Moog Sub 37 1.10 Firmware Demo Part 2

Now that I have had some more time to experiment with the new Moog Sub 37 1.10 firmware I made a new video that is more in-depth than the last one. In this video demo I show seven new features within the sequencer and arpeggiator sections of the instrument. Although I did edit the video for length, each feature was demonstrated without having to stop the sequence at any point.

First I review how to turn steps on and off while in step edit mode. This is simply done by pressing the step buttons (patch button 1 through 16) while in step edit mode (bank + latch).

Secondly I show how to set the start and end positions of the sequence while it continues to run. This is really great for repeating any number of consecutive steps in the sequence.

Thirdly I show how to create or disable ties between two or more notes on the fly. This is much faster and accurate than the original way of apply ties while the sequencer continues to run.

Fourth I demonstrate how to turn on/off step ratcheting and how to modify the number of ratchets. Ratcheting is an interesting new feature that repeats a step from 1 to 8 times.

For the fifth feature I adjust the swing amount. Having swing as a feature for the sequencer is fantastic, but it can also be applied to the arpeggiator and the LFOs when they are synched to the clock! I haven’t tried this yet, but I love the idea of manipulating the LFO waveshapes this way.

The sixth feature is modulation sequencing that I applied to the filter envelope amount. The mod sequencing can be applied to a huge list of parameters. Unfortunately is it one destination per patch/sequence, but never-the-less a welcome and useful addition.

Finally for the seventh feature I demonstrate how to shift the sequence back or ahead of the first step using bank + arp range (+ or -).

There’s a lot more still in this release that I have yet to explore. A huge THANK YOU goes out to Moog Music and especially Amos Gaynes for making an already great synth greater!

This entry was posted in Audio News, One Synthesizer Sound Every Day, Sound Design and tagged , , , , by John CS Keston. Bookmark the permalink.

About John CS Keston

John CS Keston is an award winning transdisciplinary artist reimagining how music, video art, and computer science intersect. His work both questions and embraces his backgrounds in music technology, software development, and improvisation leading him toward unconventional compositions that convey a spirit of discovery and exploration through the use of graphic scores, chance and generative techniques, analog and digital synthesis, experimental sound design, signal processing, and acoustic piano. Performers are empowered to use their phonomnesis, or sonic imaginations, while contributing to his collaborative work. Originally from the United Kingdom, John currently resides in Minneapolis, Minnesota where he is a professor of Digital Media Arts at the University of St Thomas. He founded the sound design resource, AudioCookbook.org, where you will find articles and documentation about his projects and research. John has spoken, performed, or exhibited original work at New Interfaces for Musical Expression (NIME 2022), the International Computer Music Conference (ICMC 2022), the International Digital Media Arts Conference (iDMAa 2022), International Sound in Science Technology and the Arts (ISSTA 2017-2019), Northern Spark (2011-2017), the Weisman Art Museum, the Montreal Jazz Festival, the Walker Art Center, the Minnesota Institute of Art, the Eyeo Festival, INST-INT, Echofluxx (Prague), and Moogfest. He produced and performed in the piece Instant Cinema: Teleportation Platform X, a featured project at Northern Spark 2013. He composed and performed the music for In Habit: Life in Patterns (2012) and Words to Dead Lips (2011) in collaboration with the dance company Aniccha Arts. In 2017 he was commissioned by the Walker Art Center to compose music for former Merce Cunningham dancers during the Common Time performance series. His music appears in The Jeffrey Dahmer Files (2012) and he composed the music for the short Familiar Pavement (2015). He has appeared on more than a dozen albums including two solo albums on UnearthedMusic.com.

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