Moog Sub 37 Synthesizer

ON TEST Moog Sub 37 Synthesizer GORDON REID nce reborn from their Big Briar incarnation, Moog Music’s first O synth was the Minimoog Voyager Signature Edition, which immediately garnered a cult following. Released in the UK in 2003, it wasn’t quite finished, but was Moog’s latest synth, the Sub 37, sees the quickly followed by numerous updates to company return to the form that made operating system and hardware that sorted out its shortcomings. Hot on its heels came their reputation back in the 1970s. the Performer Edition and, in 2004, another 22 November 2014 / www.soundonsound.com have agreed, because the next stage was the Sub Phatty, which took the character The Sub 37 Editor of the Minitaur and transplanted it into a diminutive keyboard synth. I rather liked The Sub 37 should have been shipped with a software editor, but the chaps at Moog this, but was unable to recommend it are still working on it and, at the time of unequivocally because of its short keyboard writing, there wasn’t even an alpha version and profusion of hidden functions, some available for inspection. When it arrives, of which could only be accessed using it will operate along the same lines as the arcane combinations of key-presses Sub Phatty editor, and will come in both or the associated software editor. stand-alone and VST/AU/AAX versions. So I suggested that a Sub Phatty In addition to editing and managing patches, it should also provide automation with a wider keyboard and when run as a DAW plug-in, and the everything revealed on Minitaur’s excellent CV-mapping options (which allow you to control parameters other than the pitch, filter cutoff frequency and volume using voltages applied to the pitch, filter and volume CV inputs) are also promised. sawtooth to square to pulse waves, the same 16’, 8’, 4’ and 2’ footages, the same square-wave sub-oscillator one octave below Osc1, the same hard sync, and the same ±7 semitones detune of Osc2 with respect to Osc1. They also share the same Beat Frequency of up to ±3.5Hz (which provides a consistent detune rather than Photos: Richard Ecclestone scaled detune across the whole frequency range) and the same KB Reset function the control panel would that initialises the oscillators each time be a fine instrument, especially that you press a key so detuned notes are if it sported additional performance reproduced consistently. Less superficially, capabilities such as aftertouch. Again, it the Sub Phatty’s underlying oscillator seems that I wasn’t the only one thinking architecture — a Minitaur oscillator limited edition, along those lines, because this brings us core followed by the Voyager’s variable the Anniversary to the present day and the Sub 37, which waveshaper — has been retained. model. Then, in 2006, Moog draws upon the technology of the Voyager, This is all good news; I have always changed direction by releasing the Minitaur and the Sub Phatty, and seems felt that the Sub Phatty’s oscillators were the Little Phatty, which cost less than to offer everything that I hoped it might. half the price of its illustrious sibling. Of I wonder if it does? course, this affordability came at a price (if Moog Sub 37 £1249 you see what I mean) that was paid not so The Technology much in its sound but, in large part, in its The Sub 37 is an analogue/digital hybrid PROS unusual parameter-access programming with an analogue signal path controlled • Although reasonably small, this is a truly system. I wasn’t a huge fan but, despite my by digitally generated modulators and grown-up synthesizer. • A proper control panel. Thank you! reservations, I have to admit that others contour generators. Physically, it’s based • Velocity and aftertouch sensitivity. Thank were. Next came the Voyager Old School, around a velocity- and pressure-sensitive you again! followed by the excellent Taurus 3 bass three-octave keyboard and, with its steel • And, of course, its sound. pedals, and then the Voyager XL which, prior chassis and wooden end-cheeks, plus CONS to the launch of the Emerson Moog Modular a control panel that bristles with knobs and • With just three buttons to do so, earlier this year, was the reincarnated buttons, it looks and feels like a ‘real’ synth. navigating the menus can be a bit clunky. Moog’s finest moment — a synth of such A small screen suggests that there are still • There are a couple of facilities and bugs to inherent sexiness that it’s sometimes hard to some parameters to be found in menus, but be tidied up. stop admiring it and begin playing it. even a quick glance reveals that all its major • There are no analogue CV/Gate outputs. In 2012, Moog released the Minitaur, facilities should fall immediately to hand. SUMMARY a bass module that, sonically, sat The Oscillators & Mixer Some people are going to view the Sub 37 somewhere between the Taurus 3 and the as a Sub Phatty with its Hidden Functions Little Phatty. Reviewing it in May of that Superficially, the dual oscillators on the Sub revealed on the control panel, but it’s much, year, I commented that “it seems obvious 37 are similar to those of the Sub Phatty. much more than that. I hope that I’m not easily impressed, especially by a monosynth, that the Minitaur would sing as a lead They share the same continuous spectrum but I’m impressed. This is a good ’un. synth too”, and the chaps at Moog must of waveforms running from triangle to www.soundonsound.com / November 2014 23 ON TEST MOOG SUB 37 superior to those of its Little and Slim Alternatives grandparents. But it’s far from the whole This is a golden age for analogue story, because the Sub 37 also allows you monosynths. Recent releases have included innovative designs such as the Arturia to play its oscillators independently using MiniBrute and MicroBrute, recreations of the type of duophonic mode introduced classics such as the Korg MS20, and there’s on the ARP Odyssey in 1972. You can even a clone of the ARP Odyssey on the horizon. Elsewhere, you can find numerous allocate Osc2 to the higher of the two digital and hybrid synths that offer much of notes played, to the lower, or disconnect it the sound and feel of analogue synthesis. from the keyboard to produce a drone at But is there anything that competes directly a frequency determined by the Frequency with the Sub 37? One obvious contender is the new DSI Pro 2, which has just arrived knob, which now has an extended range of for review, looks beautiful, and seems to three octaves. offer much that overlaps with the Moog. Turning next to the Glide section, But, with its four oscillators, dual filters, there’s the expected knob that controls on-board effects, enhanced analogue I/O, wider keyboard and four-voice paraphonic the rate, and you can select the type of mode, is it a direct competitor or something portamento you want on a patch-by-patch more? I’ll know more when I’ve had basis. The options are linear constant rate, a chance to burrow into the Pro 2’s innards, linear constant time and exponential, the so watch this space. last of which gave some vintage synths a desirable character that is less common keys are pressed contemporaneously). All today than it should be. You can apply in all, this is an impressive range of options. the portamento to Osc1 or Osc2 or both The Mixer section has five inputs: Osc1, (which is another nice touch) and the glide Osc2, the sub-oscillator, noise and the can be gated (it stops when you release signal from the external signal input. As the key) and/or legato (meaning that it only on previous Moog synths, oscillator levels occurs when both the start and destination clockwise of 12 o’clock or thereabouts The Side Panel I was rather critical of the Sub Phatty’s I/O panel because its black legends embossed on a black background made it impossible to tell which hole was which. This has now been rectified, and the Sub 37’s sockets and their associated legends are now to be found on a brushed-aluminium panel that makes everything clear and easy to find. For power, Moog have resisted the urge to go down the low-cost route, and the Sub 37 boasts a welcome IEC mains socket for an internal 100V-240V, 50/60Hz AC power supply. Alongside this lies the audio I/O, which comprises a single quarter-inch output plus a single quarter-inch input that allows you to mangle external audio signals. (A headphone socket is provided to the right of the control panel.) There are four analogue control inputs: 1V/ Oct pitch and filter CVs, an amplifier CV and a +5V Gate, but no CV outputs, which some potential users will bemoan. Finally, there’s the MIDI section, with MIDI In and Out on five-pin DIN sockets and USB. Happily, you don’t need specific drivers for your computer to recognise the Sub 37. Just be aware that the USB carries MIDI only, not audio. 24 November 2014 / www.soundonsound.com ON TEST MOOG SUB 37 will overdrive the filter’s input, and this need to remember arcane key presses The Sub 37’s Knob Shift function transforms the is also true of the pink noise generator, to access them), and all four modes will four-stage envelope into a six-stage envelope.

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