![]() ![]() Being able to effectively make it one, two, or three separate synths is so useful. It took us a while to get used to One’s wilfully split personality but we're so glad we did. As with everything on the One, modulation setup can be as simple as assigning the most common controls to an attribute, or you can dive into further levels of complexity and this is where the large display really comes in handy. We have other synths with XY controls but they often fall flat, unlike the One. The possibilities here are endless and it is a breeze to create evolving tones that twist and warp, all the while staying controllable via a multitude of input, from aftertouch (sadly not polyphonic though) to the great XY pad. Where we spend most of our time with the One however tends to be with modulation. On top of that, and similarly to the LFOs, each of them has a destination button to quickly assign envelopes. The envelopes themselves are similar to those of the Sub37, one of our other favourite synths, and they range from super fast and snappy to long, with a lot of extra depth from things like Loop and Latch. We really appreciate a separate envelope generator for that extra level of creative freedom. The filter and amp envelopes are what you’d expect from such an instrument and the third makes it all the more special. The ability to assign each oscillator to either the ladder or state variable filter, in series or parallel, is fantastic, as are the three envelopes. We attribute this partly to the wonderful oscillators but mostly to the filters and envelopes. It caters to every need, from deep but well-rounded basslines to sparkling chimelike tones from lush, warm electric piano sounds to otherworldly crystalline soundscapes. Or we’d end up using presets (we're looking at you DX7). We’d put this second after the interface purely because if the workflow wasn’t good we would soon tire of it, no matter how good it sounded. Saving sounds, sequences and effects is so simple and fast that a session can be productive but repeatable, something we value highly. The big screen and controls make it a doddle to work with. So, what do we love about it? Firstly it’s just so easy to navigate. Since updating the firmware it has remained rock solid. Keeping it in a studio with a stable temperature and humidity helped there, but Moog updated the firmware, which solved the remaining issues. Initial concerns about pitch drift, especially in the low end, never turned out to be too much of a problem for us. It has become the core of our musical and sound design work and has helped us shape effects for film and game projects it’s also become the focus of a whole album. ![]() That might be in part due to its presence in the studio, where it definitely dominates but mostly because we have come to rely on the versatility and simple playability. While we have always managed to find uses for our other gear, the Moog One has become the go-to instrument for an ever-increasing number of uses. ![]()
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