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True synth heads will want to sit down for this: Moog's One is the company's first polyphonic synthesizer in three decades, and it quite frankly may be the best keyboard analog polysynth of all time. Tri-timbral, completely polyphonic, built-in effects, sequencer and arpeggiator per-timbre...the One is simply the synth everyone has wanted Moog to make. It is here.
The One offers support for up to three simultaneous timbres, which may be layered, split, or assigned to particular keyboard zones. Each timbre offers its own step sequencer, arpeggiator, and effects, allowing players to effectively stack three completely different synthesizer sounds on top of one another for absolutely HUGE sound design opportunities. And of course, timbe configuraion is part of each stored preset...of which the One is capable of holding oh, mere thousands. Presets are organized in Performance Sets (groups of 64 presets), allowing easy access to key sounds for performers and studio artists alike. And while the prospect of editing three synthesizers' worth of sound at once may seem intimidating, do not fret: the "panel focus" feature offers the ability to modify each timbre independently or in tandem with one another.
The voice architecture itself is the archetype of what a subtractive synth voice should be, and more. Like many synths before it, the One offers three VCOs per voice, a noise source, ring modulator, mixer, filters, LFOs, and envelopes: but the One takes each of these sections farther than many synths dare to go. The oscillators offer skewable triangles, saw-tri blend, definable saw reset phase, and variable pulse waveforms. The noise source offers selection and blending of multiple noise types, for sounds from airy to bright, for everything from transient shaping to gentle ocean-like washes. And then there are the filters—a brand new state-variable filter and, of course, Moog's classic transistor ladder filter, usable in parallel or in series for as-yet-unheard filtering effects.
And the modulation sources? The envelopes are DAHDSR envelopes with provisions for looping, curve shaping per stage, and controllable assignment to virtually any sensible parameter. The LFOs are similarly flexible: four LFOs with waveshape interpolation and routing to basically any parameter. And of course, the velocity and aftertouch-capable keybed and left hand controller section with three-axis XY pad, pitch bend wheel, and modulation wheel offer a multiplicity of ways of manual animation/modulation, giving the One the potential to have a deeply personable touch.
It would be easy to go on describing the built-in Eventide Reverb engine, chord memory, selectable ring modulation routing, selectable FM and sync routings, modulation routing matrix, assignable CV/Gate inputs and outputs, and more—but reading is not believing. This thing has to be heard to be believed, and even then, you might want to pinch yourself to be sure...because the Moog One is simply a dream.