That’s a really nice demo and like Wendell says demonstrates for me at least alongside the last YouTube I posted that the One can authentically cover that mid-80s Francois Kervorkian, Prelude Records, post disco / boogie type territory, as well as more contemporary Metro Area type stuff, that’s a big from me. Think it was mainly Prophet 5 and a bit of Roland on those records, so whatever about micro-comparison shootouts and technical arguments, I’m satisfied that this is a tool that can do that job very well.

Please do. It would be fun and useful.

One area in which I would love to see improvement and increased control would be in the velocity response/curves.
As a player, one adjusts to what is there, but I would love to tweak it to get the response more to my liking with a wide dynamic range.
I plan on hooking it up to my MidiBoard to see how much better it responds, and see what is on the "receiving side" of velocity response vs. the transmitting side from the One's keyboard.
Even out of the box, and with very coarse controls, the Voyager's velocity response feels more comfortable to me.
Similarly, the aftertouch curves would be nice to customize.

The bladder filter is there to stop people peeing their pants with excitement.

Actually there is no random modulator that can set different values per note on... not yet anyway

Yeah I'm pretty confident Moog will add that relatively soon. It's a pretty simple thing to implement.

I can’t agree more.

I’m not saying that everyone has to love modern analog, but I think they do themselves a disservice by constantly comparing them to the classics. Sure, there will be something “missing” but there are also things like being able to map velocity to filter amount and/or cutoff frequency. There’s your slightly different filter per voice, but one that’s controllable for expression. I’ll always pick “intent” over “random.” However, that puts more the responsibility on the musician. You’re not going to hear that “magic” by running a sequence on it and messing with the filter and envelops settings.

It’s funny, I never had a VCO classic. As a broke musician, the closest I got was a Juno 106 and a Poly 800. I loved those, as I loved all the synths I managed to get my hands on. I love synths. But, having spent the 90s and 00s with more modern synths, including digital workstations, I find going to the old classics feel oddly stiff and kind of dead in a way, because they lack a lot of control I’m used to.

I'm on the fence from all the demos on whether to cancel my preorder

I haven't heard anyone use the modulations crazily yet, which is what I'm excited to hear...and I think the demos might be too unisony/movement in oscillators which sounds kinda corny/trancy (probably why people say VA). The filters seem to sound great. But why is it I tend to hear some kind of distortion in upper registers? And that no one seems to do subtractive with the LPF? so many harsh tones which can be fixed up easily.

I'm not sure :/ I sold my Deckards Dream to get this, and now i'm a little .

I'm interested in people using the HPF in more extreme ways, getting crackles/crickets/bug sounds. With all that modulation it seems like it should be great.

This seems like it's got it's own sound, but I'm not sure I like that own sound. All I keep hearing are prog rocky type sounds. I know I approach synths a little differently, so I should be able to **** out good sounds. So maybe I'll just wait and see. I'm hoping I can disprove the bad sounds by making my own.

But...anyone with a Moog One, can you make more extreme sounds? not just the bog standard boring sounds?

Why not just use the S/H LFO for that ???

Confucius say, a troll in need is a troll indeed. And, two trolls don’t make a right.

He also said, ditch the cans and get thee some proper monitors before being so bass conclueless wrt the One.

Great thanks for your answer that was indeed what I was looking for. I hope it will be.

@ draig is your guy!

Thank you dbenway, Wendell and others, much appreciated. Now I want to check me out some Kervorkian, Prelude Records and Metro Area stuff! But, yeah this synth is really a unique beast, with quite a lot of sonic range to discover and uncover.

Thanks! I try and get something up later this week.

What I have noticed so far is that IMO Moog has put a little too much FX on many of the presets. When I backed off on them the sound seemed come more alive. The FX are actually not bad at all, but again, I think they just used a little too much on many of the presets, which kind of burries the sound somewhat.

Cool jam! Mr. Zappa would be proud!

It's a hard decision indeed. I like what I'm hearing, and it looks like it would be really fun to play and experiment with. I particularly like the soundtracking / soundscaping thing, which it looks to be fantastic at.

But part of me wants to let them iron out some of these initial launch kinks and give more people time to post demos so I can be 100% sure. I also feel a little guilty for buying something like this when I have so much other gear already (although that feeling is nothing new - damn you GAS )

The modulation is modular... the audio path is fixed.

In the audio path you have Osc FM and Filter FM as some routing options.

I wish that the full Osc could do FM... only the Tri/Saw side does. The Square wave is not included in the FM.

Yeah... there is no way to get a correct velocity on VCA level right now.

...and with REPEATS set to 1 you should get a single random value per voice and note on, I'd think.

man, never look at your shipping tracking info ... My MO was in Spokane Valley this morning at 3am... (40 miles from me). It then got loaded and sent to portland Oregon (400 miles from me) ... which means it will turn around and come back on the same road it's on right now. 800 miles of WTF.

yes! I forgot about the repeats option... gotta try that, but it should work as expected!

I'd still like a couple dedicated random modulators cause using just one LFO on say 5-6 parameters all those parameters are not random to each other.

I didn't know that.
Excuse me for thinking "modularly", but this is what i would try:
How to make a stopped or almost stopped random LFO give a new value per every note on ?
Unstop it for a tiny amount of time !
Envelope with minimum values on every step modulates LFO rate 100% or more than 100% if that is possible in the mod matrix.
This way the LFO gets maximum rate only for about 400microseconds right at the start, then stops.

The mix knob is not just adding the FX to the sound, but also lowering the level of the synth sound. It goes to 100% wet. So turn the knob too high and it really does make the synth sound disappear.

I've also noticed a bug where the VCA level drops when the FX are turned on.

Another thing... some (many?) of the presets the FX are not tuned to the sound. They are just sorta on there like someone just picked one of the few fx preset options. Over and over I kept thinking, how come these Eventide FX sound like crap? Then I started going in and tweaking parameters to make it flow with the sound being played and suddenly it sounds spacious and beautiful.

So pre-filter becomes an option when that synth is set to mono... cool

This is the best demo of the Moog One I've heard so far. Lots of great sounds here.

Even more impressive than the sounds, however, is the musician's attitude.

He's... grateful.

In these times of cynicism, where terms like "fanboi" get thrown about when someone shows intense appreciation for something, it's... well, touching. I have to say.

Cynics be damned. Gratitude will prevail.

/sermon

You definitely hit the nail on the head! It seemed like someone was just in a hurry to put FX on each patch without putting much thought to what effect may sound best...or if the sound even needed an effect.

No, was just saying that it would be particularly useful on a mono sound to have the insert pre-filter, to boost the signal level into the filter.
Did not mean to imply that it behaves like that - more of a wishlist item that I don't know is even possible.

Cubase has an oscilloscope plugin which is handy to see waveforms. And Wavelab has a huge array of analytic tools, e.g. spectral analysis, too.

I'm actually really liking the One's oscillators, save for the baffling choice of having dedicated knobs to apply LFO and EG mod to *all* of them. I don't find them sterile or lacking in high or low frequencies at all. They have much more character than, say, the Prophet 12's DCOs.

Can anyone think of any other analog oscillators with as much control and modulation as the One?

In one of the live streams, the old guy (and as an old guy, I don't mean that pejoratively ;-) demoing with Amos said he had blown out one of his monitors with the low freqs, and I can see how that would be quite easy to do!

Speaking of the Prophet 12, many have notes that the DCOs are a bit thin and sterile and the filters aren't amazing, and yet, taken as a whole, the -12 is one of my favorites and a most versatile music maker, which is what it's all about. It's a team player. The Voyager and OB-6 tend to hog the stage, which is fun and cool, but I admit I've never used the Tom Sawyer sound in any of my own songs. :-)

I guess I'm saying that I'm starting to dig the One, too - as in starting to dig into sound design, and I'm liking it more and more. Still kinda feel a bit at odds with the UI, but that should be temporary. There's definitely plenty of goodness - and uniqueness - in there. The SVF and Ladder filters by themselves aren't likely to win any awards, but in combination, they do lots of interesting things you can't get elsewhere.

-- jdm

I'm not sure I follow you but that would mean sacrificing an eg. Still I think this would not be random per note one meaning if notes are hit exactly at the same time both voices will be modulated with that same (random) curve? The difference is random modulation vs random start value. To mimic analog randomisation all (48 or maybe just 8 that cycle) lfo's should be independently free running so every note on catches it's own curve when played. At least that is what would mimic one of many aspects that make real life instruments guitars, piano's and analog synths appealing. Another ('modular') workaround could be to include a keytrack controller to introduce different start values. But imo this gets a little too complex for creating a 'simple' multi parameter slop.

The solaris will presumably introduce this random per voice modulators that draig is talking about. They could be assigned to anything in that case. And those modulators will also be independent from on another of course so kind of 'free running'.

But comparing the Solaris to the One from a modulation standpoint is a big compliment to Moog for making a polyphonic modular Moog. Sick

How is it even possible to send it pre filter on a poly sound? You have multiple audio streams going to multiple filters... do you insert it on one stream? all of them?

Pre filter is easy on a monosynth...