Join Chrome Sparks on a new sonic journey with Subsequent 25.
Subsequent 25 is a two-note paraphonic analog synthesizer that melds the hands-on analog soul of classic Moog instruments with the convenience and workflow of a modern sound-design machine. The most compact Moog keyboard synthesizer to date, Subsequent 25 delivers all of the rich sonic density that Moog synthesizers are known for.
Begin a new journey in the world of modular synthesis with Moog Sound Studio: Mother-32 & DFAM & Subharmonicon.
Moog Sound Studio includes all the tools and creative inspiration you need to embark on an immersive sonic adventure. Designed for beginner and seasoned synthesists alike, Moog Sound Studio introduces a uniquely comprehensive approach to exploring modular synthesis. Along with the powerful trio of analog synthesizers (Mother-32, DFAM, and Subharmonicon), each user receives a custom dust cover, dedicated audio mixer and power distribution hub, rack kit, audio cables, patch cables, cable organizer, synth exploration card game, creative learning tools, artwork, and more.
Watch the immersive Moog Sound Studio experience and environment come to life in this animation by Rapapawn, an experimental animation studio run by artists Óscar Raña and Cynthia Alfonso. This piece incorporates artwork by illustrator Kate Dehler and is set to music composed by synthesist Lisa Bella Donna using Mother-32, DFAM, and Subharmonicon.
Expand your knowledge of modular synthesis, hone your sound design skills, and allow yourself to get lost in the joy of discovering new musical experiences!
More about Moog Sound Studio:
More from these artists:
– Kate Dehler:
– Lisa Bella Donna:
The Moog Model 15 iOS App is now available for macOS users!
This free update to the Moog Model 15 Modular Synthesizer App, available for Mac users running Big Sur, makes it possible to recreate the sounds and workflow of the classic hardware Model 15 modular synthesizer using a macOS device through Audio Unit v3.
With this update, the Model 15 App can now be used as a standalone synthesizer, as an Audio Unit v3 and v2 plugin, as a VST3 plugin, or as an effect in your existing audio chain.
In this video, Moog Product Specialist Max Ravitz demonstrates how to use Model 15 on a desktop computer running macOS Big Sur.
This video explores using the EP-3 expression pedal to add additional pulse width control to the oscillator section of the Matriarch.
One of the advantages offered by semi-modularity is the ability to add further controls to your instrument via CV inputs and offset voltages. You may have noticed that Matriarch’s oscillators lack a dedicated pulse-width knob, but do feature a pulse-width voltage input; this creates an opportunity to add a pulse-width knob via creative patching. Using a combination of Matriarch’s expression pedal input, mults, and a reversible attenuator, we can control the pulse-width of all four oscillators simultaneously using EP-3. Another approach could be to use the expression pedal input and each of the three reversible attenuators separately to gain independent manual control over each oscillator’s pulse-width. The beauty of semi-modularity is the ability to cater your instrument’s functionality to meet the needs of your performance or recording.
This video explores using the EP-3 expression pedal to create interesting modulation of Matriarch’s analog delay.
Delay is the foundation for many types of processing in recording. It can be used to achieve chorusing, flanging, doubling, looping, as well as traditional delay effects. Matriarch’s stereo analog delay is unique in its semi-modular nature, allowing for CV control over every parameter. Using Matriarch’s expression pedal input, mults, and reversible attenuators, we can achieve unique modulations by utilizing EP-3 to control several delay parameters simultaneously, allowing for lush stereo spatial effects. This approach can add depth to the sound of your patches, and also enable you to change your delay settings with a foot, allowing you to focus on your keyboard playing with your hands.
This video explores combining LFOs and envelopes to create complex modulation signals.
While modulation signals are most often used to control sound parameters in a synthesizer’s voice, they’re just as effective when used to modulate other modulation or control signals. In this video, we look at using the envelopes on Werkstatt and Grandmother to modulate the rate of the opposing instrument’s LFO. This allows for dynamic LFO rate changes that correspond to the envelope shapes, which in turn are controlling your VCA and filter, creating unique interactivity within a patch. Semi-modular instruments like Werkstatt and Grandmother lend themselves to developing these deeper levels of interactive modulation thanks to the extended connectivity available via patch points.
This video takes a deep dive into the functionality of Matriarch’s filter section, as well as some patching techniques to expand the dual filters’ capabilities.
While Matriarch only features a single filter cutoff control, you may be surprised to learn that the instrument actually contains two independently controllable analog filters. These two VCFs offer three unique routing options, enabling many interesting filter techniques for your Matriarch patches. Stereo mode offers dual low pass filters, with each filter independently controlling the left and right sides of your stereo image for wonderful spacial effects. In series mode, VCF 1 is used as a high pass filter, the output of which is then fed into VCF 2 operating in low pass mode, allowing you to create band pass filter effects with variable bandwidth via the spacing knob. Lastly, in parallel mode, VCF 1 is once again configured as a high pass filter with VCF 2 acting as a low pass filter, but instead of VCF 1 being routed into VCF 2 like in series mode, parallel mode mixes the outputs of VCF 1 and 2 together, allowing you to hear them both simultaneously. Parallel mode allows for interesting notch filter and phaser effects on your Matriarch. Exploring the filter section on Matriarch can really serve to expand the tonal palette of your synthesis explorations.
Sound designer, composer, and multi-instrumentalist Lisa Bella Donna journeys through the world of analog sound with an arrangement of vintage and modern analog synthesizers in this exploration filmed in the Moog Sound Lab.
Inspired by live synthesizer performances of the 1970s, the inimitable synth sorceress integrates the classic Moog Synthesizer lllP with Moog One, Subsequent 37, Subsequent 25, and the complete Moog semi-modular family (Matriarch, Grandmother, Mother-32, DFAM, and Subharmonicon), highlighting their connectivity and the possibilities of personal orchestration.
“As a longtime electronic music composer and sound designer, I have always regarded my synthesizer studio as a personal ‘sacred space.’ A special place where I can be free and open to create whatever music that needs to vessel through in the moment. To explore the wild, wonderful wilderness of sound and synthesis. A place to find inspiration and to evoke artistic ascension. To create and to be playful in the process. I wanted to project a piece that expressed my happiness and gratitude to get to be creative with my friends and colleagues at Moog. It’s always so much fun to bounce ideas and create a special atmosphere together, each time we have the opportunity to create these videos.” – Lisa Bella Donna
Tucked away inside Betty’s, a remote Chapel Hill recording studio owned and run by Sylvan Esso, songwriter and multi-instrumentalist Jenn Wasner (aka Flock of Dimes) enlists the talents of friends and local NC indie-electronic musicians for the live debut of “2 Heads.”
As the first track on Wasner’s critically acclaimed ‘Head of Roses,’ released earlier this month, “2 Heads” is an evolving blend of Wasner’s undaunted vocals, fluttering synth arpeggios, and rich, sustaining bass lines by way of cello and Matriarch.
Wasner, on lead vocals and at the helm of two Matriarch analog synthesizers, is joined for this performance by Andy Stack (Wye Oak, Joyero) on cello; Alexandra Sauser-Monnig (Daughter of Swords, Mountain Man), Molly Sarlé (Mountain Man), and Amelia Meath (Sylvan Esso, Mountain Man) on backing vocals; and Nick Sanborn (Sylvan Esso, Made of Oak) with an assortment of Eurorack effects modules.
‘Head of Roses’ is out now on Sub Pop. Listen to it here: