Again, it isn't going to be a 1:1 crossover with your Sub 37 but it might scratch the itch while you travel. Also, fair warning to all- racism, sexism, hate speech, or harassment of any sort will result in an instant and permanent ban. Also I can't stand connectors on the side - shouldn't be a factor for most but it just doesn't work well in my set-up. I have always wanted to own a Moog and I think this Christmas it is finally going to happen. You will need to load it again in order to play it. These added extras — in each section of the synth — obviously give the 37 a great deal of sonic flexibility, and while some of these functions were available on the Sub Phatty they were effectively hidden a layer down, so to have them in front of you like this is a blessing. They seem to be pretty similar in sound but the Sub 37 has a bigger keyboard, it's Paraphonic, has a sequencer, a screen, an arpeggiator, more knobs on the front panel and other additional bells and whistles.
So you can't reach true audio rate ranges with them. Different colors in your crayon box. If you have a Little Phatty, I would think about replacing it with the Sub 37. I couldn't stand Jan Hammer's sound either. Quite often I had the main melody, and I had to program patches that stood against that wall of acoustic sound. What I am seeing the most is people saying the Little Phatty is way better, and I hate the Little Phatty but love the Sub Phatty and simply need more keys plus I like the new Sub37 features.
Hey Mark - any chance you could direct me to the discussion of those external units you mentioned? When you want something moodier and more evocative, use mellotron samples. What they were able to squeeze on the panel is really remarkable. But I don't know what the bag looks like inside, padding-wise. Go to or one of the Facebook Synth Memes groups instead. Time to find out… Tone on the Range The first thing that is very evident when you step through the sounds is how well the programmers have utilised Duo-Paraphonic mode. The voyager is closer to the D than the 37 is.
I hear a lot of modern experimental sounds aka beeps, farts and sub oscillator modern bass sounds that work well for other people, but don't suit my taste. You can pretty much modulate what you want, taking this synth way beyond the norm. Nothing wrong with it technically; just not my bag. Hear it in action here: Video of Subsequent 37 Precision Audio Analysis Although the new Subsequent 37 adds new features, these are in no way intended to detract from the character of its predecessor. Also, while continuously variable waveforms is a cool idea, the sound didn't quite seem calibrated to the knob position. Posts lacking a comment will be removed at the moderators discretion. You don't even need to send the Sub to some guitar amp or saturation device, as many fusion players did; the onboard distortion works great! If you just want to do leads or bass lines doing the simple sounds, its probably a better tool for the job.
Currently the only external effect on my Voyager is the Minifooger Delay. This is one instance where I would have loved to have a third oscillator, though, as when you're using sync you can't have a detuning effect at the same time. It's built like a tank and the keybed is fantastic, nice and solid way better than the one on the Prophet 12. Just out of curiosity, what are your sources of Moogism? It's a lot of instrument for the money. One has to remember all the keys one is likely to play in and what the resulting usable range is on a 37-key keyboard. Thanks for the honest assessment Scott. You will like the way Sub-37 as you wished on too, the compliments the Voyager which has the step sequencer, 4 filter slopes, the filter overdrive all make it contrast the bigger creamier majestic sound of the Voyager.
Details Price £1249 Contact Source Distribution 020 8962 5080 Web www. I can't say how well it will match up on features, but Native Instruments Monark is arguably one of the best Moog clones around. And it seems to be in tune basically as soon as you turn it on. No negative reactions based on the guy's keyboard chops and willingness to use them so far. My local dealer brought a Sub 37 in and, at my prior request, called me so that I could get some hands-on time with it. From my vantage point it sounded great, blending or cutting when needed, and I received quite a few complements afterwards, so it appears to be a successful piece! Our new video at is a 40 minute adaptation of T. Presets coming out of the box, for the most part, are useful and a good starting point.
The filter sound great, with a big sweet spot, and the selectable slopes are a source of endless variations. Genres that Sub 37 is aimed at? The keybed is not the same as that used in the Voyagers, although the action felt fine to me. The conbination of sound, knobbage, features, action, appearance and price is just perfect. It's difficult to get a transparent saturation boost, so I use it as more of a pure effect to get a thicker alternate tonality for some parts, kind of like a light fuzz. I would say that I can't think of a better synth among the currently available ones, for that kind of application. And to have this modulation flexibility in your sonic cannon is amazing and possibly a little overwhelming for some.
Stereo filters that is, two filters as in the Voyager would be great. Also, the continuous waveshapes are a real treat. The Studiologic Sledge has them also, and a few others. You can step through these presets and banks either by using a simple cursor system on the screen one button to select, two buttons to go up and down or, more simply, press the Preset and Bank buttons at the bottom of the front panel and then select one of 16 using the 16 buttons. So not only did I not find it a joy to tweak, I didn't find it a joy to play either. Aside from looking like one of the sexiest soft synths we've seen in a while, the editor features a library of over 250 presets, some of which are supplied by Alessandro Cortini, Surachai Sutthisasanakul, Justin McGrath, and Richard Devine.
Above all, I found that it was a matter of programming my leads with the right range of frequencies. In my opinion, no plug-ins can match the sound from this unit. I also read that, unlike the Korg keys, these are not velocity sensitive. The standalone version of the editor works ok, so the issue is probably between windows and ableton 10. I felt the same about the Little Phatty keybed, though obviously a number of people loved it. And that last conclusion, which as I write just in the 50th anniversary year of the founding of the company, has to be the best tribute to the forefather of synthesizers.
Both are beautiful instruments in many ways. Personal attacks, insults, and bad faith criticism of other posters' equipment or music will not be tolerated. I have to say though, there is just something about the tactile immediacy of a Model D that I believe brings it as close to a traditional instrument as a synthesiser can be. I've got a question: If you automate Minitaur's controls e. Both are beautiful instruments in many ways. Personally I think producers spend too much time looking at all sorts of screens these days rather than actually listening to what they are creating and how their interaction with an instrument affects the results.