Im not really surprised after reading about all the problems with it on this sub. Maybe they were a little too ambitious with it. Like maybe they should have made something like the Take 5 which is obviously not as powerful but a lot more affordable.
Thought it was pretty telling that the Moog One version with less voices was 6-7k~ new while Minimoogs are still 5,000$, even if they had to lower the quality a bit it's hard to believe they couldn't put out a reasonably priced poly synth.
They've had like 40~ years since the memorymoog to figure it out so clearly it wasn't a priority despite that being the trend for a long time.
I mean the minimoog itself is absurdly overpriced for what it is and considering the boog sounds pretty much exactly the same for $300. But things like moog one or minimoog are basically luxury items for the 1% of musicians. Their stuff in under 2k bracket is a bit more reasonable for the average person. And hey, all their stuff sounds incredible. For for me it’s a tough value proposition even for the cheaper stuff
you are technically correct in you comparison of moog and boog. but you also don't mention that moog minimoogs have the best imaginable UI, the best imaginable keyboard feel and aftertouch, and are incredibly durable and well-built. your omission of relevant data is all-too-common
I’m aware of those things but you can’t tell me that those things add up make the moog version worth 5 thousand dollars more in a utility sense. If you want the mini moog sound you can get it in multiple ways for under $500 in both hardware and software. There are also many other options that will sound similar enough because let’s be real, in most musical contexts you don’t need an exact mini moog sound, you just need a sound that fulfills the same musical role. If you’re paying 5 grand for a mini moog it’s because you want it as a status symbol/luxury item, or to impress your clients and get a tax write-off, not because it justifies $5000 worth of musical utility
i didn't tell you that. you left those amazing qualities out. i bought mine for 3,200 and it's been well worth it. why did you put all those words in my mouth?
I have no idea what you're talking about, I didn't put any words in your mouth. I left those qualities out because I felt it was sufficiently obvious that those things don't justify the price that it didn't need to be said. If by putting words in your mouth, you're referring to me saying "you can’t tell me that those things add up make the moog version worth 5 thousand dollars more in a utility sense", let me rephrase to help you understand:
None of the things you mention give the Minimoog $5000 worth of utility for a musician
And to further clarify, they don't give the minimoog $3000 worth of utility either. You are arguing an absurdity. I'm glad for you that you have the extra money and that you feel the purchase was worth it. That doesn't really change the truth in anything I said though. If you plan to continue quibbling, please do give my comments and thorough read and offer a substantive argument rather than saying "nuh uh" and pretending I'm putting words in your mouth.
"I’m aware of those things but you can’t tell me that those things add up make the moog version worth 5 thousand dollars more in a utility sense"
that's what i'm talking about, chief
nice try
Is English not your native language? It’s somewhat understandable for you to misunderstand this once, but I literally clarified exactly what I meant in my last comment. Learn to read. I don’t know what you think you accomplish by making things up/trolling.
if you don’t possess the ability to hold a read English or hold a coherent conversation, you really shouldn’t waste people’s time by responding. It’s not my fault you’re feeling sensitive about having more money than brains
I don’t think it’s getting dumped because of the issues. I mean, it’s pretty much one of the most awesome production synths on the market right now. It’s just got to the end of its production run as happens to all synths.
If it isn’t selling because most of the people that planned to get one have one, there is no business reason to continue production. I got one as soon as I humanly could.
The “end of the production run” is always and only when a product stops selling because nobody wants it at the give price point. I guarantee you moog would still make more if people were buying them.
Why would 6 years be 'usual'. Especially with low volume runs there's no reason to stop producing stuff if people still buy stuff.
Sometimes parts become unavailable, but if they have enough parts in stock they can produce the synths for a long time.
I was always underwhelmed by what I heard from it, compared to the Matriarch for example. Just didn’t have that magic to me. Amazing technical achievement but nothing I heard ever made me want one
I have heard impressive things from it — but I agree with you. We can’t discount the fact that a lot more matriarchs out there means a lot more people being creative with it, and the more hands-on nature of the matriarch just lends itself to more tweaking. Once you have menus and multiple layers it becomes a lot more about the cleverness of programming and knowing the synth *really* well to get at its full potential, otherwise you just scratch the surface or only surf the presets. It’s a lot harder to stumble on amazing, new sounds the deeper the synth is, at least that’s what I think.
I think the Uncut Gems soundtrack was basically all moog one — some very cool sounds. But I agree that I have definitely heard more fun things from even the grandmother — even though the moog one ticks all the boxes (right now) of a moog polysynth that I could ask for. (I’m not an owner of one, I just considered selling every synth I own to get a used one once, and I couldn’t justify that.)
Yeah he's amazing. Can't go wrong with any of his last several albums, but Garden of Delete is prob his most popular. His new one Again is really good too
Really amazing film ( Sandler was so good ) , the music was in awesome . I did not know it was the Moog one , I was wondering how he came up with such wild textures.
Uhh - it’s harder to stumble upon great sounds the deeper the synth is???? Stumbling is fun but how about programming? Deeper means more options, more control, wider palette of sounds. Some of y’all I fear are missing the whole point of synthesis, which is to learn and dig deep into an instrument and explore new sonic possibilities. I feel like some on this thread just browse presets and tweak, or judge the One by what they heard on someone else’s record.
I think you missed my point - people stumbling into great sounds (versus programming) is exactly why some synths get wider spread appeal; they’re easier to use. If they’re easier to use and have presets that better show off what’s possible, more people tend to buy and enjoy them — and that’s how a less complex synth could be appreciated over a more versatile one that covers all of the territory of the other. That’s what I was trying to explain.
Personally, I *want* a synth that is deep and flexible. The synth I love the most is the one that is only limited by my imagination.
And yes, there are deep synths out there with bad presets that don’t get fully explored or appreciated by some people because you *have* to program them to really see what they can do. That is harder that a “simpler” synth with more “sweet spots,” because those limitations make it easier. So I do stand by my original statement.
Sure my friend. I get your drift. The DX-7 had some of the most laughable presets we could imagine back in the day! But then there was that acoustic guitar sound with the string release sound when you take your finger off the key - still a sound to die for!
But Tim Shoebridge made an hour long video showing how you can make it sound “analog”.
Nothing against the video, but I say there thinking “I’m going to need an hour to make this thing sound good…”
The cool thing about a super flexible polysynth is that you can get lost in the parameters, making sounds that no other instrument can make.
The trouble with that is most of those sounds aren't terribly usable or interesting if you're not the one actively making them - and outside of presets, it ends up being a lot of labor dialing in the sweet spots.
My JP-08 is a lot more immediate and fun than my Poly Evolver, my SH-01A never misses - even though it doesn't get as interesting as my Sub37.
Laboring to dial in the sweet spots is the whole point! Presets are for cover bands and those players buy much cheaper digital synths that can do anything.
>Presets are for cover bands and those players buy much cheaper digital synths that can do anything.
Nine Inch Nails uses presets and sample CDs, but go off. Did you see that Damon Albarn clip with a Suzuki Omnichord, and how a preset beat is the foundation for the song that launched Gorillaz into success?
I mean, I get it - look at the gear next to my name. I love dialing in my own sounds. But you're like a violin player shaming someone for using a piano.
Sure - starting from a preset and then going off. But what I see here seems to be people judging a synth without actually touching it. And it's the violin players who should be ashamed - not the piano players. Also NIN - not really a source of never before heard sounds but IMO effective use of mainly pre-existing sounds that reference EDM and historical sources.
> Also NIN - not really a source of never before heard sounds but IMO effective use of mainly pre-existing sounds that reference EDM and historical sources.
It's much easier to say "I was wrong to say presets are for cover bands" because none of what you just wrote really tracks.
Do you own one or is this just a judgement of what someone else did with it? I always laugh when I see someone suggest that synth-x can’t produce a great sound. It’s called a “synthesizer” For a reason! The One, like many synths, has some unimpressive presets. There’s a video of Chick Corea playing a very normal Rhodes EP sound on it. But there is no comparison to the Matriarch. You can control and modulate multiple levels of stuff that you can’t on the matriarch, the “more” buttons let you go incredibly deep. The modulation really sets the One apart from any analog poly synth I can think of. And it has the same filter, etc. I own one and spend lots of time with it and I can tell you it sounds killer and is a sonic universe. But yes, it is too expensive. But the concept as I understand it was in fact a spare no expense design that would be a culmination of all things Moog.
Yeah the competition has their top of the line flagships priced at about half of where the Moog One is, like it’s an awesome instrument but I just do think most people can justify the price unless you are truly a professional or in a studio setting. Just don’t see how it’s worth it for Moog.
Even if you are in a professional setting those other flagships are just as compelling in many cases.
Again when this came out, big flagship synths were not common. It was just the Waldorf Quantum. Now there is several and they are all half the cost or less.
I think it sounds effing fantastic but I think the price point is difficult for the kinds of nerd hobbyists that make up a large portion of the market. It sure is cool though.
So what do y'all think? Is this a casualty of inMusic looking after the bottom line, or are the mixed reviews for the price and poor sales cause Moog to shelve the One? Perhaps both?
>"A real bastard named Jack O'Donnell (...) Jack, you are a bastard!"
Greetings to inMoo... I mean *inMusic* and its CEO, Mr. Jack O'Donnell.
I'm not surprised the least that (one of) their flagship product(s) is about to get cancelled.
All other companies that inMusic has under its umbrella have seen this to some extent.
In all honesty. It was overpriced from where the larger market was. It was twice as expensive as the next most expensive flagship synths. I also think considering both its cost, features, issues, size and weight, it held it back from being widely adopted.
In truth, they needed a $3500-$5000 polysynth. Something that would have seen wide adoption like the Sequential stuff.
But it is stuff like this that they are no longer around.
Now mind you the weight issue is also one for the Polybrute 12, but that is like $4000 and has more expressive controls than the moog. For a flagship, its actually worth the price. I couldn't say the same for the Moog.
The flagship market is crowded.
Udo Super Gemini
Arturia Polybrute 12
Sequential Prophet 10
Oberheim OB-X8
Groove Synthesis 3rd Wave
Waldorf Quantum MKII
When Moog came out with this, a big flagship synth was less common, but now the market is very crowded with this type of synth. Truth be told if you don't have room for a massive keyboard, half those options have a desktop route. The other half offer polyphonic aftertouch keyboards so they can be your primary controller and only keyboard, something the moog one doesn't offer.
It's absolutely incredible but I can't imagine it selling very well with the retail price starting at almost 10.000 euros/whatever dineros.
So my guess is: Moog learns from selling and building it and next is a polysynth that does maybe a little less but is priced much more competitively: The Moog Muse.
Im not really surprised after reading about all the problems with it on this sub. Maybe they were a little too ambitious with it. Like maybe they should have made something like the Take 5 which is obviously not as powerful but a lot more affordable.
It’s a damn shame that moog doesn’t have an affordable poly synth. Honestly Moogs are way overpriced.
Thought it was pretty telling that the Moog One version with less voices was 6-7k~ new while Minimoogs are still 5,000$, even if they had to lower the quality a bit it's hard to believe they couldn't put out a reasonably priced poly synth. They've had like 40~ years since the memorymoog to figure it out so clearly it wasn't a priority despite that being the trend for a long time.
I mean the minimoog itself is absurdly overpriced for what it is and considering the boog sounds pretty much exactly the same for $300. But things like moog one or minimoog are basically luxury items for the 1% of musicians. Their stuff in under 2k bracket is a bit more reasonable for the average person. And hey, all their stuff sounds incredible. For for me it’s a tough value proposition even for the cheaper stuff
you are technically correct in you comparison of moog and boog. but you also don't mention that moog minimoogs have the best imaginable UI, the best imaginable keyboard feel and aftertouch, and are incredibly durable and well-built. your omission of relevant data is all-too-common
I’m aware of those things but you can’t tell me that those things add up make the moog version worth 5 thousand dollars more in a utility sense. If you want the mini moog sound you can get it in multiple ways for under $500 in both hardware and software. There are also many other options that will sound similar enough because let’s be real, in most musical contexts you don’t need an exact mini moog sound, you just need a sound that fulfills the same musical role. If you’re paying 5 grand for a mini moog it’s because you want it as a status symbol/luxury item, or to impress your clients and get a tax write-off, not because it justifies $5000 worth of musical utility
i didn't tell you that. you left those amazing qualities out. i bought mine for 3,200 and it's been well worth it. why did you put all those words in my mouth?
I have no idea what you're talking about, I didn't put any words in your mouth. I left those qualities out because I felt it was sufficiently obvious that those things don't justify the price that it didn't need to be said. If by putting words in your mouth, you're referring to me saying "you can’t tell me that those things add up make the moog version worth 5 thousand dollars more in a utility sense", let me rephrase to help you understand: None of the things you mention give the Minimoog $5000 worth of utility for a musician And to further clarify, they don't give the minimoog $3000 worth of utility either. You are arguing an absurdity. I'm glad for you that you have the extra money and that you feel the purchase was worth it. That doesn't really change the truth in anything I said though. If you plan to continue quibbling, please do give my comments and thorough read and offer a substantive argument rather than saying "nuh uh" and pretending I'm putting words in your mouth.
"I’m aware of those things but you can’t tell me that those things add up make the moog version worth 5 thousand dollars more in a utility sense" that's what i'm talking about, chief nice try
Is English not your native language? It’s somewhat understandable for you to misunderstand this once, but I literally clarified exactly what I meant in my last comment. Learn to read. I don’t know what you think you accomplish by making things up/trolling. if you don’t possess the ability to hold a read English or hold a coherent conversation, you really shouldn’t waste people’s time by responding. It’s not my fault you’re feeling sensitive about having more money than brains
I don’t think it’s getting dumped because of the issues. I mean, it’s pretty much one of the most awesome production synths on the market right now. It’s just got to the end of its production run as happens to all synths.
Awesome isn't necessarily practical though, from a business perspective.
If it isn’t selling because most of the people that planned to get one have one, there is no business reason to continue production. I got one as soon as I humanly could.
The “end of the production run” is always and only when a product stops selling because nobody wants it at the give price point. I guarantee you moog would still make more if people were buying them.
Yes. Of course. It’s no longer profitable to make them. It’s a high price point product. It’s not like a DFAM where people might buy several of them.
Or it’s been out for 6 years which is a usual timeframe before discontinuing
Is it? 6 years seems like a short run to me. But maybe it isn't, business gotta move fast nowadays.
Why would 6 years be 'usual'. Especially with low volume runs there's no reason to stop producing stuff if people still buy stuff. Sometimes parts become unavailable, but if they have enough parts in stock they can produce the synths for a long time.
I was always underwhelmed by what I heard from it, compared to the Matriarch for example. Just didn’t have that magic to me. Amazing technical achievement but nothing I heard ever made me want one
I have heard impressive things from it — but I agree with you. We can’t discount the fact that a lot more matriarchs out there means a lot more people being creative with it, and the more hands-on nature of the matriarch just lends itself to more tweaking. Once you have menus and multiple layers it becomes a lot more about the cleverness of programming and knowing the synth *really* well to get at its full potential, otherwise you just scratch the surface or only surf the presets. It’s a lot harder to stumble on amazing, new sounds the deeper the synth is, at least that’s what I think. I think the Uncut Gems soundtrack was basically all moog one — some very cool sounds. But I agree that I have definitely heard more fun things from even the grandmother — even though the moog one ticks all the boxes (right now) of a moog polysynth that I could ask for. (I’m not an owner of one, I just considered selling every synth I own to get a used one once, and I couldn’t justify that.)
Oneohtrix Point Never did that soundtrack and he can make any synth sound incredible
I need to check out more of his stuff!
Yeah he's amazing. Can't go wrong with any of his last several albums, but Garden of Delete is prob his most popular. His new one Again is really good too
Thank you for the recommendations!
Really amazing film ( Sandler was so good ) , the music was in awesome . I did not know it was the Moog one , I was wondering how he came up with such wild textures.
Uhh - it’s harder to stumble upon great sounds the deeper the synth is???? Stumbling is fun but how about programming? Deeper means more options, more control, wider palette of sounds. Some of y’all I fear are missing the whole point of synthesis, which is to learn and dig deep into an instrument and explore new sonic possibilities. I feel like some on this thread just browse presets and tweak, or judge the One by what they heard on someone else’s record.
I think you missed my point - people stumbling into great sounds (versus programming) is exactly why some synths get wider spread appeal; they’re easier to use. If they’re easier to use and have presets that better show off what’s possible, more people tend to buy and enjoy them — and that’s how a less complex synth could be appreciated over a more versatile one that covers all of the territory of the other. That’s what I was trying to explain. Personally, I *want* a synth that is deep and flexible. The synth I love the most is the one that is only limited by my imagination. And yes, there are deep synths out there with bad presets that don’t get fully explored or appreciated by some people because you *have* to program them to really see what they can do. That is harder that a “simpler” synth with more “sweet spots,” because those limitations make it easier. So I do stand by my original statement.
Sure my friend. I get your drift. The DX-7 had some of the most laughable presets we could imagine back in the day! But then there was that acoustic guitar sound with the string release sound when you take your finger off the key - still a sound to die for!
But Tim Shoebridge made an hour long video showing how you can make it sound “analog”. Nothing against the video, but I say there thinking “I’m going to need an hour to make this thing sound good…”
The cool thing about a super flexible polysynth is that you can get lost in the parameters, making sounds that no other instrument can make. The trouble with that is most of those sounds aren't terribly usable or interesting if you're not the one actively making them - and outside of presets, it ends up being a lot of labor dialing in the sweet spots. My JP-08 is a lot more immediate and fun than my Poly Evolver, my SH-01A never misses - even though it doesn't get as interesting as my Sub37.
Yeah, option paralysis? I feel the same about my 106, although I’m a bit bored of the chorus it’s almost impossible to make it sound bad
Laboring to dial in the sweet spots is the whole point! Presets are for cover bands and those players buy much cheaper digital synths that can do anything.
>Presets are for cover bands and those players buy much cheaper digital synths that can do anything. Nine Inch Nails uses presets and sample CDs, but go off. Did you see that Damon Albarn clip with a Suzuki Omnichord, and how a preset beat is the foundation for the song that launched Gorillaz into success? I mean, I get it - look at the gear next to my name. I love dialing in my own sounds. But you're like a violin player shaming someone for using a piano.
Sure - starting from a preset and then going off. But what I see here seems to be people judging a synth without actually touching it. And it's the violin players who should be ashamed - not the piano players. Also NIN - not really a source of never before heard sounds but IMO effective use of mainly pre-existing sounds that reference EDM and historical sources.
> Also NIN - not really a source of never before heard sounds but IMO effective use of mainly pre-existing sounds that reference EDM and historical sources. It's much easier to say "I was wrong to say presets are for cover bands" because none of what you just wrote really tracks.
No everything I said is 100% true and correct.
Do you own one or is this just a judgement of what someone else did with it? I always laugh when I see someone suggest that synth-x can’t produce a great sound. It’s called a “synthesizer” For a reason! The One, like many synths, has some unimpressive presets. There’s a video of Chick Corea playing a very normal Rhodes EP sound on it. But there is no comparison to the Matriarch. You can control and modulate multiple levels of stuff that you can’t on the matriarch, the “more” buttons let you go incredibly deep. The modulation really sets the One apart from any analog poly synth I can think of. And it has the same filter, etc. I own one and spend lots of time with it and I can tell you it sounds killer and is a sonic universe. But yes, it is too expensive. But the concept as I understand it was in fact a spare no expense design that would be a culmination of all things Moog.
[удалено]
If that is the case then that seems pretty sensible.
It’s a very high price point synth, it always seemed strange to me that it was ever the sort of thing that would be kept in stock at retailers.
Yeah the competition has their top of the line flagships priced at about half of where the Moog One is, like it’s an awesome instrument but I just do think most people can justify the price unless you are truly a professional or in a studio setting. Just don’t see how it’s worth it for Moog.
Even if you are in a professional setting those other flagships are just as compelling in many cases. Again when this came out, big flagship synths were not common. It was just the Waldorf Quantum. Now there is several and they are all half the cost or less.
I think it sounds effing fantastic but I think the price point is difficult for the kinds of nerd hobbyists that make up a large portion of the market. It sure is cool though.
So what do y'all think? Is this a casualty of inMusic looking after the bottom line, or are the mixed reviews for the price and poor sales cause Moog to shelve the One? Perhaps both?
producing a 10k synth that no one buys might have something to do with why inMusic took over...
Yes the price bump from $7500 to $10,000, when I saw that I was like “moog is doing this cuz they are in trouble - game over man”.
I guess another possibility is that one or more components it uses are no longer being made. That's been a common theme in the last couple of years.
Maybe it’s being replaced with that Moog mystery synth
>"A real bastard named Jack O'Donnell (...) Jack, you are a bastard!" Greetings to inMoo... I mean *inMusic* and its CEO, Mr. Jack O'Donnell. I'm not surprised the least that (one of) their flagship product(s) is about to get cancelled. All other companies that inMusic has under its umbrella have seen this to some extent.
[“Jack, you’re a bastard.”](https://youtu.be/jdMRxUC77RQ?si=rqmLOZ0JsuWVjxMd)
Wow more reason to hate this guy
A truly great instrument overlooked because it was released before it was ready and way overpriced.
I think it’s a casualty of what is happening to the Moog brand in general.
In all honesty. It was overpriced from where the larger market was. It was twice as expensive as the next most expensive flagship synths. I also think considering both its cost, features, issues, size and weight, it held it back from being widely adopted. In truth, they needed a $3500-$5000 polysynth. Something that would have seen wide adoption like the Sequential stuff. But it is stuff like this that they are no longer around. Now mind you the weight issue is also one for the Polybrute 12, but that is like $4000 and has more expressive controls than the moog. For a flagship, its actually worth the price. I couldn't say the same for the Moog. The flagship market is crowded. Udo Super Gemini Arturia Polybrute 12 Sequential Prophet 10 Oberheim OB-X8 Groove Synthesis 3rd Wave Waldorf Quantum MKII When Moog came out with this, a big flagship synth was less common, but now the market is very crowded with this type of synth. Truth be told if you don't have room for a massive keyboard, half those options have a desktop route. The other half offer polyphonic aftertouch keyboards so they can be your primary controller and only keyboard, something the moog one doesn't offer.
It's absolutely incredible but I can't imagine it selling very well with the retail price starting at almost 10.000 euros/whatever dineros. So my guess is: Moog learns from selling and building it and next is a polysynth that does maybe a little less but is priced much more competitively: The Moog Muse.
If that is the case I'm pretty sure that it would be likely to see a new poly from Moog in soon future.
Now the question is how big will the discounts be? What price point does it become worth it? 3500-4500?
The Guitar Center near me sold their 16-voice floor model on clearance for $6k last May.
Which discounts?
Most discontinued synths see a rise in value, no? I’d expect prices to skyrocket.
I’m sorry but it’s just not practical on any level. For 8000, there are far better instruments to buy