“25-key Analog Synthesizer with 2 Oscillators, 1 Sub Oscillator, and 1 Noise Generator; Mono and Duo Modes, Ladder Filter, LFO, Multidrive Circuit, 16 Presets, High-powered headphone Amp, and Editor/Librarian Software”
“Moog Music defined the sound of analog synthesizers in the 1960s, and the company is still focused on innovation. Hear the astonishing story of Moog, from the theremins Bob Moog built to put himself through school to this year’s release, the Subsequent 25, from Moog Music President Mike Adams and CTO Cyril Lance.
A new biography on likely the most pivotal electronic artist to bring awareness to synthesizers, Wendy Carlos.
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“With her debut album Switched-On Bach, composer and electronic musician Wendy Carlos (b. 1939) brought the sound of the Moog synthesizer to a generation of listeners, helping to effect arguably one of the most substantial changes in popular music’s
I’m worried about Behringer. They’re using this time machine a lot, without thinking about the dangers of the temporal paradox.
There’s reason to be concerned.
One, we’ve seen they already have entered some alternate reality where they’re in Banaheim, in the previous video.
Two, I really don’t want to have to write about Moog modules. But here we go. Yes, another video:
The 22 modules come from the System 55, the System 35, and the Model 15, from 1973. Moog Music has already recreated these as ultra-limited, handmade editions; no word yet on what’s actually inside the Behringer remakes.
It’s a tricky one – maybe you want one or two Moog-ish modules in a system, but I would actually question if you want a 1973 modular in 2020. There are too many interesting, more modern modules to use now – and unlike the System-100m I wrote about yesterday, the Moog line doesn’t come with any particularly useful utility module or something fun like a phase shifter. I learned synthesis on a Moog, so I could see this showing up in classrooms. But there’s a lot on the module market to consider first.
I’m not going to go through these and screen grab them again, but it seems Behringer’s plan is to dump a bunch of remakes onto the market. We’ll see what impact that has on the market for other hardware, which has tended to have a significantly higher price point. It seems it will inevitably hit other vintage-inspired modules, but it could impact the market for other modules, too.
See you at Superbooth, I guess? I expect Behringer will be exhibiting again. They may need … a bigger…
There is one big gotcha to all this.
Even at $49 – $99, a full modular system made of these modules will still cost well into four-figure sums.
I love the Moog modular. I learned synthesis on one that lived in the basement of my college – alongside a Buchla. I’ll also admit, that learning process wasn’t easy.
There’s a reason the Minimoog is the Moog that everyone remembers. A lot of the capabilities of this monophonic modular setup are encapsulated in a synth version of the same – keep in mind that the Minimoog’s first prototype of sorts was a demo patch made on the Moog modular.
It’s easy to knock the modern Moog Music for their high prices, comparing against their ultra-boutique, made-for-rockstars modular remake. But try configuring a Eurorack modular piece by piece even from this Behringer range for the price of the $899 Subsequent 25 from Moog this week – and that’s at the high end of that market.
That’s not to knock the unique open-ended spirit of modular. But the test for Behringer is the test for the larger modular community – is there a point where modular synths are too complicated to purchase and use in order to sustain a growing market?
And there’s another question for all of us – musicians and makers alike. Is the 1970s or even 1980s sound of the synthesizer where we want the road to end? Or what should a 2020 synthesizer even sound like?
Should I actually stop asking rhetorical que– ah, okay. I’ll shut up now.
Universal Audio has introduced its new LUNA Recording System at the NAMM Show. LUNA is a DAW for Apollo interfaces that features deep Apollo integration, built-in Neve summing, integrated multitrack tape, and all-new LUNA instruments such as the Moog Minimoog, Ravel grand piano (Steinway Model B) and Shape sample-based instrument. Coming Spring 2020 as a […]
Moog Music has announced a new the Subsequent 25, a 2-note paraphonic synthesizer that melds the hands-on analog soul of classic Moog instruments with the convenience and workflow of a modern sound-design machine. In the spirit of continuous improvement, Moog Music is transitioning production of the award-winning Sub Phatty analog synthesizer to make way for […]
For all Moog’s synths, it’s been a while since there was a sweet spot that said – oh, if I want a Moog, I should start here. The Subsequent 25 could be that instrument.
Okay, “subsequent” feels a little too much like an SAT word, compared to the endearing “Little Phatty” and “Sub Phatty.” But you could call this thing practically anything – it’s a cute little Moog, and about as Moog-y looking as anything since the 1970 Minimoog.
It’s just … adorable. I mean, someone should say that, because I fully expect this Moog will trigger some serious consumer instincts.
And appreciating that synths for a lot of musicians are about feelings and fantasy, Moog are repeating their collaboration with Flying Lotus to make an animated short film. (Scoff all you like – if you had a marketing budget, wouldn’t you want to spend it like this?) The inimitable Brainfeeder maestro FlyLo teams up with designer-musician Julian House. You might have heard House’s own music as The Focus Group and Ghost Box label, but you almost certainly know his album covers for the likes of Oasis and The Prodigy.
Anyway, this is all good fun. Here:
Okay, but you probably do want specs, too. In the year of polysynths, this isn’t that – it’s a massive bass synth that also happens to have a new Duo Mode to split osc 1 + osc 2.
So you have three oscillators – including one sub oscillator – and additionally a noise source
Four CV inputs, which is a decent-sized complement for a mid-range analog synth.
Multidrive, which combines two types of distortion to color the sound (and really makes all of this dirty and interesting).
It’s a Moog, so yes, there’s a Ladder Filter, but with 6, 12, 18, and 24 dB/octave slopes.
Audio input as well as (mono) output
USB and MIDI and full MIDI implementation – that’s actually a bigger deal than it seems, as there’s MIDI control of everything, including things like gate reset. Paired with the right sequencer, this could be a total beast.
Flexible LFO, with tri, square, saw, ramp, S&H shapes
It’s heavy – 16 lbs – over 7 kg. But you probably like that if you want a Moog.
Proper pitch and mod wheels
Now that the rational part of your brain is engaged, it’s also worth saying that you might want to save up for the powerful Subsequent 37, the Sub 25’s bigger sibling. It’s a significant price difference (though there is the used market). But in addition to more keys, the big draw of the Sub 37 is – more hands-on controls, more envelopes and modulation, and a built-in arp/step sequencer.
(Writing synth press releases is hard. Duophonic synths require you to sound like you’re an over-excited Leonin or Perotin attending NAMM – “opening new doors of musicality by playing two different notes at once.” Wait ’til the monks and sisters catch THIS bad boy!)
There’s also editor/librarian software included free, so the notion is you can extend the 16 x 16 (256) onboard patches with more stuff on the computer. And that’s what makes this somewhat unique: it is an analog synth, but it’s one that you might go deep into editing or sequencing. It’s obviously a performance-oriented, jam- and improv-focused keyboard axe, but it’s got enough CV that you could still devise some detailed patches with modular or semi-modular gear.
Moog have staked out this territory as the premium synth makers, and that’s what this looks like. It’s a pretty middle-of-the-road synth, but with tons of detail – and that Multidrive thing makes sure it isn’t too tame.
And for all the creativity of the Moog line lately, I fully expect the Subsequent 25 will get people past the hump of trying to decide what to buy. I’d say shame about the name, but I bet a lot of people just call it Moog.
For more Moog film watching, check this behind-the-scenes with Uncut Gems composer Daniel Lopatin:
As an addendum, and part of why I think this appeals to the frontal lobes (even as the design triggers some irrational emotional appeal), here’s the amount of stuff you can control with MIDI – including high-resolution output. Even if you don’t use this via MIDI, it’s an interesting window into the architecture:
Duo Osc 2 Priority
Filter Velocity Sensitivity
Volume Velocity Sensitivity
Ext. Audio Level
Osc 2 Beat Frequency
VCO Gate Reset
LFO Gate Reset
Pitch Bend Up Amount
Pitch Bend Down Amount
Wave Mod. Destination
LFO KB Tracking
Filter EG Reset
Amp EG Reset
MIDI Ch. In
MIDI Ch. Out
14-Bit MIDI Output
MIDI Path In
MIDI Path Out
MIDI Merge DIN
MIDI Merge USB
Sound Engine Type(s): Analog (2 x Oscillators, 1 x Sub Oscillator, 1 x Noise Generator)
Number of Keys: 25
Type of Keys: Semi-weighted, Velocity-Sensitive
Other Controllers: Pitchbend, Mod Wheel
Polyphony: Monophonic, 2-Note Paraphonic
LFO: Triangle, Square, Sawtooth, Ramp, Sample & Hold
Filter: Moog Ladder Filter with 6/12/18/24 dB per Octave Slopes
Number of Presets: 16 (4 Banks of 4)
Effects Types: Multidrive
Audio Inputs: 1 x 1/4″ (ext in)
Audio Outputs: 1 x 1/4″
USB: 1 x Type B
MIDI I/O: In/Out/USB
Other I/O: Filter CV in, Pitch CV in, Volume CV in, KB Gate in
Software: Plug-in and standalone editor and librarian for Mac/PC
“The Subsequent 25 features a silky keybed with enhanced playability, a high-powered headphone amplifier for live monitoring, and analog signal path embellishments that significantly expand your sonic palette. From behemoth basses to lashing leads to posh pads, the Subsequent 25 is a serious performers’ synthesizer with the hands-on control you need to