![]() Incredibly useful once again, and very comprehensive in something so small!įinally, there is an ‘assignable output’ which will allow up to 16 different options, which are programmed by the user. There is a handy ‘Multiple’ section, which will happily split a CV in two directions.Īlways handy to have a splitter available and in a similar reverse to this, there is also a VC Mix section, that will allow the summing of two CVs, which can not only be outputted directly, but mixed with a degree of fluidity using the VC Mix pot on the front panel. Much of the Mother 32 is available to CV control and, apart from the reasonably obvious connections, there are one or two which require a second look, for good reason. Nicely labelled and laid out, it is very obvious which patch points are ‘Ins’ and which are ‘Outs’, which is not something that can be said of some of the other Eurorack modules on the market. Thanks to the included mini-jack cables, you can jump right in and start patching. The numerous switches allow for easy routing right from the front panel, but it has to be said that the main event, at least in terms of routing, is the comprehensive patchbay. In doing so, one could argue that a third oscillator is available here although, again in my experience, the main point of exploitation here would appear to be for distortion-type effects, which were wonderfully harsh and aggressive – which makes up for the lack of overdrive in the filter circuit we’ve seen on other Moog machines. ![]() The LFO is basic, with only square and triangle waves, but it does nicely extend up into the audio spectrum, and will even track to CV, albeit slightly crudely in my experimentations. ![]() It’s nice and snappy, or subtle, according to taste. Talking of the envelope, this is a single AD or ASD affair, in keeping with Moogs of old. The filter is also assignable to the single envelope or the LFO, via an amount pot. Certainly, there seems to be some success here, but there is still a noticeable drop. I’ve heard through the grapevine that Moog has noodled with the circuit, to try and limit some of the low end dropping out as the resonance is cranked. As previously stated, it does sound wonderful, and it will go into self oscillation if the resonance is cranked. Turning our attentions to the filter, this is a classic Moog four-pole transistor ladder filter, with a switchable setting for low-pass and high-pass operation. ![]() So if you want a sub, buy another Mother! I think Moog is offering a modular for the masses, with enticing racks to stack up two or three mothers in one unit (see boxout below). The single oscillator generates both saw and pulse (square) waveforms, but by default, the Oscillator Mix control, which blends together two timbre sources, offers saw and white noise the latter being semi-hard wired, but it can be overridden via the patch bay, as there is an external input at this stage. ![]() Having managed to curtail my teenage excitement, I then began to explore the subtractive architecture of this device. At this point, all I could do was continually open and close the filter, and keep pinching myself to be reminded that it’s a Moog for under £500, which will also go in my Eurorack! Once powered up by the included DC power supply, the VCA was increased to reveal the glory of the Moog oscillator, generating a saw tooth by default, and then came the filter! Now I can’t overstate the importance of both of these factors here there is a reason why Moog has the reputation that it does, and it starts with the oscillator, and leads to the filter.īoth of these elements together create the richest, smoothest tone that can be heard on a subtractive synthesiser. Unmistakably Moog To say I was looking forward to getting my hands on this is an understatement, and upon removing it from the box, I was delighted to see Moog has taken its usual care and attention, packaging it in an ergonomic case with wooden end cheeks, which at 60 HP is just right for the Mother-32. ![]()
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