Moog Modular stereo fi lters and VCAs. A modern classic first built in 2014, the Sub 37 (the first model) and SUBsequent 37 (the later model, often still called the Sub 37), builds on Moog's slightly older Sub Phatty monosynth. Without digging into the potential offered through patching, the default path starts first with four oscillators and an internal noise generator. One of my favorite patches in the video involves a trick where a bass note is constantly held in the left hand while the right hand plays a series of faster four-note patterns; by using three oscillators with different settings to play four-note sequences, bizarre patterns start to emerge, creating more complex rhythmic and melodic structures than the underlying keyboard technique would yield in other circumstances...kind of like an odd manually-operated arpeggiator/sequencer. This allows for complete deconstruction of the instrument's default architecture, turning each of its individual modules into raw elements that can be recombined to form completely new behaviors. Oscillators 2–4 can each individually be synced to the preceding oscillator, with a master Sync Enable button acting as a killswitch for all enabled sync buttons. Matriarch's four oscillators provide the option for monophonic behavior, two-note paraphony, or four-note paraphony—meaning that Matriarch is fully capable of chords and complex layered sequences. 4 Voyager-based analogue oscillators with osc sync. Also worth noting: the filters do self-oscillate with ease, and produce a very clean sine-like waveform. The Subsequent 37 is a (2-note) paraphonic analog synthesizer that builds upon the award-winning design of the ultra-powerful Sub 37 Tribute Edition. And then, one of the Matriarch's most obvious advantages: paraphony. As I said earlier, many paraphonic synths attempt to maintain the illusion of being truly polyphonic...but Matriarch takes full advantage of all of the potential oddities that such an open-ended architecture provides. Even the envelopes can be used as cycling modulation sources or audio sources: simply patch the "end out" trigger into the envelope's trigger input and tune the attack and release times to taste—suddenly there are two extra oscillators, or two extra LFOs. Each filter has an independent resonance control, group key tracking control, and group envelope amount. Cerca moog sub 37 tra migliaia di annunci di vendita di usato dei privati. I personally believe that the Matriarch makes a strong case for why paraphony can be much more than just "fake polyphony." Check out the video at the top of the page for some examples of what this behavior can mean, and what weird sonic options become available when you use a keyboard or sequencer to provide "round robin" control to several oscillators with different waveshapes and tuning ranges. Below are general instructions that work for most Android devices. Moog has debuted a new synth called the Matriarch, which will be built and available to play with on-site at its Moogfest in Durham, North Carolina. Matriarch has no obvious pigeon hole, no directly-stated mission—instead, when using it, I couldn't help but feel that it could fit anywhere. One firmware feature I would love to see in a future update would be to have a setting for the SUS PEDAL IN to work like the GATE on the Sub 37 when it the setting for the GATE on it is set to SUS PED. Seemingly inspired by Korg's classic Mono/Poly, the Matriarch makes available all kinds of weirdness. 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