In 2018 Moog introduced its first analog polysynth in nearly three decades, Moog One. This is a huge, intimidating beast designed to let musicians play multiple analog synth voices at once. Even more intimidating than the knob-filled front panel is the price. When it first launched, the Moog One came in eight- and 16-voice versions for $5,999 and $7,999, respectively. The Moog One 8 has since been discontinued, and the 16-voice version has jumped to $10,000, leaving a huge gap in Moog’s analog synth lineup.
Muse is an attempt to fill that gap and make the Moog polysynth more accessible. This $3,499, eight-voice, bi-timbral analog machine has two oscillators, a mod oscillator, three low-frequency oscillators (LFOs), two filters, two envelopes, a digital delay, and aftertouch (though it’s not polyphonic). There are more feature-rich synths out there, but this is still a pretty solid core with plenty of flexibility. That aside, there’s one thing Muse has over the others: It’s a Moog.
Classic sound
There’s something about the sound of a Moog synthesizer. There are plenty of synthesizers out there that can emulate the iconic sound of a Moog bass guitar admirably, but they can never compare to the real thing.
I was reminded of this several times during my testing. I played the Moog Muse alongside a number of different instruments, from Korg’s Monologue And Short dialogue XD arrive Novation BassStation II and Arturia Polybrute 12There’s something about the sound of the Moog oscillator and its iconic ladder filter that feels bigger and warmer than almost anything I’ve ever played.
Photo: Moog
Partly due to the unique characteristics of the oscillator here, based on Minimoog Voyager. They’re not just analog, they’re also powerful; whereas other modern analog polysynths do everything they can to stay in tune, treating natural analog drift as something to be tweaked to taste, the Muse leans into its natural imperfections, giving it a lot of character and depth.
It’s easy, with eight voices at your disposal, to assume you should use Muse for chords and pads, but don’t overlook the bass on this thing. It’s huge, basically putting every other polysynth I’ve ever played to shame. It’s ridiculous to stack all eight voices in unison. This thing might be built with pads and lead sounds in mind, but it’s a monster of bass and leads like you’d expect a Moog to be.
Of course, there are cheaper options for a powerful monophonic synth. To justify the price, Muse has to offer a more complex and expansive sound. Luckily, it also excels at epic pads, cinematic strings, and punchy keys.
The sound shaping options here are quite robust. The dedicated mod oscillator can control pitch, filter, or pulse width, or even be turned into a third audio velocity oscillator. However, its tuning isn’t as stable as the main oscillator, which makes it great for annoying and dissonant sounds.
There’s also a ring mod and FM (frequency modulation) circuit to turn that analog warmth into jingles and metallics and plucks, along with an overdrive circuit for added grit. Plus, there are three LFOs and two envelopes, and all of these can be connected via a 16-slot modulation matrix to create complex sounds, from chaotic EDM bass to long-lasting, evolving soundscapes.
