The Moog One

Any music gear discussions that don't fit into one of the other forums.

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Post by strettara » Sat Aug 03, 2019 1:14 am

Well I haven't posted in a synth thread for a long time. And when I had synth gear, it was all modular. But I have to say the Moog One has got me excited. It just looks so playable, fun, flexible and, from what I've heard, sounds great. And it has the sort of authoritative styling that any well made instrument should have, imo.

About price: I play the recorder. Most people associate that instrument with 5 euro pieces of plastic for schoolkids. But an alto recorder in baroque pitch from the Ernst Meyer workshop will cost 3 to 4,000 euro. 8,000 euro for the Moog One doesn't seem expensive to me in terms of what top of the range musical instruments cost.

What inspires me about this instrument is that it really says "instrument". You could dedicate a lot of time to becoming a Moog One player, rather than a keyboards player with a Moog One in his line-up. And if I were ever to get one - which is unlikely in the extreme - it would be my only synth. It would sit in the room next to the recorders and the sheet music stand, with an interface to connect to my laptop for recording, so I could spend years learning and playing it and making lame ambient tracks :lol: . I'd probably even make a wooden piano style stand for it.

Anyway just thought I'd express my view of the first synth that has excited me for many years. I love what I'm seeing and hearing of this instrument.
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Post by Sounds From The Shed » Sat Aug 03, 2019 5:24 am

strettara wrote:Well I haven't posted in a synth thread for a long time. And when I had synth gear, it was all modular. But I have to say the Moog One has got me excited. It just looks so playable, fun, flexible and, from what I've heard, sounds great. And it has the sort of authoritative styling that any well made instrument should have, imo.

About price: I play the recorder. Most people associate that instrument with 5 euro pieces of plastic for schoolkids. But an alto recorder in baroque pitch from the Ernst Meyer workshop will cost 3 to 4,000 euro. 8,000 euro for the Moog One doesn't seem expensive to me in terms of what top of the range musical instruments cost.

What inspires me about this instrument is that it really says "instrument". You could dedicate a lot of time to becoming a Moog One player, rather than a keyboards player with a Moog One in his line-up. And if I were ever to get one - which is unlikely in the extreme - it would be my only synth. It would sit in the room next to the recorders and the sheet music stand, with an interface to connect to my laptop for recording, so I could spend years learning and playing it and making lame ambient tracks :lol: . I'd probably even make a wooden piano style stand for it.

Anyway just thought I'd express my view of the first synth that has excited me for many years. I love what I'm seeing and hearing of this instrument.
Those Ernst Meyer recorders look really special. I have to admit though having attended numerous school concerts over the years and listening to the kids on their recorders it's an instrument that just brings back torturous memories :hihi:

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Post by dubonaire » Sat Aug 03, 2019 6:35 am

strettara wrote:Well I haven't posted in a synth thread for a long time. And when I had synth gear, it was all modular. But I have to say the Moog One has got me excited. It just looks so playable, fun, flexible and, from what I've heard, sounds great. And it has the sort of authoritative styling that any well made instrument should have, imo.

About price: I play the recorder. Most people associate that instrument with 5 euro pieces of plastic for schoolkids. But an alto recorder in baroque pitch from the Ernst Meyer workshop will cost 3 to 4,000 euro. 8,000 euro for the Moog One doesn't seem expensive to me in terms of what top of the range musical instruments cost.

What inspires me about this instrument is that it really says "instrument". You could dedicate a lot of time to becoming a Moog One player, rather than a keyboards player with a Moog One in his line-up. And if I were ever to get one - which is unlikely in the extreme - it would be my only synth. It would sit in the room next to the recorders and the sheet music stand, with an interface to connect to my laptop for recording, so I could spend years learning and playing it and making lame ambient tracks :lol: . I'd probably even make a wooden piano style stand for it.

Anyway just thought I'd express my view of the first synth that has excited me for many years. I love what I'm seeing and hearing of this instrument.
Interesting post. I had no idea recorders could cost so much, but I'm not surprised. I have a lot of studio gear but I was blown away when I bought my DSI Rev2 because it has that quality. It is an instrument. I think the Moog One has that, and I think the Prophet X has that.

I'm also interested to see you re-enthused about making music.

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Post by strettara » Sat Aug 03, 2019 8:13 am

dubonaire wrote:I'm also interested to see you re-enthused about making music.
I think I'm remaining on topic if I say that modular had me lost in sound (which was wonderful and I learnt a lot), whereas going back to my acoustic instrument and playing baroque repertoire with friends brought me back to music. I can see how this instrument would marry both of those interests in a very fruitful way for me personally.

Anyway when I finally get my finances sorted out (my real life goal) I'll have a serious think about it... But I am enjoying fantasising about what I could do with it.
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Post by Sounds From The Shed » Sat Aug 03, 2019 9:32 am

strettara wrote:
dubonaire wrote:I'm also interested to see you re-enthused about making music.
I think I'm remaining on topic if I say that modular had me lost in sound (which was wonderful and I learnt a lot), whereas going back to my acoustic instrument and playing baroque repertoire with friends brought me back to music. I can see how this instrument would marry both of those interests in a very fruitful way for me personally.

Anyway when I finally get my finances sorted out (my real life goal) I'll have a serious think about it... But I am enjoying fantasising about what I could do with it.
It's not the be all and end all, it sounds nice, but there are other less expensive synths that sound better. I think because it's expensive it then becomes something to aspire to, as in you think if you pay more you get better. I think the brand encourages the snob factor and i despise that.

I think my AS Polymath sounds way better, the Moog One is nice and I'm lucky to have one, but being expensive doesn't mean being better, Polymath for the win!

[video][/video]

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Post by strettara » Sat Aug 03, 2019 1:12 pm

Sounds From The Shed wrote:
strettara wrote:
dubonaire wrote:I'm also interested to see you re-enthused about making music.
I think I'm remaining on topic if I say that modular had me lost in sound (which was wonderful and I learnt a lot), whereas going back to my acoustic instrument and playing baroque repertoire with friends brought me back to music. I can see how this instrument would marry both of those interests in a very fruitful way for me personally.

Anyway when I finally get my finances sorted out (my real life goal) I'll have a serious think about it... But I am enjoying fantasising about what I could do with it.
It's not the be all and end all, it sounds nice, but there are other less expensive synths that sound better. I think because it's expensive it then becomes something to aspire to, as in you think if you pay more you get better. I think the brand encourages the snob factor and i despise that.

I think my AS Polymath sounds way better, the Moog One is nice and I'm lucky to have one, but being expensive doesn't mean being better, Polymath for the win!

[video][/video]
Tbh, I can't imagine why anyone would give a shit about how anyone else spends their money.
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Post by Sounds From The Shed » Sat Aug 03, 2019 1:21 pm

strettara wrote:
Sounds From The Shed wrote:
strettara wrote:
dubonaire wrote:I'm also interested to see you re-enthused about making music.
I think I'm remaining on topic if I say that modular had me lost in sound (which was wonderful and I learnt a lot), whereas going back to my acoustic instrument and playing baroque repertoire with friends brought me back to music. I can see how this instrument would marry both of those interests in a very fruitful way for me personally.

Anyway when I finally get my finances sorted out (my real life goal) I'll have a serious think about it... But I am enjoying fantasising about what I could do with it.
It's not the be all and end all, it sounds nice, but there are other less expensive synths that sound better. I think because it's expensive it then becomes something to aspire to, as in you think if you pay more you get better. I think the brand encourages the snob factor and i despise that.

I think my AS Polymath sounds way better, the Moog One is nice and I'm lucky to have one, but being expensive doesn't mean being better, Polymath for the win!

[video][/video]
Tbh, I can't imagine why anyone would give a shit about how anyone else spends their money.
Is that a rude reply or am i misreading it, it's been a sunny day here in Northern Ireland and as you do here you avail of a few bevvy's, I was just trying to say that there are alternatives to the moog as are there alternatives to recorders, as you pointed out, and in my experience, the moog is nice but there are also nice alternatives :despair: If I misread it then that's ok , if it was rude, then I'm going to shove that recorder up your arse, no lube, :hihi:

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Post by strettara » Sat Aug 03, 2019 4:12 pm

Nothing aimed at you, just at the attitude that high end products only appeal to snobs. I encountered that sort of inverted snobbery a lot in the ITM community directed at anyone whose tin whistle cost more than £2.00, or against people who could actually read music or had any sort of musical training. There are lots of reasons for wanting high quality instruments, they are usually more expressive and rewarding to play in so many ways than their cheaper alternatives.

I would never have been interested in a Voyager, which did seem to me way overpriced for what it was. But this gets my juices flowing. It's as simple as that.

Anyway my ass is open for business whenever you want.
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Post by Heavenly3lues » Tue Aug 13, 2019 2:15 pm

I've been enjoying this guy's Moog One videos on Instagram. Here's a longer one from Youtube that he posted today :bananaguitar:


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Post by starkaudio » Thu Aug 22, 2019 8:39 am

Took delivery of the Moog One about ten days ago.

It's definitely the most complex synth I own and I look forward to continuing to explore all the permutations and shapes I can coax it into. It was a struggle to pay for, and if I just wanted to use it as a sound generation object, there are more frugal ways to reach this level of complexity in sound generation (and higher levels of complexity/flexibility to be had in other systems.)

For me, the appeal of this instrument is that it's a machine with real limitations wrapped in a software framework that (at this points) also has limitations. I can see the end goal of knowing it inside and out and I know it's achievable. I look forward to being at a place with the Moog One that I am with my other hardware synths...where I have internalized the flow of programming and playing it.

There's a place where muscle memory comes into play when using an instrument and some tools I use (such as software) while very useful lack the "box" - a finite set of options a piece of hardware has. For me, there is a satisfaction in being able to say "I feel confident that I know the finite limitations of this system" - to be able to say "I know my instrument."

After ten days, I feel like I can see the edges of the Moog One system or box and while very large in scope...I'll know my instrument one day.

That is what makes the expense worth it for me.

It can sound gorgeous, but so can a single plain sine.

Decide if you want to learn the Moog One instrument, then go for it or not.

Thanks for listening.

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Post by dubonaire » Thu Aug 22, 2019 11:55 pm

Heavenly3lues wrote:I've been enjoying this guy's Moog One videos on Instagram. Here's a longer one from Youtube that he posted today :bananaguitar:
that guy is Chris Randall.

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Post by dubonaire » Fri Aug 23, 2019 12:01 am

double post

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Post by Sounds From The Shed » Fri Aug 23, 2019 7:33 am

strettara wrote:Nothing aimed at you, just at the attitude that high end products only appeal to snobs. I encountered that sort of inverted snobbery a lot in the ITM community directed at anyone whose tin whistle cost more than £2.00, or against people who could actually read music or had any sort of musical training. There are lots of reasons for wanting high quality instruments, they are usually more expressive and rewarding to play in so many ways than their cheaper alternatives.

I would never have been interested in a Voyager, which did seem to me way overpriced for what it was. But this gets my juices flowing. It's as simple as that.

Anyway my ass is open for business whenever you want.
I didn't mean to give off that vibe, I have some fairly expensive gear in my shed and sometimes when I do songs someone would rather add up the cost of the gear and quote it back to me, with something like "20k and thats all you can do". Where as the vast majority of my stuff is built around small monos that are my favourite.

I almost feel i have to hide my more expensive gear and not mention it in the comments of how the song was made. Yet I'm a firm advocate of making songs with less powerful synths as it gives a greater sense of achievement.

One guy even said the abuse comes from me buying gear that he had to save years to get. Yet the fucker does not know the sacrifices I made or injuries I suffered to get the cash to buy my gear.

Pisses me off

Anyway your arsehole is safe, and thanks for the interesting insight into recorders.

One of the most funny things is the debates that go on around gear with all these "experts" that haven't even tried, owned or used it. I call them dreamers, I'd hate to be them :hihi:

I don't post music using the topical instrument in the thread anymore as you get accused of spamming or self promotion. Seems it's better to talk about how shite it is even though you don't own it.

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Post by sutekina bipu-on » Fri Aug 23, 2019 2:13 pm

Sounds From The Shed wrote:
strettara wrote:Nothing aimed at you, just at the attitude that high end products only appeal to snobs. I encountered that sort of inverted snobbery a lot in the ITM community directed at anyone whose tin whistle cost more than £2.00, or against people who could actually read music or had any sort of musical training. There are lots of reasons for wanting high quality instruments, they are usually more expressive and rewarding to play in so many ways than their cheaper alternatives.

I would never have been interested in a Voyager, which did seem to me way overpriced for what it was. But this gets my juices flowing. It's as simple as that.

Anyway my ass is open for business whenever you want.
I didn't mean to give off that vibe, I have some fairly expensive gear in my shed and sometimes when I do songs someone would rather add up the cost of the gear and quote it back to me, with something like "20k and thats all you can do". Where as the vast majority of my stuff is built around small monos that are my favourite.

I almost feel i have to hide my more expensive gear and not mention it in the comments of how the song was made. Yet I'm a firm advocate of making songs with less powerful synths as it gives a greater sense of achievement.

One guy even said the abuse comes from me buying gear that he had to save years to get. Yet the fucker does not know the sacrifices I made or injuries I suffered to get the cash to buy my gear.

Pisses me off

Anyway your arsehole is safe, and thanks for the interesting insight into recorders.

One of the most funny things is the debates that go on around gear with all these "experts" that haven't even tried, owned or used it. I call them dreamers, I'd hate to be them :hihi:

I don't post music using the topical instrument in the thread anymore as you get accused of spamming or self promotion. Seems it's better to talk about how shite it is even though you don't own it.
Have you considered that you suck?

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Post by Sounds From The Shed » Fri Aug 23, 2019 6:45 pm

sutekina bipu-on wrote:
Sounds From The Shed wrote:
strettara wrote:Nothing aimed at you, just at the attitude that high end products only appeal to snobs. I encountered that sort of inverted snobbery a lot in the ITM community directed at anyone whose tin whistle cost more than £2.00, or against people who could actually read music or had any sort of musical training. There are lots of reasons for wanting high quality instruments, they are usually more expressive and rewarding to play in so many ways than their cheaper alternatives.

I would never have been interested in a Voyager, which did seem to me way overpriced for what it was. But this gets my juices flowing. It's as simple as that.

Anyway my ass is open for business whenever you want.
I didn't mean to give off that vibe, I have some fairly expensive gear in my shed and sometimes when I do songs someone would rather add up the cost of the gear and quote it back to me, with something like "20k and thats all you can do". Where as the vast majority of my stuff is built around small monos that are my favourite.

I almost feel i have to hide my more expensive gear and not mention it in the comments of how the song was made. Yet I'm a firm advocate of making songs with less powerful synths as it gives a greater sense of achievement.

One guy even said the abuse comes from me buying gear that he had to save years to get. Yet the fucker does not know the sacrifices I made or injuries I suffered to get the cash to buy my gear.

Pisses me off

Anyway your arsehole is safe, and thanks for the interesting insight into recorders.

One of the most funny things is the debates that go on around gear with all these "experts" that haven't even tried, owned or used it. I call them dreamers, I'd hate to be them :hihi:

I don't post music using the topical instrument in the thread anymore as you get accused of spamming or self promotion. Seems it's better to talk about how shite it is even though you don't own it.
Have you considered that you suck?
Why would I even contemplate that? Don’t be silly!

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Post by strettara » Mon Aug 26, 2019 12:35 am

[video][/video]
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Post by tehyar » Wed Aug 28, 2019 10:20 am

Ended up taking the plunge. Yea, this thing is amazing. Feels like if I think I should be able to do something, I can, and they made it easy and enjoyable. Can't wait to spend some time with the sequencer, it seems really powerful. No regrets so far <stuffs invoice in a drawer and tries to forget>.

edit: oh shit, just realized I haven't made the requisite 48 osc detuned saw unison stack yet. The synth equivalent of the "Hello World" app.

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Post by Josef_K » Mon Sep 02, 2019 5:26 pm

I'm really loving this synth and might even be getting one myself (in three years or so...). One thing that let me down slightly in the beginning was discovering the SVF is fixed multimode and not smoothly variable like a SEM filter. I really enjoy that SEM/OB-6 12db LP with a touch of notch (or a lot for that matter).

As with most things, there is a way around this with the One, setting the ladder to 12db and the SVF to notch and adjusting (or modulating) the mix control to taste and having the cutoff values linked. However I haven't seen this demonstrated clearly in any of the many, many hours of content I've seen of the One. Have any of you guys heard something like this in some video? Or even tested it yourself?

I'm not really interested in "can it do THAT SEM sound?" but more in general how that wonderful, smooth "layered-but-not-layered" LP/Notch thing sounds on the One.

Edit: Oh and also. If anyone has seen some good content relating to polymod functionality I'd love to see more of that. Is there a way to get per-voice modulation at all?

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Post by Sinamsis » Mon Sep 02, 2019 8:02 pm

Josef_K wrote:I'm really loving this synth and might even be getting one myself (in three years or so...). One thing that let me down slightly in the beginning was discovering the SVF is fixed multimode and not smoothly variable like a SEM filter. I really enjoy that SEM/OB-6 12db LP with a touch of notch (or a lot for that matter).

As with most things, there is a way around this with the One, setting the ladder to 12db and the SVF to notch and adjusting (or modulating) the mix control to taste and having the cutoff values linked. However I haven't seen this demonstrated clearly in any of the many, many hours of content I've seen of the One. Have any of you guys heard something like this in some video? Or even tested it yourself?

I'm not really interested in "can it do THAT SEM sound?" but more in general how that wonderful, smooth "layered-but-not-layered" LP/Notch thing sounds on the One.

Edit: Oh and also. If anyone has seen some good content relating to polymod functionality I'd love to see more of that. Is there a way to get per-voice modulation at all?
I have a Two Voice Pro and a One. I love the sound of the SVF on the TVS. The One's SVF is very different in character to me. I haven't had as much time with my One as I would like, but, to me, blending in the SVF in notch or BPF with the LPF can yield some interesting results, particularly when playing around between parallel vs serial routing. I'll eventually get around to shooting some more patches and I'll try to include that.

Not sure what you mean about polymod/per voice. The LFOs essentially are per voice, but you can sync the all the LFO1's for example so that they function as a global LFO. Is that what you're asking?

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Post by Josef_K » Tue Sep 03, 2019 4:51 am

Sinamsis wrote:
Josef_K wrote:I'm really loving this synth and might even be getting one myself (in three years or so...). One thing that let me down slightly in the beginning was discovering the SVF is fixed multimode and not smoothly variable like a SEM filter. I really enjoy that SEM/OB-6 12db LP with a touch of notch (or a lot for that matter).

As with most things, there is a way around this with the One, setting the ladder to 12db and the SVF to notch and adjusting (or modulating) the mix control to taste and having the cutoff values linked. However I haven't seen this demonstrated clearly in any of the many, many hours of content I've seen of the One. Have any of you guys heard something like this in some video? Or even tested it yourself?

I'm not really interested in "can it do THAT SEM sound?" but more in general how that wonderful, smooth "layered-but-not-layered" LP/Notch thing sounds on the One.

Edit: Oh and also. If anyone has seen some good content relating to polymod functionality I'd love to see more of that. Is there a way to get per-voice modulation at all?
I have a Two Voice Pro and a One. I love the sound of the SVF on the TVS. The One's SVF is very different in character to me. I haven't had as much time with my One as I would like, but, to me, blending in the SVF in notch or BPF with the LPF can yield some interesting results, particularly when playing around between parallel vs serial routing. I'll eventually get around to shooting some more patches and I'll try to include that.

Not sure what you mean about polymod/per voice. The LFOs essentially are per voice, but you can sync the all the LFO1's for example so that they function as a global LFO. Is that what you're asking?
Cool, thanks for your reply :) I think I'm more interested in the parallel mode, serial wouldn't get the same layered feel I guess. Would be great if you could do some simple sweeps with the same env controlling the two filters with 25, 50 and 75% notch and compare with similar settings on the TVS, I'd love to hear the differences.

Oh right, I must have missed that it's 4 LFO:s per voice then? Not per layer? So you can set them to be triggered by the keyboard for example and get all 8/16 voices with vibrato starting at the time you press their respective key, like on the OB-6? (Without having to sacrifice an audio oscillator) All with LFO 1. If that's the case then wow, great! :D

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Moog One

Post by galaxiesmerge » Thu Oct 17, 2019 7:43 pm

I just bought a Moog One 16 Voice.

I had a Sunsyn. I sold it. I had a PPG Wave 2.3 Fully Loaded and Updgraded and sold that too. I bought a new Waldorf, a Microwave II to complement my Microwave .

I own the Schmidt 8 Voice, Yamaha CS80 and a Moog One. Those were my choices of hardware sound palette. I've owned everything because I had to deliver to movies and artists. I love the job. There is no one-size fits all.

I keep my Prophet-T8 but bought a Prophet-X; then got a PolyEvolver Keys and Rack: but, I sold my Modal 002R, bought a K5000R and then three Emu-E4XT / PLATINUM & Others. Bought a VAX77, Midiboard, Haaken, Symboklic Sound Kyma and a Roland A80 ... does any of this matter? Than I bought a ROLI ...

I found that nothing but your personal palette matters. None of these made me a better player. I ended up having to go back and sell a bunch of stuff. Was it worth it? Sure because places just don't lend you stuff like the used to!

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Post by Divinital » Thu Dec 19, 2019 1:45 pm

I wonder how much this beast will go for on the used market once Behringer runs them out of business.

On the new SonicState video there's nothing but price shaming, complaining, and the classic NPC comment "waiting for papa Uli to butt fuck me".
Only listen to my music if you're a bad person : https://www.youtube.com/channel/UChcA53 ... subscriber

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Post by Xmit » Fri Dec 20, 2019 5:46 am

I wonder how much this beast will go for on the used market once Behringer runs them out of business.
I find the notion of Behringer putting Moog out of business highly unlikely...

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Post by Man-In-A-Suitcase » Fri Dec 20, 2019 5:58 am

Xmit wrote:
I wonder how much this beast will go for on the used market once Behringer runs them out of business.
I find the notion of Behringer putting Moog out of business highly unlikely...
I agree, Uli will buy them out instead! :hihi:

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Re: Moog One

Post by logicgate » Fri Dec 20, 2019 8:30 am

galaxiesmerge wrote:I just bought a Moog One 16 Voice.

I had a Sunsyn. I sold it. I had a PPG Wave 2.3 Fully Loaded and Updgraded and sold that too. I bought a new Waldorf, a Microwave II to complement my Microwave .

I own the Schmidt 8 Voice, Yamaha CS80 and a Moog One. Those were my choices of hardware sound palette. I've owned everything because I had to deliver to movies and artists. I love the job. There is no one-size fits all.

I keep my Prophet-T8 but bought a Prophet-X; then got a PolyEvolver Keys and Rack: but, I sold my Modal 002R, bought a K5000R and then three Emu-E4XT / PLATINUM & Others. Bought a VAX77, Midiboard, Haaken, Symboklic Sound Kyma and a Roland A80 ... does any of this matter? Than I bought a ROLI ...

I found that nothing but your personal palette matters. None of these made me a better player. I ended up having to go back and sell a bunch of stuff. Was it worth it? Sure because places just don't lend you stuff like the used to!

Hi buddy. You are exactly the person I wanted to ask this. (someone who played both Schmidt and Moog One in person)

Between the Schmidt and the Moog One, which would you keep? I find that user interface of the Schmidt hard to beat.

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