison... I'm sure that compared to a REV2 it would probably kick the REV2's ass... but if comparing prices... well... not really...
Maybe it's silly to compare it to anything when it comes down to it... it's probably going to be unique in it's own right... the question is maybe more, if it's worth it's cost, and I think that must be down to personal opinion... no one is right or wrong in this regard...
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Amos Gaynes and Daniel Fisher have given a first glimpse of the specs:
https://youtu.be/QV9AO2t67H8?t=2070
https://youtu.be/ZQK2YiB1kjQ?t=140
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Again, it’s like three synths in one and costs approximately a grand less than three OB-6s. You’re getting REV2 level modulation and much better effects. It’s also like getting both the P6 and OB-6 because you’re getting two different filters that are comparable to those. You’re getting better keys too with the TP/8S. Plus the wood and build is tops. If anything it’s a good deal compared to DSI/Sequential’s VCO offerings.
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Amos Gaynes and Daniel Fisher have given a first glimpse of the specs:
https://youtu.be/QV9AO2t67H8?t=2070
https://youtu.be/ZQK2YiB1kjQ?t=140
Alright... I found one point for the ONE... the dual filter options of having both a Ladder and State Variable filter with options to route different sources to one or the other or both is something I'd like to have in an analog synth... I often miss a state variable filter on the REV2 as a per voice option :)
Another point is for the added parameters of the oscilltors giving that many more raw timbral options, as this is usually the biggest problem with analog synths; they do not have enough variety in the oscillators before the filters in most cases... so another point for that :)
I actually think after seeing Amos showcase it a bit, that I could be tempted at some point... I'm just afraid that other options will come along before I ever have saved up the money for this thing... I'd have to save up for at least one year, and I need a Prophet X before this thing for sure, as I need sample usage more than yet another analog synth to be honest.
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Again, it’s like three synths in one and costs approximately a grand less than three OB-6s. You’re getting REV2 level modulation and much better effects. It’s also like getting both the P6 and OB-6 because you’re getting two different filters that are comparable to those. You’re getting better keys too with the TP/8S. Plus the wood and build is tops. If anything it’s a good deal compared to DSI/Sequential’s VCO offerings.
I'm not questioning if this is a superb synth, and that it does all those things... what I'm putting it up against is if it will add something to my current palette of options that I'd get with a REV2, P12 and X... would I miss out on something incredible possibilities by not having a ONE in this case? ... in my case I do not think so... I'd be able to create just as good Ambient music with these three as with a ONE... I'd actually have less options if I had just the ONE and none of the other ones.
But seeing the Amos presentation, i surely can feel the GAS poking at me... but it's not because I NEED it to do what I want... but hey... you could do music with a single mono synth if you wanted to. I would maybe buy one at some point after seeing Amos presentation... it will be quite some time before it happens though :)
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It sounds really nice but I do agree with Raz that as far as the sound goes, as massive as it sounds, there are a lot of more economical 16 voice alternatives for analog polysynths such as the Prologue (Which also has a digital oscillator with wavetable and FM capabilities) and REV2. There are also a lot more versatile synths that cost less than this, Prophet X, Quantum, Modal 002, John Bowen Solaris. I'd go as so far to say even comparing something like the Moog One to the Alesis Andromeda, the Moog One pales in comparison.
That being said. The sound is phenomenal. I've been listening to Daniel Fisher's presentation of it and it does have a really rich and warm sound to it. As nice as it is though, I'm not sure I'd pick one up. It's absolutely justified in it's price considering the work put into this thing but right now unless Sequential comes with another VCO based Poly (especially if it's a double keyboard like the Prophet 10) then currently I'm all about FM, Wavetable, Sampling type tones.
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It sounds really nice but I do agree with Raz that as far as the sound goes, as massive as it sounds, there are a lot of more economical 16 voice alternatives for analog polysynths such as the Prologue (Which also has a digital oscillator with wavetable and FM capabilities) and REV2.
The Prologue is said to have massive tuning issues and would not even be comparable without them.
There are also a lot more versatile synths that cost less than this, Prophet X, Quantum, Modal 002, John Bowen Solaris. I'd go as so far to say even comparing something like the Moog One to the Alesis Andromeda, the Moog One pales in comparison.
Apples and oranges. The One is an analog poly synth with a digital control platform that is up there with the most sophisticated digital or hybrid synths. If anything it's rather like a VCO synth version of the P12 + one more layer + more mod slots per layer + effects + one 64 step sequencer with up to 16 mod destinations per layer (or more?—I forgot) + vocoder, etc.
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It sounds really nice but I do agree with Raz that as far as the sound goes, as massive as it sounds, there are a lot of more economical 16 voice alternatives for analog polysynths such as the Prologue (Which also has a digital oscillator with wavetable and FM capabilities) and REV2.
The Prologue is said to have massive tuning issues and would not even be comparable without them.
There are also a lot more versatile synths that cost less than this, Prophet X, Quantum, Modal 002, John Bowen Solaris. I'd go as so far to say even comparing something like the Moog One to the Alesis Andromeda, the Moog One pales in comparison.
Apples and oranges. The One is an analog poly synth with a digital control platform that is up there with the most sophisticated digital or hybrid synths. If anything it's rather like a VCO synth version of the P12 + one more layer + more mod slots per layer + effects + one 64 step sequencer with up to 16 mod destinations per layer (or more?—I forgot) + vocoder, etc.
Oh for sure it's powerful on paper but I'm not hearing anything unique in any of it's demos.
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Oh for sure it's powerful on paper but I'm not hearing anything unique in any of it's demos.
That's of course always a matter of taste. I just wanted to point out that this was obviously a massive undertaking for Moog which clearly shows in the overall design and sets it apart from what we've seen so far.
I found the 3rd live stream quite impressive. It also gives a good insight in how the interaction via the display works:
https://youtu.be/zbfSxOqYJL4?t=1448
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Oh for sure it's powerful on paper but I'm not hearing anything unique in any of it's demos.
That's of course always a matter of taste. I just wanted to point out that this was obviously a massive undertaking for Moog which clearly shows in the overall design and sets it apart from what we've seen so far.
I found the 3rd live stream quite impressive. It also gives a good insight in how the interaction via the display works:
https://youtu.be/zbfSxOqYJL4?t=1448
It's still early. Can't judge a synth on it's presets or SoundCloud demos. I love my Prophets and I hated all their demos and 90% of their presets.
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Oh for sure it's powerful on paper but I'm not hearing anything unique in any of it's demos.
That's of course always a matter of taste. I just wanted to point out that this was obviously a massive undertaking for Moog which clearly shows in the overall design and sets it apart from what we've seen so far.
I found the 3rd live stream quite impressive. It also gives a good insight in how the interaction via the display works:
https://youtu.be/zbfSxOqYJL4?t=1448
It's still early. Can't judge a synth on it's presets or SoundCloud demos. I love my Prophets and I hated all their demos and 90% of their presets.
Sure. Hence I posted the 3rd video. I think those demos currently provide a better overall understanding of how everything works. And just as with other incredibly deep synths, it will take a while for people to explore the full potential.
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I think people can debate the raw sound of the oscillators and filters but IMHO the sound design workflow is undeniable. It just looks like an instrument that will be a sheer pleasure to use.
I actually thought of Razmo’s sound design work here while watching Moog’s live deep walkthrough video. I also agree it can be a hard choice to drop so much money on a single synth when it could buy you two totally different synths like a PX and Quantum for same amount as the 16 voice.
I for one am just happy to see a bit of a hardware renaissance the last few years after the dark ages that were VSTs and mini keys. Not starting a fight as I have some cool soft synths like Falcon. Well maybe starting a fight concerning mini keys! ;)
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I do agree that while I’m not rushing out to get a Moog One right away (it likely will grow on me after a while) I do hope that this is sort of a potential preview of things to come in the analog world. A step away from portable and affordable and more a step into bigger format type synths. While I appreciate the Moog One, all its really done is make me salivate at the possibilities of Sequential’s next synth.
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Comparing ONE to P12 is not really fair for both... The P12 has many options the ONE do not and vice versa... P12 has audio rate modulation in the modmatrix on a digital and so precise level it does both linear and logarithmic FM... This is not doable with only analog hardware... It also have wavetable synthesis... Having both a P12 and ONE would be a good combi, and would rather question the need for a REV2 to that combi... In fact I will not compare or argue the coolness of having the ONE as your only analog polysynth, but it will not (in my case) take out either Quantum, Prophet X or Prophet 12 in any way... For me the battle is between other 8-16 voice analog polysynths... It will probably win on features and sound, but definitely not on price... Even the DeepMind is a contender worth considering if you want an analog polysynth... Both REV2 and Deepmind12 are deep and capable and may pretty much satisfy many users needs in a fraction of the price of a ONE, no matter how bright the ONE shines :)
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After seeing all the live streams posted here, the UI is the thing that makes me really jealous.
The sound seems to be very fat and moogish, yes... but that was expectable.
But at the moment it's really this screen and these 'more' knobs per section that I would want in all my synthesizers. I'm not a big fan of touch screens, but a screen that show's all the infos I need (e.g. a graphical representation of an EG) without any noticable delay is really a nice thing.
Or simply the fact that you can store so much presets and the way of organizing them. Storage is cheap in this millennium. A similar system should be the standard in any modern synthesizer.
(It is a different case if you have a synth like the P6 without any menues at all. I'm only thinking of synth that already have a screen and (little) menue diving like Rev2 or X)
Another thought from a live keaboarder: even if it looks perfect for live gigging... I would be very afraid to put this thing on stage at this price point. I think it would not leave my safe studio ;-)
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Exactly, the UI is what I'm jealous of as well. I'm not so sure Dave has anyone in-house capable of programming something like that, but I'd love to be proven wrong. To be able to see exactly where everything is set at instantly & to be able to organize massive amounts of presets is something every synth should benefit from these days. The other option would be to have lights around the knobs indicating their settings and having a smaller screen at least showing filter/envelope settings. The other cool feature the One has is the capability to store snapshots enabling the ability to recall & compare prior edits. Supposedly no one at Moog knows how many presets or modulations the One can store due to the limit being so immense. Crazy.
P.S. These features are all undoubtedly incredibly beneficial, but there will always be a few who think we should remain stuck solely in the past like chimps throwing feces around. Waiting for the obligatory reply from a certain someone stating a preference for zero visual representation and unsorted patch selection via buttons...
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Although I haven’t played a One, I’m sure I’d prefer it’s sound over my ‘08 Rev2. However, for me today, a satisfying & effortlessly portable polyphonic keyboard is more important. (I remain satisfied with my analog poly, and don’t want another one at this time.)
I’m glad Moog’s got a polyphonic. Moog & DSI’s offerings are quite complementary.
I didn’t expect the Moog poly to have such exploration options. I imagine the 3rd layer is useful. It harkens to the 3 oscillator foundation.
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Waiting for the obligatory reply from a certain someone stating a preference for zero visual representation and unsorted patch selection via buttons...
I think that is quite another approach of doing things. If there's a 100%-knob-per-function design, everything is alright for me. But as soon as menue diving starts and the synth must have a screen, it better is a screen that is capable of doing graphics and stuff and the running software is really helping me, instead of keeping me searching through endless parameters. I hope I can make my point clear. Both is pretty fine... i just think those middle ways are no longer up-to-date.
But that's just a thought. I'm still pretty happy with my new (middle way) Rev2 and have a lot of fun with it. It does my cover band stuff pretty well and gives me a lot of inspiration for other music. So if I don't win the lottery, I won't buy a One either.
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Oh for sure it's powerful on paper but I'm not hearing anything unique in any of it's demos.
That's of course always a matter of taste. I just wanted to point out that this was obviously a massive undertaking for Moog which clearly shows in the overall design and sets it apart from what we've seen so far.
I found the 3rd live stream quite impressive. It also gives a good insight in how the interaction via the display works:
https://youtu.be/zbfSxOqYJL4?t=1448
It's still early. Can't judge a synth on it's presets or SoundCloud demos. I love my Prophets and I hated all their demos and 90% of their presets.
As far as I'm concerned, it's not too early to have a pretty good assessment of what this synth is. The audio of the synth that has already been presented is sufficient to support the quality that was presumed likely. However, it is too early to likely have had the chance to play it. ... Online demos are a small part of my assessment process. I suppose I prefer to not read the last page of the book, first. But I'm not in the market for an instrument, so my curiosity is well tempered.
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Exactly, the UI is what I'm jealous of as well. ... To be able to see exactly where everything is set at instantly...
Is this possible on the One? (I didn't catch that.)
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If there's a 100%-knob-per-function design, everything is alright for me.
Why would that matter when your patch settings typically aren't represented accurately by the knob settings? Even more so when you're switching between layers. This is exactly why lights around the knobs are ideal.
Is this possible on the One? (I didn't catch that.)
Not if you took what I was saying to mean every single setting at once, which would be impossible for a human to even perceive in a single instance anyhow. I meant everything is easily visible and instantly recognizable such as a visual of the filter or envelope.
Here's an example of its elegant way of representing things:
https://youtu.be/QV9AO2t67H8?t=51m27s
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If there's a 100%-knob-per-function design, everything is alright for me.
Why would that matter when your patch settings typically aren't represented accurately by the knob settings? Even more so when you're switching between layers. This is exactly why lights around the knobs are ideal.
But if we're talking about multiple layers... is this really knob-per-function? That's knob-per-function-per-layer I would guess... well, at least that was not what I thought of in my above statement ;-)
If a synth is implemented with 100% knob-per-function, I think it is meant to be programmed "by ear"? Sure, it would be nice to have lights around the knobs, or better motorized controls (I don't know if this is a very expensive thing... most digital mixers have motorized faders by now I would guess...).
I just think if it needs a display (because it's a very deep synth), then why not a display that is really up-to-date. Why should one add adisplay that shows only the value of a single parameter in a numeric representation? In other words: The display of the Rev2 is not so much of an improvement to the 3-digit-display of the P6 when it comes to pure information. The current parameter value could have also been shown on that 3-digit-thing. But I better shut up about that now, before I confuse myself and others more. I'm not a native English speaker and perhaps cannot make it clear enough ;-)
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But if we're talking about multiple layers... is this really knob-per-function? That's knob-per-function-per-layer I would guess...
This is true.
If a synth is implemented with 100% knob-per-function, I think it is meant to be programmed "by ear"? Sure, it would be nice to have lights around the knobs, or better motorized controls (I don't know if this is a very expensive thing... most digital mixers have motorized faders by now I would guess...).
Of course how much all this matters depends on the complexity of the synth's architecture and at the end of the day a good ear is absolutely what matters most, it's just that it's ideal to know exactly where the settings are at before making edits. It also makes it much faster to get back to where you were at if you don't like what you just did. I thought about motorized knobs as well, but more complex mechanical parts not only ups the cost, it also makes for more things that can functionally go wrong. I think lights epitomize the form follows function rule and shouldn't offend the purist among us.
I just think if it needs a display (because it's a very deep synth), then why not a display that is really up-to-date. Why should one add adisplay that shows only the value of a single parameter in a numeric representation? In other words: The display of the Rev2 is not so much of an improvement to the 3-digit-display of the P6 when it comes to pure information. The current parameter value could have also been shown on that 3-digit-thing.
Agreed, both the REV2 screen and three digit displays are equally capable of showing a single parameter value change. They're under utilized on the P6 and OB-6 in that regard.
But I better shut up about that now, before I confuse myself and others more. I'm not a native English speaker and perhaps cannot make it clear enough ;-)
I'd say you're doing swell, especially if English is not your first language.
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After more videos, I am still not blown away by the sound (unlike the DD CS80 clone for example, which totally delivered when it arrived in my studio), but I like the user interface, the 3 synths, the sequencer, etc.
I think this is the main area where hardware synths manufacturers can compete: UI. (Point 1 of my post before). But this is also an opportunity for a premium MIDI controller manufacturer. What combination of knobs, sliders, menu's (if any) can create the best creative workflow.
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Is this possible on the One? (I didn't catch that.)
Not if you took what I was saying to mean every single setting at once, which would be impossible for a human to even perceive in a single instance anyhow. I meant everything is easily visible and instantly recognizable such as a visual of the filter or envelope.
Got it. So, once you're using more than one layer, like on the REV2, and you are editing layers back and forth, the knobs no longer represent their settings. ... That's future, next-level stuff for a controls-laden synth. (I believe Montage's knobs & sliders may have that - but, that's an incomplete picture of the sound.)
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This demo is amazing https://youtu.be/49vHK_D5-gA
At 17:30 he gets what I would swear was a layered patch but he was using both filters with clever use of tracking to create two distinct sounds across the key range on a single layer!
It was really cool to hear this guy talk about the design of the patch. Great stuff.
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Good on them. Nice job. But I’ll pass this week since I’m buying a helicopter. I’ve heard that it’s way better than driving a car in peak hours traffic.
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Sorry to say, but I stand by my previous concern, that this synth is NOT worth 8k... at least in my opinion.
That's the thing about Moog kit though, it isn't worth the money compared to other manufacturers, they charge too much.
The upgrade to my Moog guitar for 13 pin midi was around $1500, this is a Ghost system, the same you can get in a similar quality Brian Moore guitar. The only difference is that with Brian moore you get the guitar thrown in for that price as well!
Moog charge over the odds because people will pay, it seems to work for them.
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Sorry to say, but I stand by my previous concern, that this synth is NOT worth 8k... at least in my opinion.
That's the thing about Moog kit though, it isn't worth the money compared to other manufacturers, they charge too much.
The upgrade to my Moog guitar for 13 pin midi was around $1500, this is a Ghost system, the same you can get in a similar quality Brian Moore guitar. The only difference is that with Brian moore you get the guitar thrown in for that price as well!
Moog charge over the odds because people will pay, it seems to work for them.
In a way they are the Gibson of synthesizers in that regard.
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Sorry to say, but I stand by my previous concern, that this synth is NOT worth 8k... at least in my opinion.
That's the thing about Moog kit though, it isn't worth the money compared to other manufacturers, they charge too much.
The upgrade to my Moog guitar for 13 pin midi was around $1500, this is a Ghost system, the same you can get in a similar quality Brian Moore guitar. The only difference is that with Brian moore you get the guitar thrown in for that price as well!
Moog charge over the odds because people will pay, it seems to work for them.
In a way they are the Gibson of synthesizers in that regard.
Good comparison, but let's just hope that the One sells well or Moog may end up in the same boat as Gibson (filing "Chapter 11"). It's a grand endeavour and I imagine they've taken a big risk with it. I've mentioned before my interest in Moog's instruments is limited, but I believe they need to continue to make outragous synths as they really do inspire the rest of the synth world with their efforts. Not to mention it would sad to see all of Bob's work in bringing the company back to the glory of their early days go to waste.
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Sorry to say, but I stand by my previous concern, that this synth is NOT worth 8k... at least in my opinion.
That's the thing about Moog kit though, it isn't worth the money compared to other manufacturers, they charge too much.
The upgrade to my Moog guitar for 13 pin midi was around $1500, this is a Ghost system, the same you can get in a similar quality Brian Moore guitar. The only difference is that with Brian moore you get the guitar thrown in for that price as well!
Moog charge over the odds because people will pay, it seems to work for them.
In a way they are the Gibson of synthesizers in that regard.
Good comparison, but let's just hope that the One sells well or Moog may end up in the same boat as Gibson (filing "Chapter 11"). It's a grand endeavour and I imagine they've taken a big risk with it. I've mentioned before my interest in Moog's instruments is limited, but I believe they need to continue to make outragous synths as they really do inspire the rest of the synth world with their efforts. Not to mention it would sad to see all of Bob's work in bringing the company back to the glory of their early days go to waste.
Well the Moog One selling well really depends on how many they plan on producing at a time, how many bugs there are, etc. Unfortunately with it being in a specific price bracket, there’s only going to be specific YouTube channels and limited number of videos showcasing the sounds of this synth. The catch is, the sounds represented might not impress or be the sounds that make people more inclined to part with thousands of dollars.
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Well the Moog One selling well really depends on how many they plan on producing at a time, how many bugs there are, etc. Unfortunately with it being in a specific price bracket, there’s only going to be specific YouTube channels and limited number of videos showcasing the sounds of this synth. The catch is, the sounds represented might not impress or be the sounds that make people more inclined to part with thousands of dollars.
Ooh I forgot at such a price point, they'd be foolish to over-produce in anticipation.
In regards to potential owners, I don't know about anyone else, but I'd want to touch one before parting with 13,000aud even if I had to wait for my own upon deciding to purchase. I remember pre-ordering a Microwave XTk and the frustration of the wait for that without even really knowing what it sounded like! At least I knew what it was a descendant of and how it sounded. And that was a different kettle of fish being 1/4 the cost of a Moog One, but thing I know will be in common is going into an instrument store with cash will bring that price down a few hundred, but maybe that couple of hundred will be needed to hire a security guard to accompany you from the bank to the store!
On a side note, I was invited to try out a Quantum on the day it hits the showroom. That store learnt my number pretty quick, heheh. Dunno how I consider the Quantum worth the 6,000aud being asked, but that's still 4k under the 8 voice Moog One. Maybe a flow-one effect is that other maker's top-dollar synths will seem more attainable? It certainly makes the Mother 32 seem like an absolute steal for acquiring the Moog sound, and when you look at it like that, the Mother 32 is about a 16th the price of the One (over here at least). Hey, I just justified the price of the Moog One 16 voice! Price discussion closed. ;D ;)
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I'm in the 'yes it looks and sounds nice but nothing I've seen/heard makes me want one' camp. To me it sounds just like every other Moog, albeit with a bigger polyphonic sound and great effects. Yes I do realise i'll probably get stick for saying this ;)
The user interface and depth of the synth does interest me though, I'd love to see a DSI synth like this :)
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I’m very impressed with the software on the Moog One. I love DSI’s Tempest/P12 OLED screen and interface; I think it’s fantastic.
But...
I am trying to imagine a Poly Pro-2 say with 2 Pro2 OSCs and 2 VCOs (or some mix of 3 oscillators). Then you have the Pro2 filter topology. Then you add some DSI effects. Basically you build up a synth that punches the feature list of the Moog One. You got 8 and 16 voice versions. Maybe bi-timbral instead of tri.
Now assume Sequential does what it does and makes it cost competitive. Where’s the software? Where’s the patch storage, the user spaces, the modulation profiles, the effects presets?
I know they can do it. I have lots of respect for the Sequential team. But man, that represents heaps of R&D for such a small team. And the Moog One UI is a quantum leap for Moog (they started below Sequential IMO)
Of course, it’s reasonable to say “all that pretty eye candy is just fluff and doesn’t matter”. I’d get that too.
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I think more people are interested in the fact this is pretty much a powerful computer built into an analog synth rather than the sound of the synth itself. Do we really need endless memory for patches? Do we really need endless modulation possibilities? I know I'm in the minority here but honestly if I wanted to have a screen that big and have the ability to organize sounds and see every single parameter...isn't that what a software editor is for? Yeah it's nice to have it all built in but is it really a necessity? Seems like it's more just a distraction to focus on rather than listening to the sounds of the synth. It seems to be everyone's focus. In almost all those live streams that Moog does there's probably less than 10% of the video with actual sound demonstration while the rest is talking about the screen and menus and how powerful the synth is. I don't care about that. I want to hear and judge for myself. Even the demo at Vintage King Audio was kind of "meh".
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I think more people are interested in the fact this is pretty much a powerful computer built into an analog synth rather than the sound of the synth itself. Do we really need endless memory for patches? Do we really need endless modulation possibilities? I know I'm in the minority here but honestly if I wanted to have a screen that big and have the ability to organize sounds and see every single parameter...isn't that what a software editor is for? Yeah it's nice to have it all built in but is it really a necessity? Seems like it's more just a distraction to focus on rather than listening to the sounds of the synth. It seems to be everyone's focus. In almost all those live streams that Moog does there's probably less than 10% of the video with actual sound demonstration while the rest is talking about the screen and menus and how powerful the synth is. I don't care about that. I want to hear and judge for myself. Even the demo at Vintage King Audio was kind of "meh".
I would agree with you Lobo about the screen if Moog sacrificed physical controls to add the screen. I had the opportunity to see the One in person and it simply has the best designed user interface I’ve ever seen on a synthesizer. You only need to go to that screen when you want to refine something. The physical controls are primary and there is no deep menu diving when you get to those screens. Like the Rev2 you can quickly assign modulation assignments by hitting one button and turning a knob. Each of the synth sections have a more button if you want to dive deeper.
I am not under the illusion that the One will replace my other analog synths. My Rev2 and P12m aren’t going anywhere as I love them for what they are but Moog deserves a lot of credit for the UI and deep features. One of the features revealed during the live streams was the voice allocation. You can reserve a voice count for each of the 3 synths if you want to guarantee a specific number of voices (a feature I would have loved on my Rev2 to allocate 1 voice to one layer for bass or lead leaving 15 for other layer) But you can also define how to do voice steeling independly in each instance. You can select steal oldest voice, newest voice, or quietest voice. The envelopes are not only DAHDSR but each segment can be linear, exponential, or logarithmic. They can also be looping essentially becoming additional LFOs if desired. Speaking of LFOs the 4 LFOs can be per voice or configured to be global. The LFOs have the standard shapes but can also morph between shapes.
There are many little things that I find missing in other synths that they thought to include in the One. Yes it is expensive but it doesn’t seem they left much out so it truly is a flagship.
As for the demos Moog only formally launched the One last Monday. It was obvious from the sound design live stream that they are still finalizing the presets. I think they chose to concentrate last week on the internals. Unlike the Quantum that had a long time between the formal announcement and even the optimistic ship date, the One will go from pre-launch to being in the hands of users in under a month. I would expect the floodgates to open late next week with all kinds of demos. I wouldn’t be surprised if Moog has some more musical demos themselves this week. It is obvious that they are looking at the forums and see people asking to hear different types of demos.
I for one am thrilled to see the likes of the Quantum, Prophet X, and One after a long drought of flagship synthesizers.
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I think more people are interested in the fact this is pretty much a powerful computer built into an analog synth rather than the sound of the synth itself. Do we really need endless memory for patches? Do we really need endless modulation possibilities? I know I'm in the minority here but honestly if I wanted to have a screen that big and have the ability to organize sounds and see every single parameter...isn't that what a software editor is for? Yeah it's nice to have it all built in but is it really a necessity? Seems like it's more just a distraction to focus on rather than listening to the sounds of the synth. It seems to be everyone's focus. In almost all those live streams that Moog does there's probably less than 10% of the video with actual sound demonstration while the rest is talking about the screen and menus and how powerful the synth is. I don't care about that. I want to hear and judge for myself. Even the demo at Vintage King Audio was kind of "meh".
I would agree with you Lobo about the screen if Moog sacrificed physical controls to add the screen. I had the opportunity to see the One in person and it simply has the best designed user interface I’ve ever seen on a synthesizer. You only need to go to that screen when you want to refine something. The physical controls are primary and there is no deep menu diving when you get to those screens. Like the Rev2 you can quickly assign modulation assignments by hitting one button and turning a knob. Each of the synth sections have a more button if you want to dive deeper.
I am not under the illusion that the One will replace my other analog synths. My Rev2 and P12m aren’t going anywhere as I love them for what they are but Moog deserves a lot of credit for the UI and deep features. One of the features revealed during the live streams was the voice allocation. You can reserve a voice count for each of the 3 synths if you want to guarantee a specific number of voices (a feature I would have loved on my Rev2 to allocate 1 voice to one layer for bass or lead leaving 15 for other layer) But you can also define how to do voice steeling independly in each instance. You can select steal oldest voice, newest voice, or quietest voice. The envelopes are not only DAHDSR but each segment can be linear, exponential, or logarithmic. They can also be looping essentially becoming additional LFOs if desired. Speaking of LFOs the 4 LFOs can be per voice or configured to be global. The LFOs have the standard shapes but can also morph between shapes.
There are many little things that I find missing in other synths that they thought to include in the One. Yes it is expensive but it doesn’t seem they left much out so it truly is a flagship.
As for the demos Moog only formally launched the One last Monday. It was obvious from the sound design live stream that they are still finalizing the presets. I think they chose to concentrate last week on the internals. Unlike the Quantum that had a long time between the formal announcement and even the optimistic ship date, the One will go from pre-launch to being in the hands of users in under a month. I would expect the floodgates to open late next week with all kinds of demos. I wouldn’t be surprised if Moog has some more musical demos themselves this week. It is obvious that they are looking at the forums and see people asking to hear different types of demos.
I for one am thrilled to see the likes of the Quantum, Prophet X, and One after a long drought of flagship synthesizers.
Well all I’m saying is I hope Sequential doesn’t start putting large screens on their synths. I honestly think it’s totally unceassary, especially with external editors.
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What can I say? The more I read about this, the more I want one. I'm sorry, Subsequent, it's not you, it's me.
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I ordered one, it's going to be a lot of fun. I'm going to have to upgrade the Prophet X too, lovely. Horrible choices.
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I’ve been looking into getting one too, probably by selling my Subsequent, a bass, paying a big deposit up front and paying off the rest over 10 months. I might just manage it.
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Having watched a few more in-depth videos about this synth, I've changed my mind about it :) If I had the money, I would like one of these!
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Well all I’m saying is I hope Sequential doesn’t start putting large screens on their synths. I honestly think it’s totally unceassary, especially with external editors.
On one hand, I agree that bright color touchscreens can be a distraction; on the other hand, the ability to go deep without requiring an external computer or iPad is definitely welcomed.
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Well all I’m saying is I hope Sequential doesn’t start putting large screens on their synths. I honestly think it’s totally unceassary, especially with external editors.
On one hand, I agree that bright color touchscreens can be a distraction; on the other hand, the ability to go deep without requiring an external computer or iPad is definitely welcomed.
Honestly for me it just comes down to the type of synthesis being implemented. If a multitrack sequencer is on board and things of that nature but I fail to see what a large touchscreen can show what a standard OLED can’t for analog synthesis. Even the multiple OLEDs on the PX are fine and multiple mini displays on the Solaris are fantastic. On something like the Quantum, I understand a large touchscreen because you are drawing your own waves and such but on an analog synth? Nah.
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Well all I’m saying is I hope Sequential doesn’t start putting large screens on their synths. I honestly think it’s totally unceassary, especially with external editors.
The problem with large screens is that it ages a device very quickly as new technology comes out. Looking at and interacting with the screen on my Akai MPC Live which I got not that long ago makes you realize how spoiled we are with the development of screens and user interfaces. It feels already dated.
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I tried the moog one just now! Its amazing!! Really!! One thing i noticed about it is the attention to detail. Almost everything can be synced, lfos, delays, envelope repeats. Its easy to navigate, although different from how sequential synths navigate. The layers, and how you can edit 3 or 2 layers at once in any combination. Assigning key zones wherever you want. Jeez, this beast is....a beast. And also the sound obviously! Routing individual oscs to any filter as you please. Dedicated noise module with envelope! WHAT?!
The store representative who showed off the instrument and let us play told me that they are in close contact with moog. I live in norway, and the guy told me that moog are waiting with larger shipments overseas because there might be more hardware changes to be made, and they want to reduce potential costs on that by waiting a until like february. Thats why the moog one is shipping in the us first.
The circuits in the moog one are aparently remotely controlled by the digital engine in the middle.(dont know how this works, but thats what he said). He alsosaid that because of this, its easier to make software adjustments that affect the circuits, so i think we can expect allot of updates for this instrument.
The moog one also has an ethernet connection. The guy i spoke to said that this could be used for support to diagnose potential malfunctions in the synth. So instead of sending the instrument for repair, this could happen via the internett. If the malfunction is not mechanical obviously! I think this sounds GENIOUS!
My hat is off moog! My hat is off <3
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Don't need more keys but would like to have for the sound and functionality it offers. If Moog could consider a desktop version. This is bad graphics made in 5 minutes but hope you the point. Instead of separate OSC, filter/ Env one section of each with a selectors switch. More portable, lighter and less fear and weight to carry around. Probably not everyone's cup of tea. but well. Knobs could be reduced a little bit in size as well. Host USB would be nice and polyphonic after-touch support via MIDI/USB (the keys are gone, so that should help). if they could add RTP-MIDI (ethernet) and remote update/patch saving via Ethernet and a Web-MIDI interface as well, the network connector is right there. ("Moog One Mini")
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Sweetwater called today to say my Moog One was finally shipping!
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Day two; day one was spent trying to make room for the Moog One, it's physically big, and deep. Around 3:30am, I realized that I should go to bed. I was thinking about the Model D or Subsequent above the Moog One, but I don't see the point, the Moog One is that good. I also don't see the point of keeping the Prophet 6 or the Prophet X, so I packed them up as well. I'm moving the Minimoog and Subsequent to another room, dubbed the synthesizer annex. The Subsequent was upgraded from a Sub37 and the Model D is one of the last made, I doubt I will part with either of them.
The Prophet X is a fantastic synth, but the Moog One is more my style. I'm a software engineer by day, and the Moog is more like assembly language, whereas the Prophet X is like a higher level language, apologies for the obscure mixed metaphor.
It's not a fair comparison. The Moog One is twice the cost of the Prophet X and I suspect Sequential could produce the same quality of synth if they thought they could sell at that price point. They're both two of the best synths on the market.
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The Prophet X is a fantastic synth, but the Moog One is more my style. I'm a software engineer by day, and the Moog is more like assembly language, whereas the Prophet X is like a higher level language, apologies for the obscure mixed metaphor.
Did you reverse those? You prefer assembly?
My favorite computer joke:
There are 2 hard problems in computers:
1) naming things
2) caching things
3) off by one errors
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Yes, I prefer assembly for sound design.
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My favorite computer joke:
There are 2 hard problems in computers:
1) naming things
2) caching things
3) off by one errors
Its a favorite of mine too. Seen it served as "there are two hard problems in computer science".
Would be lovely if the Moog One voice architecture will be available as a smaller more affordable lower voice count module in the future. Its a pretty neat voice architecture.
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I think more people are interested in the fact this is pretty much a powerful computer built into an analog synth rather than the sound of the synth itself. Do we really need endless memory for patches? Do we really need endless modulation possibilities? I know I'm in the minority here but honestly if I wanted to have a screen that big and have the ability to organize sounds and see every single parameter...isn't that what a software editor is for? Yeah it's nice to have it all built in but is it really a necessity? Seems like it's more just a distraction to focus on rather than listening to the sounds of the synth. It seems to be everyone's focus. In almost all those live streams that Moog does there's probably less than 10% of the video with actual sound demonstration while the rest is talking about the screen and menus and how powerful the synth is. I don't care about that. I want to hear and judge for myself. Even the demo at Vintage King Audio was kind of "meh".
I would agree with you Lobo about the screen if Moog sacrificed physical controls to add the screen. I had the opportunity to see the One in person and it simply has the best designed user interface I’ve ever seen on a synthesizer. You only need to go to that screen when you want to refine something. The physical controls are primary and there is no deep menu diving when you get to those screens. Like the Rev2 you can quickly assign modulation assignments by hitting one button and turning a knob. Each of the synth sections have a more button if you want to dive deeper.
I am not under the illusion that the One will replace my other analog synths. My Rev2 and P12m aren’t going anywhere as I love them for what they are but Moog deserves a lot of credit for the UI and deep features. One of the features revealed during the live streams was the voice allocation. You can reserve a voice count for each of the 3 synths if you want to guarantee a specific number of voices (a feature I would have loved on my Rev2 to allocate 1 voice to one layer for bass or lead leaving 15 for other layer) But you can also define how to do voice steeling independly in each instance. You can select steal oldest voice, newest voice, or quietest voice. The envelopes are not only DAHDSR but each segment can be linear, exponential, or logarithmic. They can also be looping essentially becoming additional LFOs if desired. Speaking of LFOs the 4 LFOs can be per voice or configured to be global. The LFOs have the standard shapes but can also morph between shapes.
There are many little things that I find missing in other synths that they thought to include in the One. Yes it is expensive but it doesn’t seem they left much out so it truly is a flagship.
As for the demos Moog only formally launched the One last Monday. It was obvious from the sound design live stream that they are still finalizing the presets. I think they chose to concentrate last week on the internals. Unlike the Quantum that had a long time between the formal announcement and even the optimistic ship date, the One will go from pre-launch to being in the hands of users in under a month. I would expect the floodgates to open late next week with all kinds of demos. I wouldn’t be surprised if Moog has some more musical demos themselves this week. It is obvious that they are looking at the forums and see people asking to hear different types of demos.
I for one am thrilled to see the likes of the Quantum, Prophet X, and One after a long drought of flagship synthesizers.
Well all I’m saying is I hope Sequential doesn’t start putting large screens on their synths. I honestly think it’s totally unceassary, especially with external editors.
Well... would that not require that DSI start to get their asses up, and start creating editors for their synths like MOOG does it then? ... It's still incredible, that the company who created MIDI, and has some of the most advanced engines still do not produce a single editor for their large expensive synths.
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I think more people are interested in the fact this is pretty much a powerful computer built into an analog synth rather than the sound of the synth itself. Do we really need endless memory for patches? Do we really need endless modulation possibilities? I know I'm in the minority here but honestly if I wanted to have a screen that big and have the ability to organize sounds and see every single parameter...isn't that what a software editor is for? Yeah it's nice to have it all built in but is it really a necessity? Seems like it's more just a distraction to focus on rather than listening to the sounds of the synth. It seems to be everyone's focus. In almost all those live streams that Moog does there's probably less than 10% of the video with actual sound demonstration while the rest is talking about the screen and menus and how powerful the synth is. I don't care about that. I want to hear and judge for myself. Even the demo at Vintage King Audio was kind of "meh".
I would agree with you Lobo about the screen if Moog sacrificed physical controls to add the screen. I had the opportunity to see the One in person and it simply has the best designed user interface I’ve ever seen on a synthesizer. You only need to go to that screen when you want to refine something. The physical controls are primary and there is no deep menu diving when you get to those screens. Like the Rev2 you can quickly assign modulation assignments by hitting one button and turning a knob. Each of the synth sections have a more button if you want to dive deeper.
I am not under the illusion that the One will replace my other analog synths. My Rev2 and P12m aren’t going anywhere as I love them for what they are but Moog deserves a lot of credit for the UI and deep features. One of the features revealed during the live streams was the voice allocation. You can reserve a voice count for each of the 3 synths if you want to guarantee a specific number of voices (a feature I would have loved on my Rev2 to allocate 1 voice to one layer for bass or lead leaving 15 for other layer) But you can also define how to do voice steeling independly in each instance. You can select steal oldest voice, newest voice, or quietest voice. The envelopes are not only DAHDSR but each segment can be linear, exponential, or logarithmic. They can also be looping essentially becoming additional LFOs if desired. Speaking of LFOs the 4 LFOs can be per voice or configured to be global. The LFOs have the standard shapes but can also morph between shapes.
There are many little things that I find missing in other synths that they thought to include in the One. Yes it is expensive but it doesn’t seem they left much out so it truly is a flagship.
As for the demos Moog only formally launched the One last Monday. It was obvious from the sound design live stream that they are still finalizing the presets. I think they chose to concentrate last week on the internals. Unlike the Quantum that had a long time between the formal announcement and even the optimistic ship date, the One will go from pre-launch to being in the hands of users in under a month. I would expect the floodgates to open late next week with all kinds of demos. I wouldn’t be surprised if Moog has some more musical demos themselves this week. It is obvious that they are looking at the forums and see people asking to hear different types of demos.
I for one am thrilled to see the likes of the Quantum, Prophet X, and One after a long drought of flagship synthesizers.
Well all I’m saying is I hope Sequential doesn’t start putting large screens on their synths. I honestly think it’s totally unceassary, especially with external editors.
Well... would that not require that DSI start to get their asses up, and start creating editors for their synths like MOOG does it then? ... It's still incredible, that the company who created MIDI, and has some of the most advanced engines still do not produce a single editor for their large expensive synths.
It is quite bizarre that there are no in-house editors for DSI/Sequential synths. Having said that, personally, I don’t like having to use a PC and external equipment to manage patches. The fact that all this can be done on the Moog One itself is a huge plus for me. It means I can spend more time creating and less time faffing about.
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Patch management on the One is the gold standard in my opinion. It has an onboard relational database. The fact you can create user spaces that can be saved off to the USB stick is also really slick. The user space captures all your patches and settings and can be loaded on another One without disturbing the local settings there. It is also useful for creating separate sandboxes on your One for projects. It will even create random names for your patches if you like. No more memory numbers to remember. Everything is based on name, type, category, mood, and group.
It also allows you to create performance sets so you can quickly change patches in proper order when needed.
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I got to try both the Quantum and Moog One at Long and McQuade today in Toronto. I personally didn't gel with either of them. They sound good but I spent more time menu diving and less time programing. That's a no go for me. If I can't sit down at an instrument and enjoy it (and for synthesizers that means programing) within 10 minutes then I have no interest in it what so ever. I actually ended up enjoy more of my time with the Prophet REV2.
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If I can't sit down at an instrument and enjoy it (and for synthesizers that means programing) within 10 minutes then I have no interest in it what so ever.
Wise words to any synthesizer designer: user interfaces and immediacy are extremely important.
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If I can't sit down at an instrument and enjoy it (and for synthesizers that means programing) within 10 minutes then I have no interest in it what so ever.
Wise words to any synthesizer designer: user interfaces and immediacy are extremely important.
Indeed, I was the same when I tried the Novation Peak.
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I got to try both the Quantum and Moog One at Long and McQuade today in Toronto. I personally didn't gel with either of them. They sound good but I spent more time menu diving and less time programing. That's a no go for me. If I can't sit down at an instrument and enjoy it (and for synthesizers that means programing) within 10 minutes then I have no interest in it what so ever. I actually ended up enjoy more of my time with the Prophet REV2.
Menu diving on the Moog One??? I haven't touched one yet, but isn't it mostly "knob per function" like other Moogs?
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I got to try both the Quantum and Moog One at Long and McQuade today in Toronto. I personally didn't gel with either of them. They sound good but I spent more time menu diving and less time programing. That's a no go for me. If I can't sit down at an instrument and enjoy it (and for synthesizers that means programing) within 10 minutes then I have no interest in it what so ever. I actually ended up enjoy more of my time with the Prophet REV2.
Menu diving on the Moog One??? I haven't touched one yet, but isn't it mostly "knob per function" like other Moogs?
It took me a while to figure out how to initialize a patch. It’s just set up really oddly. It makes you feel like there should be a search button or INIT button on the front panel...unless there is and the sales person and I missed it. Then trying to browse sounds wasn’t that enjoyable. Hated almost every sound that came out of the PA. It could come down to unfamiliarity or me not knowing where to find things but I just couldn’t gel with it.
There is something else, not too important, but the main scrolling dial’s silver center fell off. I felt bad for the sales person who was next to me (he looked shocked and embarrassed because we were just talking about the cost of the thing when it came off lol ) but it should be an easy fix. Still...I will have to give it another go just to be sure.
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They sound good
Hated almost every sound that came out of the PA.
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There is something else, not too important, but the main scrolling dial’s silver center fell off. I felt bad for the sales person who was next to me (he looked shocked and embarrassed because we were just talking about the cost of the thing when it came off lol ) but it should be an easy fix. Still...I will have to give it another go just to be sure.
You can take the Moog out of the 70s but you can’t take the 70s out of the Moog.
I’m joking. Moog has a built name on just two things: well built synths, and dearly priced synths.
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They sound good
Hated almost every sound that came out of the PA.
You exemplified what I was thinking.... must have been the PA.
And to be fair, most PAs used for synth demos in music stores sound like shit. Because they use the cheapest speakers they have generally... even to demo the $8k synth.
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I got to try both the Quantum and Moog One at Long and McQuade today in Toronto. I personally didn't gel with either of them. They sound good but I spent more time menu diving and less time programing. That's a no go for me. If I can't sit down at an instrument and enjoy it (and for synthesizers that means programing) within 10 minutes then I have no interest in it what so ever. I actually ended up enjoy more of my time with the Prophet REV2.
Menu diving on the Moog One??? I haven't touched one yet, but isn't it mostly "knob per function" like other Moogs?
It took me a while to figure out how to initialize a patch. It’s just set up really oddly. It makes you feel like there should be a search button or INIT button on the front panel...unless there is and the sales person and I missed it. Then trying to browse sounds wasn’t that enjoyable. Hated almost every sound that came out of the PA. It could come down to unfamiliarity or me not knowing where to find things but I just couldn’t gel with it.
There is something else, not too important, but the main scrolling dial’s silver center fell off. I felt bad for the sales person who was next to me (he looked shocked and embarrassed because we were just talking about the cost of the thing when it came off lol ) but it should be an easy fix. Still...I will have to give it another go just to be sure.
Init patch is a two-button combination like it is on DSI synths (why the combination isn’t silk screened onto the panel is a mystery though).
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They sound good
Hated almost every sound that came out of the PA.
Meaning the PA wasn’t great.
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Solo violin on the Moog One played through the LinnStrument is something else.
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Solo violin on the Moog One played through the LinnStrument is something else.
I’m looking forward to the update that will add MPE support to the One so the LinnStrument can really make it sing!
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So... anyone here take the plunge and buy one of these monsters?
I finally got to play one (One) and I have to admit... I like it. A lot.
I wasn't impressed with the early YouTube videos, but after reading the manual and getting to fiddle with one for a bit... it just oozes potential.
Really curious to hear other opinions from any owners or those with personal experience on the instrument.
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So... anyone here take the plunge and buy one of these monsters?
I finally got to play one (One) and I have to admit... I like it. A lot.
I wasn't impressed with the early YouTube videos, but after reading the manual and getting to fiddle with one for a bit... it just oozes potential.
Really curious to hear other opinions from any owners or those with personal experience on the instrument.
I've warmed up to it
I got to play the 8 Voice version a lot at Cosmo Music here as well as the 16 Voice version downtown at Long and McQuade in Toronto. I still personally prefer the 8 voice.
I think most of the factory patches are absolute dreck but the key really, like most synths, is programing from the INIT patch. Voice allocation is a big plus as, even on the 8 Voice you can determine how many voices go to each engine. I think I've warmed up to it like I said and really do appreciate the scope of the instrument and sonically it once you find a sweet spot, it sounds amazing...but I'm not sure it's breathtaking or unique enough sonically for the price. Even with programing from scratch and browsing presets...I just haven't heard anything that would make me go "I'm missing that, I need that."
Honestly, if Deckard's Dream was ever made into a keyboard based synth, I'd take that over the one.
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I only got to play the One at Superbooth, which was under less than ideal conditions – lots of noise around and about 10 guys waiting in line behind me. At first sight, I found the UI more overwhelming than I would have thought before. That and the situation didn't quite put me in a relaxed mood to start messing around with sound design from scratch. So I only went through some presets and tweaked a few parameters here and there. I wasn't exactly blown away and there was something about the sonic character I didn't particularly like. Hard to describe really, but I found it a bit too "compressed midrangey." I then went over to the Matriarch and got lost in it immediately for half an hour. In terms of sound and fun I'd choose the Matriarch over the One at any time. On the other hand, such a comparison doesn't make much sense. But I could easily see the One being too much for me. There was one synth in a similar price range whose sound impressed me a lot more than that of the One, though: the River.
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I only got to play the One at Superbooth, which was under less than ideal conditions – lots of noise around and about 10 guys waiting in line behind me. At first sight, I found the UI more overwhelming than I would have thought before. That and the situation didn't quite put me in a relaxed mood to start messing around with sound design from scratch. So I only went through some presets and tweaked a few parameters here and there. I wasn't exactly blown away and there was something about the sonic character I didn't particularly like. Hard to describe really, but I found it a bit too "compressed midrangey." I then went over to the Matriarch and got lost in it immediately for half an hour. In terms of sound and fun I'd choose the Matriarch over the One at any time. On the other hand, such a comparison doesn't make much sense. But I could easily see the One being too much for me. There was one synth in a similar price range whose sound impressed me a lot more than that of the One, though: the River.
Yes! The River sounds absolutely incredible as does The Matriach.
Wow...just wow...
https://www.youtube.com/watch?v=taOKrFoOd_I
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The River certainly sounds nice, but having to send it to France if it needed repairs would be a nightmare.
In case you missed some more recent (and better) One demos...
https://youtu.be/ptCQLhxdBgg (https://youtu.be/ptCQLhxdBgg)
https://youtu.be/4qO-DWLIIV4 (https://youtu.be/4qO-DWLIIV4)
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Yeah, I'd take a Moog One over The River and Matriarch combined any day.
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The River certainly sounds nice, but having to send it to France if it needed repairs would be a nightmare.
Sure, I understand that. Laurent seems to be very reliable, but the prospect of having to send the instrument across the pond just in case is not very appealing. FWIW: I'm also no potential River buyer, as it would be too expensive for me and not add anything substantially new or different to my arsenal. I just thought it sounded nice, that's all.
In case you missed some more recent (and better) One demos...
These are indeed some more promising demos and I've watched snippets of these before. Like I've written above: I checked it out under less than ideal conditions, so I'm still careful with my overall assessment. At that moment, though, I didn't quite connect with the One's sound or rather the sound of the patches I've skimmed through – big difference, I know. I'm sure it can be a sound designer's dream and I'll have another go at it once it hits more stores.
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Honestly... to my ears, those last demoes certainly sound good, but I can also hear that the main strength if compared to say; a REV2 is that it's FX engine is a hell of a lot better than the REV2's ... I've been stating quite often, that Sequential should start rethinking their FX engine in their synths... more parameters, better quality and flexibility in the available parameters... A REV2 with that FX engine (the ONE FX engine) would boost the REV2 to new heights, and might easily threaten the ONE a lot more in that case.... yes yes, it's "the MOOG sound"... and yes, the ladder filters is preferable to the Curtis, but in my humble opinion, that depend on what you actually want to use a poly synth for... if it's booming basses, then yes... ONE will kick REV2 butt, but when it comes to pads and that stuff, I'm not so sure anymore because that generally comes down to the flexibility of the engine as well, a department that MOOG (until now) has not been giving it's users very much off...
If the ONE was in module form, and about half the price, I may be tempted to get one, otherwise the money would be much better spend on other synths, and I'd choose a QUANTUM over ONE any day for ambient polysynth duties... For those users that just want the MOOG sound and a poly, sure... this is it... but for someone who wants a very deep engine polysynth with lots of sonic variation capabilities, my opinion is that there are lots of other way cheaper solutions that will give you the same flexibility...
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Honestly... to my ears, those last demoes certainly sound good, but I can also hear that the main strength if compared to say; a REV2 is that it's FX engine is a hell of a lot better than the REV2's ... I've been stating quite often, that Sequential should start rethinking their FX engine in their synths... more parameters, better quality and flexibility in the available parameters... A REV2 with that FX engine (the ONE FX engine) would boost the REV2 to new heights, and might easily threaten the ONE a lot more in that case.... yes yes, it's "the MOOG sound"... and yes, the ladder filters is preferable to the Curtis, but in my humble opinion, that depend on what you actually want to use a poly synth for... if it's booming basses, then yes... ONE will kick REV2 butt, but when it comes to pads and that stuff, I'm not so sure anymore because that generally comes down to the flexibility of the engine as well, a department that MOOG (until now) has not been giving it's users very much off...
If the ONE was in module form, and about half the price, I may be tempted to get one, otherwise the money would be much better spend on other synths, and I'd choose a QUANTUM over ONE any day for ambient polysynth duties... For those users that just want the MOOG sound and a poly, sure... this is it... but for someone who wants a very deep engine polysynth with lots of sonic variation capabilities, my opinion is that there are lots of other way cheaper solutions that will give you the same flexibility...
It would be a very interesting experiment to do some recordings of a 16 voice REV2 or Prologue and run them through an Eventide H9 pedal and label it as "Moog One recordings?" and see if anyone could actually tell they weren't authentic.
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Honestly... to my ears, those last demoes certainly sound good, but I can also hear that the main strength if compared to say; a REV2 is that it's FX engine is a hell of a lot better than the REV2's ... I've been stating quite often, that Sequential should start rethinking their FX engine in their synths... more parameters, better quality and flexibility in the available parameters... A REV2 with that FX engine (the ONE FX engine) would boost the REV2 to new heights, and might easily threaten the ONE a lot more in that case.... yes yes, it's "the MOOG sound"... and yes, the ladder filters is preferable to the Curtis, but in my humble opinion, that depend on what you actually want to use a poly synth for... if it's booming basses, then yes... ONE will kick REV2 butt, but when it comes to pads and that stuff, I'm not so sure anymore because that generally comes down to the flexibility of the engine as well, a department that MOOG (until now) has not been giving it's users very much off...
If the ONE was in module form, and about half the price, I may be tempted to get one, otherwise the money would be much better spend on other synths, and I'd choose a QUANTUM over ONE any day for ambient polysynth duties... For those users that just want the MOOG sound and a poly, sure... this is it... but for someone who wants a very deep engine polysynth with lots of sonic variation capabilities, my opinion is that there are lots of other way cheaper solutions that will give you the same flexibility...
It would be a very interesting experiment to do some recordings of a 16 voice REV2 or Prologue and run them through an Eventide H9 pedal and label it as "Moog One recordings?" and see if anyone could actually tell they weren't authentic.
Aside from the ability to add a suboscillator, there are a few things that one can do with a third VCO that might definitely stand out in a demo (as well as things required to keep 48 VCOs happy in terms of stability and gain staging).
There is a polished "big-ness" of The One that reminds me of the Memorymoog, and suggests the Andromeda, which in the right hands could be put to excellent effect (Eventide processing notwithstanding). But the River strikes me as a chaotic handful of snakes that doesn't want to be managed, and might require a bit more processing to fit into a mix (but would certainly be fun to "workshop" on).
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I now have a One. It and the Quantum have been my main synths lately, as most of my energy has been going into sound design on them. The thing that bugged me on all the demos is that they immediately use one of the more unique features: the blend between the saw/tri and pulse core oscillators. Unfortunately, unless you're careful, it ends up just sounding like doubled octaves, and so every patch gets this harpsichord/organ vibe in which it's tough to tell the difference between the fundamental and the first harmonic. Finally I heard some of Jamie Morden's patches on it, as well as Mr. Firechild's piece with it, and I realized it had a lot more range than the default patches gave it credit for. (Jamie was contracted by Moog to produce a set of classic sounds which are available for registered owners free now.) So that convinced me to pull the trigger.
In some ways it reminds me a lot of the Prophet 12, but with better sounding oscillators for the traditional waves. The voicing is intentionally thin in some areas to get it to sit in a mix better than the Memorymoog did (so they claim, I've never had a MemoryMoog). But with three oscillators, the effects, and all the modulation sources, it's easy to thicken it up. So you can do traditional Moog (or Oberheim or Polysix or...) sounds, including a nice ring mod and sync controls. FM, too, but it's harder to control. It reminds me the most of the Prophet 12 in that there are so many performance options as well as neat tricks you can do--the X/Y pressure pad does a lot of what the two ribbons on the 12 do. The two filters take some work to get to know, but because the multimode 12db filter is actually also a dual filter with separable peaks and configurable in parallel or in series, you can actually get triple-filter sounds. That makes a lot of the standard filter sweep sounds a lot more interesting and subtle. Because the voice is complex, I rarely ever make layered sounds (this was true on the 12 as well).
It is more chameleonlike than the River or Deckard's Dream, but there are some definite Moog One-ish sounds, often involving the dual filter and mixed oscillators. But it can also double as a generic analog poly with some funky extras, as well. It does pair well with the Quantum, and I think it would with the PolyEvolver, because it has a complimentary character.
The damn thing will strain your back, though.
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Two videos that start to influence my initial negative opinion about this synth. One by the keyboard player of Jamiroquai, Matt Johnson, one by Katsunori Ujiie:
https://www.youtube.com/watch?v=eQeWIWnkNOU
https://www.youtube.com/watch?v=EmOvc2txzXY
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Two videos that start to influence my initial negative opinion about this synth. One by the keyboard player of Jamiroquai, Matt Johnson, one by Katsunori Ujiie:
https://www.youtube.com/watch?v=eQeWIWnkNOU (https://www.youtube.com/watch?v=eQeWIWnkNOU)
https://www.youtube.com/watch?v=EmOvc2txzXY (https://www.youtube.com/watch?v=EmOvc2txzXY)
Sit with one for a while... you’re negative opinion might change quicker.
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Katsunori Ujiie could sell me any synth. He can make anything sound good and he's a keyboard player out of hell. I don't make my decisions by musictrackjp demos, because they don't represent what an average player like me could do with an instrument. ;)
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Katsunori Ujiie could sell me any synth. He can make anything sound good and he's a keyboard player out of hell. I don't make my decisions by musictrackjp demos, because they don't represent what an average player like me could do with an instrument. ;)
Lisa Bella Donna is in that category for me, as well. She has amazing chops, a deeply musical sensibility, and better sound design skills than I have. I might catch up some day in the sound design department, but I'm never going to get close in the other two at this age.
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I think she's really good too, I met her at Moogfest two years ago.
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The “intro” video.
https://youtu.be/irlptRTpmMk (https://youtu.be/irlptRTpmMk)
Had had a One to myself for 30 mins or so. One day.... 8)
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Always love Nick's sound design choices and this is the best I've heard out of the synth. Ah, now I want One... Sounds incredible.
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There's a long review from Loopop who always does great reviews in my opinion :-
https://www.youtube.com/watch?v=314JyJX6xdU
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[ https://youtu.be/8HvV1jQxQsU (https://youtu.be/8HvV1jQxQsU)
Sonicstate review finally available. It looks like there are still quite a lot of things to fix in the firmware and the first unit he was sent had problems which meant they had to send him another one. Honestly I wouldn’t expect problems with a synth that costs this much.
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[ https://youtu.be/8HvV1jQxQsU (https://youtu.be/8HvV1jQxQsU)
Sonicstate review finally available. It looks like there are still quite a lot of things to fix in the firmware and the first unit he was sent had problems which meant they had to send him another one. Honestly I wouldn’t expect problems with a synth that costs this much.
Agree 100%. At least not to the point of where you have to find a whole new replacement.
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Sonicstate review finally available. It looks like there are still quite a lot of things to fix in the firmware and the first unit he was sent had problems which meant they had to send him another one. Honestly I wouldn’t expect problems with a synth that costs this much.
Agree 100%. At least not to the point of where you have to find a whole new replacement.
I think the reviewer captured the spirit of the device incredibly well. Moog is a very small company that tries to make a real difference. I had a few issues with my Model D re-issue beyond the warranty date and their response was incredibly generous.
Re. the Moog One, they delivered the hardware platform, now there is something called "software" they have to get right. They will get there eventually I am sure. I feel a bit guilty/like a free rider though, sitting on the side line waiting and not supporting them though. If it works, I might get one, if it doesn't, well, their problem.
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Just to provide an alternate viewpoint... my Moog One is solid. Does it have some software niggles that need to be ironed out... yes (and Moog already released a pretty substantial update that addressed quite a few issues). But in the same breath, is it a complete and functional instrument unlike anything else on the market... hell yes. It has quickly become one of my favorites, and at the risk of sounding cliché, it is definitely greater than the sum of its parts.
Maybe this isn’t really an “alternate viewpoint”... I want and expect the software to be perfected (and honestly, our beloved Sequential does this too), but my experience with the Moog One is positive. No regrets on this purchase at all.
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Just to provide an alternate viewpoint... my Moog One is solid. Does it have some software niggles that need to be ironed out... yes (and Moog already released a pretty substantial update that addressed quite a few issues). But in the same breath, is it a complete and functional instrument unlike anything else on the market... hell yes. It has quickly become one of my favorites, and at the risk of sounding cliché, it is definitely greater than the sum of its parts.
Maybe this isn’t really an “alternate viewpoint”... I want and expect the software to be perfected (and honestly, our beloved Sequential does this too), but my experience with the Moog One is positive. No regrets on this purchase at all.
That’s good to hear :)
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Just to provide an alternate viewpoint... my Moog One is solid.
Congrats!
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my Moog One is solid.
Hi Shaw, may I ask, did you purchase the 8 or 16 voice and are you pleased with the choice? Thanks
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my Moog One is solid.
Hi Shaw, may I ask, did you purchase the 8 or 16 voice and are you pleased with the choice? Thanks
16v and purchased from Sweetwater which gave me peace of mind because Sweetwater will let you return your purchase for any reason... i.e. “I don’t like the smell”. So I had literally zero risk.
As for pleased with it? Absolutely. I don’t think I would be happy with the 8v version because I have grown to love making patches that utilize 2 synth timbres with slight variations panned left and right... it gets really thick real fast, but with the 8v version, you’d essentially have a 4 voice synth. And consider the price difference between the 8v and 16v versions. Less than 2000 for 8 voices of Moog monstrosity!!! (I say “less than 2000” because I’m factoring in the inevitable discount you’ll negotiate for).
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The Moog One appeals to me because of the immense scale and depth of the thing but then all the demonstrations and reviews I've seen, I've preferred the sound of the Matriarch to what I've heard them playing on the One. The problem for me though is that I don't really want a synth that doesn't have presets so the Matriarch is not something I'd want to spend that much money on.
Can the Moog One sound like the Matriarch I wonder? If so then I'd better start saving up the £s !
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More sounds: https://www.youtube.com/watch?v=CtTwGK9SmYk
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Incredible.
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It's always good to see someone making full use of a single instrument.
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Doesn't appear that the wobbly stand under that beast is making him nervous. How? :o
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I got mine about a week ago and I’m really loving it.
OK, there are some things that aren’t my favorite. The XY pad is cool but I think a hard surface would work better. It’s really heavy–about 45 lbs. I have no plans playing live with it but even getting to the back to patch cables requires effort. The much-discussed fans aren’t bad in low mode but it’s not summer yet so we’ll see…Otherwise the thing is built really well with hardware as solid as you’d expect.
The sounds are gorgeous. I guess I didn’t realize when it came out that it had a SVF on it, which was one of the deal sealers. And there are so many little things that make for such rich sounds. For example each voice can have variances of a number of cents you can control for those per-voice differences that you get in all-analog synths. And the SVF is actually 2 filters in series for which you can space the cutoff for phasey-type sounds. I would have thought that a ladder filter would be too muddy for a poly but it works really well especially with the various pole settings. Being able to combine the filters is almost like build-your-own-filter functionality! I’m really liking the various FM and ring mod tones. Blending them subtly can really enrich a patch. There’s even control over the noise limiting so you can go full-hiss if you want!
Each of the modules seems to give you almost all of the options you’d want, for example the envelopes let you loop, add hold time, adjust overall timing, change between linear and exponential per stage, etc. Any time I think a feature isn’t there I can almost always find another way of doing it. The layout and combination of hardware and soft knobs makes sense; the most-used stuff is on the panel with everything else just a click away.
Overall, I’m super happy to have this thing. I liked the Rev2 for lots of things but wasn’t always able to get meaty tones and this does that so well in addition to just about everything I liked on the Rev2. It’s super pricey but apparently the Minimoog would be around $60K in 2020 dollars so you do the math!
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Sounds fun. Please post some sounds once you get used to it. What's SVF stand for?
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State Variable Filter would be my guess :)