Moog has released a dreadnought of an analog polyphonic synth, the Moog ONE. Moog is a manufacturer that needs no introduction as far as historic synth production goes (with synths such as the Moog Modular and Minimoog).

The current incarnation of Moog has been keeping the Moog line alive with synths such as the Moog Voyager series and the Phatty series, among others.

With the Moog ONE, in addition to carrying on the Moog DNA and their analog synth technology, as well as riding the current trends in the synthesizer market, they've produced a synth that stands at the absolute forefront of analog polyphonic synths. The Moog ONE comes in two models, both with 61 keys, and the same exact spec aside from polyphony, which is 16-Voice or 8-Voice.

The overall design image seems to have taken inspiration from the Memory Moog, with no sliders but a ton of knobs instead, which makes for a coherently laid out front panel, and just screams "MOOG!"

3 Oscillators Per Voice

For each voice, the Moog One basically has the three powerful analog VCOs of a Mini Moog. If you do some simple calculation, the 16-voice model has 48 VCOs (the 8-voice has 24). That alone is enough to tell you that this is a monster synth. Putting the synth in Unison Mode and firing off all the oscillators at once produces a sound that is simply mind-blowing.

Waveforms

Each oscillator has a newly designed triangle core oscillator at its heart.

In the first waveform section, you find a button to select between sawtooth and triangle waveforms. There is a WAVE ANGLE parameter available, through which you can change the shape of the waveform and control the timing of the rise/fall of the triangle waveform. You can also use this to change the phase of the sawtooth, and clearly see how the waveform is being manipulated via the small LCDs in each VCO section.

In another section we find the pulse waveform, and you have full control over the pulse width.

These two waveforms can be mixed, hard synced, ring modulated, and even have FM applied, which makes for some interesting and complex waveform production not usually seen on your typical analog synth.

The output of each VCO can be controlled via the mix knobs.

Pitch Modulation

The pitch of the oscillators mirrors the selections available on the Minimoog: 32’, 16’, 8’, 4’, and 2’. Additionally, you can adjust the FREQUENCY over a range of ±7 semitones (a fifth up or down). The BEAT FREQUENCY control allows for a final, fine-tuning adjustment (detuning).

Also, since options such as HARD SYNC, RING MOD, and FM are available, it's entirely possible to create extremely complex harmonic waveforms considering the oscillators are in fact analog and not digital.

Noise Generator

The synth is equipped with a dual source noise generator, which allows selection of a variety of noise sources via the COLOR button (RED+WHITE・RED+PURPLE・WHITE+PURPLE).

The amount of the noise color can be controlled by the COLOR MIX, and even modulated by an ASR envelope. Because there are so many parameters in the noise section, you can use noise for attack transients or clicks, even special effects. The noise section is independent from the oscillator section, so you can make sounds with just noise, which we think shows an approach to this section of the synth which is more like modular synthesis.

Mixer

The Mixer section of the Moog One plays a very important role in sound design. It is essentially the same as that on the Minimoog, with Volume knobs arranged vertically for each source, which are then sent into the filter.

There are independent controls for each oscillator, RING MOD, and NOISE, which you can then send to the two filters: an SVF (State Variable Filter) and a LADDER filter. Each of these has an on/off button, which makes for a very easy to understand user interface. Both can be set to 'on' simultaneously, which allows for some complex signal routing.

Two Types of Analog Filters

As mentioned above, the Moog One has two analog filters: a State Variable Filter and a Ladder Filter. The signal from the sources can be mixed into the filters either in parallel or in series. This flexibility is something to be taken advantage of, and provides for some detailed control and sculpting of sound.

State Variable Filter

This is actually two 12dB/Oct filters put together as one filter module.

This filter has a solid, sharp quality, and offers Bandpass, Notch, and other unique filter types which provide a flavor not attainable through just a Ladder filter.

Filter Types: Lowpass, Highpass, Bandpass, Notch
Slope: 12dB or 24dB
Knobs for Cutoff and Resonance
Key-tracking can be set in the Filter Edit Page

Ladder Filter

THE traditional Moog filter. Very warm, with a characteristic peaky resonant sound.

Filter Types: Lowpass or Highpass
Slope: 6dB, 12dB, 18dB, 24dB
Knobs for Cutoff and Resonance
Key-tracking can be set in the Filter Edit Page

Cutoff Modulation

Cutoff Modulation is controlled in a separate section, where you find knobs for EG AMT, LFO AMT, and FM AMT. Having immediate access to these controls is great for designing sounds.

ENVELOPE

Three Envelope Generators are provided: one each for Filter, Amp, and Modulation.

The EGs themselves are of the DAHDSR format, with knobs on the panel for ADSR control, and control of the following parameters via the edit display.

・Delay
・Hold
・Curve for each stage

Functions such as multi-triggering, loop, latch, sync are controllable by buttons. In addition, each section has a button for modulation destination, which comes in very handy and makes for easy editing.

LFO（LOW FREQUENCY OSCILLATOR）

Four LFOs! The LFO waveform is assignable via a button, but more detailed parameter editing can be carried out by using the center display.

For example, by pressing the EDIT button in the upper right of the section, the display will change immediately to LFO Edit Mode, and you can handle detailed programming right there. With as many parameters available as there are, you can easily get right into modular synth territory especially with sound effects and special effects.

Of course, as they do provide Destination buttons as well, assigning modulation destinations is a piece of cake.

Synth Effects and Master Effects

Synth Effects

Each sound can be comprised of three layers: SYNTH1, SYNTH2, and SYNTH3. The Synth Effects are insert effects that can be used with each part.

Master Effects

This effects processor works on the output of the 3 layers, as an overall effects processor. The super high-quality Eventide® Reverb is included, but is only available in the Master Effects section.

Analog Signal Path and the Effects Processors

For both the Synth and Master Effects, the analog signal of the Moog One is digitized prior to being sent to the effects. However, if the effects are bypassed, the signal is unprocessed, with no A/D conversion whatsoever, for a 100% true analog signal at the output. The attention to this detail shows the fastidiousness of Moog towards ANALOG.

Synth/Master Effects:

DELAY, STEREO DELAY, PING PONG, BBD DELAY, TAPE DELAY, ECHO

FLANGER, STEREO FLANGER, CHORUS, DUAL CHORUS, ENSEMBLE, STEREO CHORUS, 6 STAGE PHASER, 12 STAGE PHASER, TIME PHASER

BIT CRUSHER, RESONATOR, 10 BAND VOCODER, 16 BAND VOCODER

Master Effects:

EVENTIDE® ROOM
EVENTIDE® PLATE
EVENTIDE® SHIMMER
EVENTIDE® BLACKHOLE

Arpeggiator and Sequencer

Arpeggiator

You could say it's a given that just about every new synth on the market comes with an arpeggiator these days.

There is one arpeggiator for each of the three synth layers. On the panel you'll find controls for ON/OFF (button), OCTAVE ORDER, PENDULUM (forwards then backwards cycling), RATE, OCTAVE (1,2,3,4), DIRECTION, and PATTERN. Other parameters can be accessed via the Edit display.

Sequencer

The Moog One has a sequencer in addition to the arpeggiator. Like the arpeggiator, there is one sequencer part available for each of the three synth layers.

The Step Sequencer has four pages of 16 steps for a max of 64 steps per sequence.

Layer & Voice Modes

Layer (Timbre)

Sounds on the Moog One can be made of up to three layers (timbres) at once. Each of the three parts has individually assignable arpeggiator and sequencer parts as well as insert effects. What's more, each part can be split or layered across the keyboard.

Voice Mode

Also called Voice Allocation, on the Moog One there are a number of options: Monophonic, Poly Voice Count (definable polyphony per part) Unison/Mono Detune (with a max of 48 oscillators firing at once, this mode is something to behold), and Chord Memory.

Center Display and Controller

The Center Display is a high-definition color LCD, that shows patch and voice information, as well as detailed editing parameter information.

Beneath the display are a number of knobs and one large dial, which can be used to control various parameters of the synth.

Other controllers include wheels for Pitch Bend and Modulation, an XY pad, buttons for Portamento and Octave Transpose. Incidentally, the key bed is velocity sensitive with aftertouch, and made by Fatar.

Rear Panel Ins and Outs

As you can see from the photos below, the interfacing options available on the rear panel cover just about any situation or need that you could think of.

Demo & Review Video

From all of this, we think it's obvious that the Moog One takes the essence of the analog synthesizer sound and function, melds it with modern technology, and the result is an incredibly feature-filled yet user-friendly Analog Dream Synth.

Be sure to check out our Demo & Review Video to see and hear it for yourself.

Sales Information (Japan only)

Moog ONE 8Voice　メーカー希望小売価格　1,168,750円（税込み）
Moog ONE 16Voice　メーカー希望小売価格　1,375,000円（税込み）

Moog Oneは、受注生産になります。（2019/10/10現在）

by musictrack