I think this thing is cool looking and I wouldn't think the sound any less that the rest of the product line.
Please help me understand the cost. I have been hoping for a simple rackmount geometric shaped modular system. As a guitarist the moogerfooger geometry is great; if you want to use it as a floor device. But a lot of times I like my effects shoulder high when tweaking for sounds. A rackmounted moogerfooger is a major dust collector.
My initial thoughts, when seeing the 500 series ladder filter, was cool; moogerfoogers are next. Dream comes true. After seeing the cost I'm a bit disheartened.
I’m coming to MoogFest. I’ve got questions for you guys.
Ladder Filter
Re: Ladder Filter
It's not for you (Guitarist) it's not for me (Bassist), it's not for the keyboard player either, it's for the Audio Engineer. Wait a second, aren't we ALL Audio Engineers? Well yes...
But you won't see any CV inputs or outputs, what you see is what you get, some knobs. Series 500 is a somewhat closed specification... it's 'open' which is to say that many vendors contribute compatible products developed to a certain spec, but it's not open as in Modular synths CV control 'openness'.
If you haven't had a read of the other thread, you should in it is a link to a pretty good writeup on what this all about.
In the old days, studios had a bunch of effects, compressors, EQs, etc., the making of a channel strip and then some; all patched into a bank of 1/4" jacks. With it, signal chains could be established to tweak a given sound before recording. (I'm likely telling you something you already know) Series 500 is the very same thing, it is unlikely that there will be OSC modules or sequencers, etc. It's not that kind of thing.
But marketing wise, if this format is catching on, why not take some of the modules, extend them a bit (ie. add hi-pass and some other options), then package up for the Series 500 crowd.
The cost? I'm guessing because these modules (as sold by other companies) warrant such a cost. It's a gamble for them and there is a certain amount of startup cost in addition to integration testing with the chassis out there, new things for tech support to worry about, etc. It's an interesting concept... will see if it takes off.
But you won't see any CV inputs or outputs, what you see is what you get, some knobs. Series 500 is a somewhat closed specification... it's 'open' which is to say that many vendors contribute compatible products developed to a certain spec, but it's not open as in Modular synths CV control 'openness'.
If you haven't had a read of the other thread, you should in it is a link to a pretty good writeup on what this all about.
In the old days, studios had a bunch of effects, compressors, EQs, etc., the making of a channel strip and then some; all patched into a bank of 1/4" jacks. With it, signal chains could be established to tweak a given sound before recording. (I'm likely telling you something you already know) Series 500 is the very same thing, it is unlikely that there will be OSC modules or sequencers, etc. It's not that kind of thing.
But marketing wise, if this format is catching on, why not take some of the modules, extend them a bit (ie. add hi-pass and some other options), then package up for the Series 500 crowd.
The cost? I'm guessing because these modules (as sold by other companies) warrant such a cost. It's a gamble for them and there is a certain amount of startup cost in addition to integration testing with the chassis out there, new things for tech support to worry about, etc. It's an interesting concept... will see if it takes off.
'76 Minimoog, Taurus 3, Oberheim FVS + Son of 2-voice; Sequential ProOne; Juno 106; Moog Model 15; Kurzweil 250; Hammond M3; and a handful of Fender Basses Flickr!
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unfiltered37
- Posts: 645
- Joined: Thu Jul 07, 2011 1:28 pm
Re: Ladder Filter
Its funny how whenever moog releases a new product , immediately people get offended that it wasn't designed specificly for them. Granted this filter is lacking both in synth interface and a fundamental studio interface, the sidechain (basically an envelope follower for an external source other than program material), it is simply their reentry into studio market. The mf-101 is still far superior in every way for musicians AND engineers. The balanced input is absurd for a synth filter, (the lunchbox has a connection length of about 2 inches) but was needed for interfacing.
But like the animoog, this is another briliant marketing tool, which any good company needs. And it looks cool, but synthesists should steer clear of this one.
But like the animoog, this is another briliant marketing tool, which any good company needs. And it looks cool, but synthesists should steer clear of this one.