Moog Synthesizers
Summary
Abstract
Moog synthesizers are revered for their thick, warm analog sound, particularly for bass. The community discusses several models: the Voyager (discontinued, sought-after), the Subsequent 37, the Slim Phatty/Sub Phatty, the Model D, and the large modular systems (Model 10, System 55). Moog occupies a unique place as the quintessential mono synth brand, though members are increasingly curious about their polyphonic and modular offerings.
Key Characteristics
- Voyager: “Thick and buttery, about as warm-sounding as a synth gets,” excellent for bass, cleaner than Subsequent 37, superb oscillators and filters, great keyboard feel, but heavy and expensive (5,000+ used)
- Subsequent 37: Multiple distortion stages integrated into architecture, more aggressive/gnarly tone than Voyager
- Slim Phatty: Last Moog designed by Bob Moog himself; “sounds utterly incredible and is superb bang for your buck” but requires some menu diving
- Sub Phatty: Same as Slim Phatty but with all knobs and keys exposed
- Model D: Beloved for bass sounds, classic Minimoog tone
- Large modular systems (Model 10, System 55): Different oscillators and filters from the Minimoog; considered by some to be the “pinnacle of analog bass synth sounds”
- Sound Studio: Self-contained modular system following eurorack voltage standards
Use Cases
- Bass synthesis — the definitive analog bass synth
- Kick drum sub generation — “mult a kick mic and send it through the Moog, set the resonance on the filter high enough so it’s on the edge of self-oscillating” (peterlabberton)
- Modular synthesis and sound design
- Texture creation when paired with effects pedals (delay, chorus)
- Receiving arps from DAW/808 and manipulating filters for textures
Settings & Sweet Spots
- Voyager: Factory patches plus external effects (delay pedals, Boss CE2) yield great results
- Filter self-oscillation trick for generating sub frequencies from other audio sources
- Modular systems pair well with Eventide H9, Strymon pedals, Chase Bliss pedals, OTO BIM/BAM
- Eurorack patching via 1/8” cables (standard for Moog modular and Sound Studio)
Comparable Alternatives
| Gear | Notes |
|---|---|
| Behringer Model D | Budget Minimoog clone; “more fun” than some desktop modules |
| Behringer Poly D | Affordable paraphonic option |
| Prophet Synth | Better for polyphonic duties; “buy a monosynth AND polysynth for the price of a Voyager” |
| Softube Model 72 (plugin) | “Does the Minimoog thing very well” |
| UAD Minimoog (plugin) | Good software alternative; “sounded good to me” |
| Arturia Mini V (plugin) | Part of the V Collection |
Common Mistakes
- Spending $5,000+ on a Voyager when a Subsequent 37 + polysynth would cover more ground
- Using the Voyager as a master MIDI controller — only 3.5 octaves, non-piano key action
- Expecting the Minimoog to sound identical to the large Moog modular systems — the oscillators and filters are different designs
- Not exploring external effects pairing — Moog synths really open up with pedals
See Also
Source Discussions
Community Insights
“The oscillators and filters on that thing sound superb in a way that I’m not quite hearing on their modern equivalents like the Sub37.” — Slow Hand (on the Voyager)
“Look into the Moog Slim Phatty. It was the last Moog designed by Bob and it sounds utterly incredible and is superb bang for your buck.” — Zack Hames
“I multed a kick mic and sent it through my Moog. Set the resonance on the filter high enough so it’s on the edge of self-oscillating, and tune the frequency where it sounds good. You can manufacture a super heavy sub this way.” — peterlabberton
“The most evolved, high end tape machines were designed to have very little sonic signature. And now what people associate with the ‘sound’ of tape is in line with the old janky machines.” — cian riordan (comparing Moog modular philosophy to tape machine philosophy)