- #POLYPHONIC MOOG GENERATOR#
- #POLYPHONIC MOOG MOD#
- #POLYPHONIC MOOG FULL#
- #POLYPHONIC MOOG SERIES#
#POLYPHONIC MOOG FULL#
Please note: Musical instruments are subject to a 65 point inspection prior to shipping or pickup which adds one full business day to delivery timeline.
In-Stock: Get it fast! Item is available for immediate pickup or shipment - same day shipping and pickup for most items. Power Supply: 4-pin 19V DC power supply (included). Pedal Inputs: 1 x 1/4" TRS (sustain), 2 x 1/4" TRS (Expression. USB: 1 x Type B (system/data backup), 1 x Type A. Audio Outputs: 2 x 1/4" TRS (main L/R), 2 x 1/4" (sub. Audio Inputs: 1 x XLR-1/4" TRS combo (mic/line), 1 x 1/4" TRS. Sequencer: 64-step, Step editing, Modulation. Arpeggiator: Per Synth Octave Range, Pattern, Direction,. Effects Types: Eventide Reverbs, Master Bus Effects, Bypassableĭigital Effects per Synth 1/2/3, Moog Digital Effects. Envelope Generator: 3 x DAHDSR Envelopes Variable Curves per. #POLYPHONIC MOOG SERIES#
Filter: State-Variable -12dB/Octave (notch, BP, LP, HP), Ladderįilter (HP, LP) mixable, parallel, series.LFO: 4 x LFO Dual-waveforms, Variable Shapes.Oscillators: 3 x VCO per voice Sawtooth, Triangle, Pulse.Presets: 64 Presets, 128 Performance Sets.
#POLYPHONIC MOOG MOD#
Other Controllers: Pitchbend, Mod wheel.Type of Keys: Full Size, Velocity-sensitive, Aftertouch, Fatar.Analog/Digital: Analog with Digital Effects.Sound Engine Type(s): Tri-timbral Analog Synth FM, Hard Sync,.USB drive support for system and preset backup.1 XLR + ¼" TRS combo external audio input with trim.
1 x ¼" external audio input (line-level).2 pairs of assignable ¼" outputs (supports TRS and TS).Create Performance Sets that make up to 64 presets accessible.Save, categorize, and recall tens of thousands of.
Premium 61-note Fatar TP-8S keybed with velocity and. Oscillator FM and hard sync with selectable routing. Ring modulation with selectable routing. #POLYPHONIC MOOG GENERATOR#
Dual-source noise generator with dedicated envelope. Separate sequencer and arpeggiator per timbre. 3 DAHDSR envelopes per voice with user-definable. Variable filters that function as a single filter, and a classic 2 filters per voice with filter mixing (2 multimode State. Unison mode (up to 48 oscillators on the 16-voice. 3 VCOs per voice with waveshape mixing and OLED. That notwithstanding, the Polymoog’s iconic sounds were deployed by a broad range of musicians including Chick Corea, Blondie, Prince, Kraftwerk, and Herbie Hancock, testifying to its versatility as well as its popularity. Unfortunately, the complexity of the Polymoog’s design led to myriad issues during its production and problems with reliability once it entered the marketplace. The “vox humana” preset reflects the interests of the Polymoog’s primary designer David Luce, who brought his experience as a researcher into acoustics and formant filtering to bear on the instrument. This was particularly evident in the case of the less flexible but more affordable Polymoog 280a, a cut-down 203a that restricted the user to fourteen presets, which included the “vox humana” prominently featured on Gary Numan’s hit single “Cars” (1979). In some ways, however, these shortcomings increased the Polymoog’s appeal to musicians in search of a playable and accessible instrument. The compromises entailed by polyphony led to drawbacks: the sounds produced by individual notes lacked the idiosyncratic qualities of previous Moog-designed synthesizers. The instrument’s capacities for live performance were further enhanced by the presence of a ribbon controller and a sophisticated pedal attachment. Each Polymoog contained 71 Polycom chips, one for each of its touch-sensitive keys, which enabled musicians to synthesize complex chords with ease. Much of this outlay went on the Polycom, a custom-designed integrated circuit chip. But the goal of producing a commercially viable polyphonic synthesizer was eventually met by the Polymoog 203a, a successor to the Apollo that went on sale in 1975 after Moog Music had expended no less than $500,000 on its development. While each of these synthesizers made it to at least the prototype stage (the Taurus became popular with guitarists, while the Lyra and Apollo fell into the eager hands of Keith Emerson), the project was abandoned owing to its complexity and cost. The first was the Constellation, an elaborate combination of three synthesizers (the Lyra and Apollo keyboards and the Taurus pedalboard) arrayed in an organ-like disposition. In the early 1970s, Moog Music made a concerted effort to overcome this monophonic limitation. While early synthesizers enabled musicians to manipulate the elements of sound in radically new ways, they could generally only produce one sound at a time.
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