In this article we will talk about synonyms - that is when the brand identifies the product. It will be rhetoric, but few brands in history have been identified with the same concept of synthesizer and, without a doubt, Moog is the prince among them. At IK Multimedia they know it well, so in a market where the contenders give themselves to the sound of sound research, real or alleged, they rediscover the obvious, with the following ingredients: a maxi collection of samples from the most famous synthesizer manufacturer and the robust SampleTank engine. Thus was born the first and perhaps most complete ROMpler dedicated to Moog.
Samples and simulations
Of one thing we are happy in writing this article: we will not be forced to the grueling diatribe, which is usually associated with virtual synths on the market that simulate Moog products (Fig.1) (Arturia, Minimonsta and various minor products), on how faithful the emulation is to the original. Here we are in the presence of the original. In fact, the samples come directly from as many as 16 Moog synthesizers and there is no attempt to replicate the internal circuitry. Therefore, the evaluations on the realism of the timbre are out of place.
.gif)
However, it should be noted that the sample is a static, "crystallized" form of the sound of a synthesizer: that is to say that it offers the image of only one moment of its life, which, especially in the presence of analog synths, is a limit undeniable. Another limitation is linked to the fact that the samples, as a static image, do not carry with them any timbre-dynamic information, nor the possibility of interaction linked to the very famous Moog filter, which boasts so many attempts at imitation. But the stamp is certainly the one produced by the original machine. With SampleMoog we have a sound palette of 4 GB of samples including 14 instruments (Fig.2), almost all conceived between 1970 and 1982, including the MiniMoog Model D, the ModularMoog55, the PolyMoog, and again Taurus1, Prodigy, Vocoder, Concertmate MG-1, Rogue, Source and MemoryMoog. There are practically all the instruments produced by this prestigious brand that characterized and revolutionized the musical productions of those years, influencing all genres, from Keith Emerson's rock (Fig.3) to the funky of George Benson and George Duke to the fusion of Chick Corea. All enclosed in an engine that includes 2 LFOs, 2 envelope generators, 2 oscillators, cut off and resonance controls, all of excellent workmanship and able to make this VSTi complete.
.gif)
Historical notes
If we talk about the origins of Moog, that is its first uses, we cannot fail to mention Wendy (Walter) Carlos and his album "Switched-on Bach", as well as the famous "Pop-corn", to arrive then bombastic to the seventies with the likes of Stevie Wonder, Keith Emerson, Jan Hammer, Tangerine Dreams and the fetish group par excellence in the field of synthesizers, the legendary Kraftwerk. The list would be really prohibitive as practically every band has used a Moog "splash" in their music at one time or another. For hardened readers we refer to Wikipedia and to the relative dedicated page.
The interface
SampleMoog comes with the suitably modified SampleTank interface (Fig.4), the sampler of the Modenese house. The "skin" used is obviously of a "vintage" flavor, but the functions are the same as the "full" version. And here the matter becomes interesting because, despite some unresolved limits such as the absence of “disk streaming” or Round Robin, SampleTank is a solid product capable of good processing on basic samples. Filters, modulations, LFOs, envelopes and a decidedly powerful effects section unfold endless sonic possibilities to our ears, especially if we combine these factors with the 1.700 sounds included in the ROMpler: headache stuff! The "skin" uses, to tell the truth, a somewhat difficult to read chromatism, with two shades of red in the old display style. Perhaps we would have preferred a less stylistic and more effective choice. Another small drawback to report is the impossibility of scrolling through the samples using arrows, where it is necessary to use the mouse for any selection / loading.
.gif)
The synthesizers involved and the sound
As mentioned above, the SampleMoog offers samples from as many as 16 synthesizers, starting with the MiniMoog up to the recent Little Phatty (Fig.5), passing through the PolyMoog, the Modular Moog and many other successful products. The first impression we get, loading the samples, is the good basic choice for volumes and sound equalization. The sound is present enough to avoid us working on the channel (which too often we are forced to with other products) and rich in frequency. We say this with some satisfaction also because the SampleTank is not renowned for its booming voice and on more than one occasion we have found the sounds programmed and played by this sampler a little off. The choice of sampled sounds, this time, is in our opinion very successful, alternating classic sounds with “patches” more usable even in non “vintage” contexts, that is modern dance, trance and house. In addition to the numerous "multisamples", grouped into individual "Presets", the SampleMoog leaves the factory with a good stock of "Combi", or combinations of individual presets (up to a maximum of 16) processed by the effects section. In other words, imagine you have 1700 samples to be combined at will in the 16 available slots, to understand the potential of a single Combi. Those offered by "default" are of good quality, even if they do not excel by imagination, but in general we can expect that the user community will produce numerous additions in the future, as happened, for example, for SonicSynth 2 (Fig.6).
.gif)
In the “multisamples” there are sounds that pass through the synthesizer's internal filter, with different opening levels. To understand this, in the selection we tried to provide samples with the “cutoff” in different positions, from very light to very dark. Obviously, for a mere matter of logic, sounds sampled with the closed filter will not be further processable with a SampleTank filter. In fact, since it is a subtractive synthesis, the closed filter has initially subtracted a portion of the frequency spectrum, which is no longer recoverable. It makes no sense, therefore, to reduce it further. With open filter sounds, however, you can apply SampleTank's LPF (Low Pass Filter) and try playing around to create swells and so on. We take this opportunity to wag IK Multimedia on the cumbersome management of the assignment of external controllers on the knobs, an operation that goes through more than one screen and various mouse movements. We do not explain, in this sense, why a classic mapping was not foreseen at least on the LPF filters (perhaps with controller number 74 fixed on the Cutoff) in order to allow the user to play with the filter as soon as the sound is loaded . To compensate for this lack, however, the "Macro" mappings help with which the knobs in the appropriate section are assigned to fixed controllers, thus allowing you to drive Cutoff and Resonance: however, it should be borne in mind that controller numbers are not usually assigned to filters, which could force a reprogramming of the hardware controllers if the latter, as is the practice of the manufacturers, are mapped by default on CC74 (Cutoff) and CC71 (Resonance). To get around this drawback, it may be worth inserting in the chain, in which the SampleMoog is located, an external filter (such as the magnificent FabFilter Volcano - Fig.7) and leave it fixed (and mapped) for the entire time of exploration.
.gif)
The effects section
The SampleTank player comes out, also in its SampleMoog version, with a really interesting set of effects. There really is something for everyone: modulations, chorus, phaser, flanger, distortion, cabinet simulator, bit crusher, rotary and many other effects. Honestly, all well made. The effects can be combined in a measure of 4 per instrument (up to 16 instruments can be loaded in the combi, assignable to 16 midi channels). And if you have the Sampletank, you can also use the Send and Master channels with further effects. Even the less processing user can really enjoy applying random effect combinations on the numerous SampleMoog tones. Among other things, the often linear nature of the sounds (most of the time it is given by oscillators, filters and little else) is well suited to further processing. It is nice to note how the SampleTank is practically transparent to the CPU, so you can load numerous sounds without in any way burdening the load on the computer processor. In addition, if you own the SampleTank 2.5 full version, you can use the SampleMoog library combined, for example, with that of the SampleTron, Sonic Synth 2, the numerous "group buys" of Dave Kerzner (owner of Sonik Reality) or even by Miroslav Philharmonik (Fig.8). All to create "monstrous" multi hybrids of sure fun and sound effect: a possibility that I recommend to explore, a real boon for geeks and simple users in the mood for experimentation. Regarding the machines used during the test, two PC stations similar to each other from the configuration point of view were used, but with different audio / MIDI interfaces. Below is the list: 4 GHz Pentium 3,6 CPU; RAM 2 Gb; 7.200 RPM HD with 16 mega cache; Windows XP Operating System; Sound Cards: RME Fireface 800, Echo AudioFire 4; Monitor: ADAM P11A, KRK VXT 6, Dynaudio BM15; Sequencer: Cubase 4.5, Sonar 7; External controller: Novation ReMOTE SL 61, CME VX70.
.gif)
Microsoft Window system required
Minimum: Pentium 1GHZ / Athlon XP 1.33 Ghz; 512 MB RAM; Window XP / Vista or Later Supported Formats VST, RTAS
Recommended: Pentium 2.4Ghz / Athlon XP 2: 4 Ghz 1 GB of RAM
System Required APPLE MAC INTEL
Minimum: 1.5 Ghz Intel Core Solo Processor; 512 MB of RAM Mac OSX 10.4.4 or higher Supported formats: VST, Audio Units, RTAS
Recommended: 1.66 Intel Core Duo processor; 1 GB of RAM
Conclusions
We have to say that overall we were very impressed with the pool of champions on offer. The choice is very respectable and the timbres sound rich. Wanting to give an indication for those approaching this type of instrument, we would define the SampleMoog as a tool for "electronic arrangers". In fact, unlike many products on the market, the program does not offer “patches” elaborated with modulations / sequencing capable of acting autonomously for whole minutes thanks to some algorithmic devilry. None of this. To get the best out of SampleMoog you have to step into the shoes of the arrangers who for years have used these sounds in spectacular world-class hits and arrange the parts to take advantage of the magical sound, but letting the music offer modulations and cues. In short, if you are the type of “I press a button and I have a finished piece”, stay away from SampleMoog. If, on the other hand, you have a taste for arranging electronic music, of any style, we recommend it without hesitation, if only for the historical value and the completeness of the offer. Here are some audio demos made by Mystery, who also kindly granted us the possibility to publish a fragment of his “Theme from MY DEAR CHOPIN” which you can hear in the first track “Led Lead”.
Pro
We can certainly mention the good presence sound, modulations and effects offered by SampleTank. The ability to create new multis opens unexplored scenarios for geeks or simple enthusiasts ready to mix sounds from different eras in a single patch. Fun is guaranteed.
Cons
The most important is the lack of initial mapping of the filters and the cumbersome assignment procedure, especially if repeated for the over 1700 sounds included. We sincerely invite IK Multimedia to provide, perhaps in download, an updated version of the library, with the mapping already carried out at least for filter 1. The more contrasted display and navigation by arrows would also be welcome, but are of lesser importance.
Extra
Let's not forget that these synths were played with particular techniques as they were mono and then recorded on analog outboards. Listening to the songs of the time is highly recommended for ideas and ideas on the best use of sounds. Another suggestion we can offer is to "warm up" the mix to offer a more analogue look, using some of the numerous plug-ins in circulation, signal warmers and distortions.
Antonio Campeglia
In this article we will talk about aliases – namely when a brand identifies a product. It could be rhetorical but few brands in history have been identified with the same conception of synthesizer, and, without a doubt, Moog is the prince among them. They know it very well at IK Multimedia, therefore, in a market where competitors beat the hell out of each other in sound researching, truly or supposedly, they discover the obvious, with the following ingredients: a huge sample collection by the most popular synthesizer producer and the solid engine by SampleTank to form the first and possibly the thoroughest Moog–dedicated ROMpler.
Samples and simulations
Writing down this article there is one thing we are glad about: we shan't be forced through the same old exhausting diatribe which is usually associated with virtual synths for sale emulating Moog products. (Picture 1) (Arturia, Minimonsta, and several minor products), about how much emulation is faithful to the original. We are now in the presence of the original. As a matter of fact, samples are coming straight from 16 Moog synthesizers, there is no need to attempt to replicate the internal circuit. With that being said, all considerations about how much timbre sounds real would be amiss. However it must be said that the sample is a static form, “crystallized” by the sound of a synthesizer, that is to say that it offers a one moment image of its time, which, especially in the presence of analog synths, is an undeniable limit. The other limit is given by the fact that samples, as static image, don't carry any timbric-dynamic information nor any interaction possibility due to the well-known Moog filter, which can brag about several attempts in imitation. But the timbre is undeniably the one from the original engine. In SampleMoog we find a 4 gigabites sample sound palette including 14 instruments (Picture 2), almost any of them designed between 1970 and 1982, such as MiniMoog Model D, ModularMoog55, PolyMoog, Taurus1, Prodigy, Vocoder, Concertmate MG-1, Rogue, Source, MemoryMoog. Technically we find all the instruments that have been produced by this brand which marked and revolutionized music productions at that time, influencing a little every genres, from rock by Keith Emerson (Picture 3) to funky by George Benson and George Duke till fusion by Chick Corea. All wrapped up in an engine that includes 2 LFOs, 2 envelope generators, 2 oscillators, cut off and resonance filters, all of great fabric to complete this VSTi.
Historical notions
If we talk about Moog's roots, or rather of its first use, we can not forget to mention Wendy (Walter) Carlos and his record “Switched on Bach”, as well as the famous “Pop corn”, to get straight to the 70's to artists such as Stevie Wonder, Keith Emerson, Jan Hammer, Tangerine Dreams and the most fetish band above all in synthesizer field, the legendary Kraftwerk. Making a list would be really restrictive inasmuch, sooner or later, almost every band used a “sprinkle” of Moog in their music production. For the hardened readers we delegate it to Wikipedia and its dedicated page.The interface: SampleMoog shows a suitably modified SampleTank interface (Picture 4), the sampler by the software house from Modena. The featured skin obviously has a “vintage” flavor, but its functions are the same as in the full version. And now it is getting interesting because, despite some unsolved limitations, such as the missing “disk streaming” or Round Robin, the SampleTank is a solid product capable of good work on basic samples. Filters, Modulators, LFOs, Envelopes and a definitely powerful effects section unfold innumerable sound possibilities to our ears, especially if combining them to the 1770 ROMpler sounds included: Headache stuff! Its skin uses, to be honest, some hard readable chromatics, with to two shades of red like in old screens. Perhaps we would have liked a less stylistic and more useful choice. Another slight defect is that it doesn't allow you to scroll down through the sample list using arrows, but it is necessary to use the mouse to choose and open any.
The involved synthesizer and the sound
As mentioned earlier, the SampleMoog offers samples that comes from 16 synthesizers, starting from The MiniMoog up to the recent Little Phatty (Picture 5), passing through the PolyMoog, the ModularMoog and many more successful products. The first impression we get, opening and uploading samples, is the various basic selection when it comes to volume and equalizing sounds. The sound results vivid enough to prevent us any work on the channel (which too many times is due to other products) and with a rich frequency. We are stating it with some satisfaction though SampleTank is not famous for its booming voice and more than once we have found the programmed sound and played by this sampler a little weak. The sample sound selection, this time, is very successful according to us, alternating classic sounds with more usable patches even into non-vintage settings such as modern dance, trance and house. In addition to the large number of multisamples, collected under single “Presets”, SampleMoog is fabricated with a good amount of “Combies”, that is to say single presets combinations (up to 16 outputs) processed by the effects section. In other words, try and imagine to have 1700 samples you can combine at will in the 16 available slots, to understand the potential in one single Combi. Default ones are very well made, even though they don't stand out in fantasy, but in general we can expect that the users community would bring some extras, as was, for example, for SonicSynth 2. (Picture 6).
In “multisamples” are included sounds which pass through the internal synthesizer filter, with many ways out. That is to say, it provides many features in “cutoff” samples, from high-pass to low-pass. Obviously, as mere logic, the closed filter sampled sounds could not be processed any further with a SampleTank filter. Therefore, due to a removing synthesis, the closed filter has initially removed a portion of the signal's frequency spectrum, which is not recoverable anymore. So, it is no use removing it any further. However, it is possible to use SampleTank's LPF (Low Pass Filter) with open filter sounds, and play a little to create “swells” or whatever. We take this opportunity to come down on IK Multimedia about the cumbersome knobs' external controllers assignment, which requires more windows and many mouse operation. We can't explain why they didn't include at least a simple directory for LPF filters (eventfully with controller number 74 permanently set on Cutoff) so to allow users to play with the filter as soon as a sound is opened. Making up for this missing feature, however, we got help from “Macro” controls, which allow knobs to have assigned controllers in the dedicated section, and allowing to control Cutoff and Resonance: we must keep in mind that it uses controllers numbers which are not usually assigned to filter, which could force us to reprogram the hardware controllers if they, as producers always do, are set as default on CC74 (Cutoff) and CC71 (Resonance). To avoid this drawback, it can be worth inserting into the chain, where the SampleMoog is, an external filter (such as the glorious FabFilter Volcano – (Picture 7) and set it permanently (and mapped) for the entire exploration time.
The effects section
The SampleTank player comes, as well as the SampleMoog version, with an interesting amount of effects. There is really something for all tastes: modulations, chorus, phaser, flanger, distortions, cabinet simulator, bit crusher, rotary and many more effects. Honestly, all of good workmanship. Effects are selectable 4 per part (in combi up to 16 instruments are collectable, which can be assigned to 16 midi channels). If you also have got SampleTank you have the chance to exploit the Send and the Master channels with further effects. Even not so well up in processing users can really have fun combining casual effects with the large number of SampleMoog timbres. As a matter of fact the often continuous nature of sounds (most of the times provided by oscillators and filter, and little else) is very well suitable for further elaborations. It's nice to notice how much the SampleTank is invisible to CPU, so that we can load up several sounds without overloading our computer's processor. Yet, if you have SampleTank2.5 full version you can use SampleMoog's library, combining it, for example, with SampleTron's one, with Sonic Synth 2's one, with the many David Kerzner's (owner of Sonic Reality) group buys' ones, or even with Miraslov Philarmonik's one. (Picture 8). All to create monstrous multi-hybrid of the most fun and great sound effect. I recommend to explore this possibility which is a real godsend for the geekest ones and for users who feel like experimenting. As for the computers used during the test, we have been employing two personal computers alike when it comes to configuration, but with different audio/midi interfaces. Here is the list: CPU Pentium 4 running at 3,6 GHz; 2 GB RAM; 7200 RPM HD with 16 Mb cache unit; Windows XP Operating System; Audio Interfaces: RME Fireface 800, Echo AudioFire 4; Monitors: ADAM P11A, KRK VXT 6, Dynaudio BM15; Sequencers: Cubase4.5, Sonar 7; External controllers: Novation ReMOTE SL 61, CME VX70.
Required: APPLE MAC INTEL System
Average: 1.5Ghz Intel Core Solo Processor; 512 MB (at least) Ram Mac OSX 10.4.4.Compatible applications: VST, Audio Units, RTAS.
Recommended: 1.66 Intel Core Duo processor; 1GB RAM.
Conclusion
We have to admit that overall we have been impressed a lot by the amount of featured samples. It is a very respectable selection and timbres sound rich. If we should give those who approach this type of instrument we would define SampleMoog as a tool for “electronic arrangers”. As a matter of fact, in spite of all the products on the market, its software doesn't use elaborate patches with frequency that are free to act independently for entire minutes because of some algorithmic devilry. None of that. To get the best out of SampleMoog you must identify yourself with the arrangers that have been using those sounds for years through worldwide successful hits and arranging them so to take advantage of their magical sound, but letting music offer ideas and modulations. In conclusion, if you are like “ pushing a button i will get a full track”, then stay away from SampleMoog. Instead, if you really have fun arranging electronic music, whatever genre it is, we recommend it to you without a doubt, if only for its historical value and for its complete offer. Here you are some audio demos by Mistheria, who has kindly granted permission to share a fragment of his “Theme from MY DEAR CHOPIN” that you can listen along with the first track “Led Lead”. Pros: indeed a good attendance of sound, modulations, and the effects provided by SampleTank. The possibility to create new multisamples opens new scenarios to geek users or simple lovers ready to mix different ages sounds in one patch. Fun is guaranteed.
Cons
The main one is the missing basic filter's map and its cumbersome assignment procedure, especially if we have to make it for more than 1700 built-in sounds. We really suggest IK Multimedia to provide, hopefully via download, an updated library version, with an already built in map at least for the filter 1. A little bit more of contrast in the display and an arrow based navigation would be really appreciated, but not of major relevance.
Extras
Let's not forget that these synths have been played with special techniques when they were on a mono channel and then recorded on analog outboards. It is strongly recommended to take a listen to some old tracks from that time to get hints and ideas for the best sound use. Another advice we can give is to warm up the mix to provide a more analog look, through any of the vast number of available plug-ins, warmers, and signal distortions.
Antonio Campeglia
Italian to English translation: Humbert of the Judge
