Kelly's Music & Computers
Your source for music technology - www.kellysmusic.ca
MOOG MODULAR V 2.5 - http://kellysmusicandcomputers.com/savemoney.asp?c=AP-5420
Our Price:$198.00 We save you: $51.00
Arturia, in partnership with Bob Moog, has made a faithful reproduction of one of the most famous series of synthesizers: Moog Modular. Whether recreating the abstract tonal qualities of the classic electronic soundtracks, or pushing forward the sonic boundaries of today, the Moog Modular V is the synthesizer of choice for sound exploration, anywhere, anytime. It has all the vibe and the fat sound of the original, cleverly combined with important contemporary features like polyphony, MIDI control, as well as loading and saving of patches.
V 2.5 FEATURES
- Switch to Syncrosoft copy protection ( V 2.5 )
- VCF audio quality improvements ( V 2.5 )
- Lower CPU utilization on Mac OSX ( V 2.5 )
- Better Audio Unit compatibility (Digital Performer most notably) ( V 2.5 )
- Ability to use NRPN midi messages for automation ( V 2.5 )
- Better handling of control surfaces while changing preset ( V 2.5 )
- Presets added ( V 2.5 )
- MIDI RPN "pitch bend range" message is now recognized ( V 2.5 )
- Bug fixes ( V 2.5 )
MAIN FEATURES
- All the parameters of the original Moog Modular: 9 oscillators, 2 LFOs, 3 filter slots, 1 Noise Generator, 6 envelopes, 2 VCAs
- 16 auxiliary VCAs with modulation inputs
- 24-step sequencer
- 1 filter bank (14 bandwidths available)
- More than 600 presets, made by professionals
- Main stereo outputs
- Mono / polyphonic (up to 64 voices per instrument)
- Soft clipping function
- No aliasing from 0.1 Hz to 16 kHz
- 64-bit floating point precision
- Sampling rate: up to 96 kHz
- Playable through a MIDI keyboard
- 1 stereo delay
- 1 chorus
- Very accurate reproduction of the legendary Moog 24 dB low-pass filter
- 1 Chorus and Delay Effect section (besides 12 Stage Phaser and Ring Modulator)
- Superb audio quality with TAE® engine. 24 bits/96 kHz supported
A LITTLE BIT OF HISTORY...
It was in 1964 that the first prototype of a Moog synthesizer was produced. It was presented at the AES Show (Audio Engineering Society) and immediately generated a huge amount of interest. In 1965 Bob Moog decided to release the 900 series for commercial sale, and in 1967 he made the decision to produce different machines, each with a certain number of modules. This marked the birth of modular systems I, II and III.
"Probably the number one system" (Peter Forrest, The A-Z of Analog Synthesizers), the Moog Modular was soon to be adopted by groups like Tangerine Dream, The Beatles and the Rolling Stones. Stevie Wonder, Klaus Schultze, Isao Tomita and many others including Jean-Michel Jarre and Keith Emerson were also among the users.
ENDLESS SYNTHESIS
Because it is modular, the Moog Modular V offers endless possibilities for synthesis.
9 oscillators, 3 filter slots, 2 LFOs, 6 envelopes, VCAs, mixers, triggers, a 3x8 step-sequencer, etc. With such an instrument, you can make all types of combinations and create sounds that were never heard before.
PURE ANALOG
TAE®, standing for True Analog Emulation, is a technology developed by Arturia, enabling the digital reproduction of analog circuits. The implementation of TAE in Moog Modular V results in:
- Aliasing-free oscillators, at no extra CPU cost.
- Better reproduction of analog oscillators: the condensers' unload and the oscillators' instability are simulated, helping to reproduce a typical warm sound.
- Very accurate reproduction of the legendary Moog 24 dB low-pass filter.
- Implementation of soft clipping, i.e. reproduction of the filters' current limiting function.
WHAT'S NEW IN MOOG MODULAR V2.5?
Sound quality inprovement:
- VCF audio quality improvements.
- better Audio Unit compatibility (Digital Performer most notably).
Performence inprovement:
- ability to use NRPN midi messages for automation.
- better handling of control surfaces while changing preset.
- midi RPN "pitch bend range" message is now recognized.
ALSO INCLUDES
Ergonomics:
- One unique scrollable view to overlook the entire synth.
- Some of the modules are now interchangeable, allowing you to configure - to a certain extent - the Modular the desired way.
Audio possibilities:
- Improvements on the oscillators (free running), on the filters (better response to modulations), on the envelopes (faster and even closer to true analogical behavior).
- Unison mode
- Audio-In possibilities
- The Soft-clipping emulation is now done on each mixer and not systematically on all of them, which saves on CPU load.
Modules
- 1630 Bode Frequency Shifter. Developed under the Moog license by Harold Bode in 1964, it is extremely rare (a dozen Worldwide).
- 928 Sample and hold is also very rare. Originally assembled in a separate cabinet, it was adapted on the last modular series, in the late 70's.
- 912 Envelope follower (or Schmit Trigger). One of the most popular modules on the Moog systems, it was often added to original configuration to create complex modulation through the use of an output signal.
- 12 stage phaser. The Moog 12 Stage Phaser was very well known, and originally conceived as an external rack to the Modular systems.
- Formant Filter. A module developed by Arturia, which did not exist on the original Moog systems. It allows the filtering of sounds according to the formants a, e, i, o, u.
- Ring Modulator. Also a module developed by Arturia, it creates very metallic sounds.
Presets
- 200 added presets to provide optimal use of the added modules.
True Analog Emulation
TAE is "True Analog Emulation" - Arturia's exclusive technology which accurately reproduces, tone, waveshape, tuning and other detailed characteristics of an analog synthesizer.
What are the main characteristics and advantages of the TAE technology ?
Better reproduction of analog oscillators
TAE recreates the characteristics of analog oscillators in amazing detail. The transparency and clarity of Arturia’s analog synthesizer emulations give the musician a freedom to be inspired by classic sounds or explore new textures with the expectation that previous limitations of digital oscillators will not interrupt the creative flow.
Better reproduction of analog filters
Filters are a major element in substractive sound synthesis. It is important to reproduce the exact characteristics of analog filters in the digital domain, as well as the individual characteristics of classics instruments that give them each their characteristic sound.
Implementation of soft clipping
Soft clipping can give the sound more punch and deeper basses, together with limiting the amplitude of the sound. It is another important point that gives analog synthesis its sound and "attitude".
Better Reproduction of Analog Oscillators
TAE oscillators are very similar to their analog counterparts for several important reasons.
One of the main reasons is that they are "free", i.e. they are not sampled or wavetable based - or generated from a 0-point when a note is played. Each waveform generated dynamically, allowing the waveform to be in constant adaptation regarding sampling "cutting" and quantization, avoiding one of the major "tell-tale" signs of digital waveform generation and provides a certain level of "liveness" found in the classic analog synthesizers of the past.
Standard digital synthesizers produce aliasing in high frequencies, and also when using Pulse Width Modulation or Frequency Modulation. TAE allows the production of oscillators that are totally aliasing-free in all contexts (PWM, FM,…), at no extra CPU cost.
Also, all of Arturia’s oscillators are highly optimized for the particular working frequency. That means that you can play with an instrument exactly as if you played a real analog synthesizer. Again, the waveforms are not presampled and or regenerated with digital perfection, allowing each note to have a life of its own.
In addition, original analog oscillators were unstable. Actually, their wave shape was always slightly different from one period to another. It is also true that due to analog hardware sensitivity, new period trigger times varied with the temperature and other environmental conditions.
TAE allows the simulation of the oscillator's instability, helping to create warmer and fatter sound.
Original analog oscillators used condensers' unloading to produce common wave shapes (saw tooth, triangle, square). This means that wave forms were slightly curved or distorted in other ways that are considered highly desirable in a musical context. TAE allows the reproduction of condenser's unload in order to give you the original analog sound.
Because TAE oscillators are "free" and "alive", when you play a simple chords with raw oscillators, you don't have a digital impression of "fog" or a "blocked" sound, but you have a pleasant feeling of transparency and clarity.
PWM
With TAE, you can even produce complex PWM sounds with unprecedented quality and, of course, free of any aliasing. This is true for all the TAE waveforms (square, triangle, saw…). This produces sounds which are unique on the market, because PWM is very difficult to achieve on certain waveforms like triangle or saw/ramp. Arturia brings you new levels of reality in a virtual analog synthesizer, so that you can achieve new levels of creativity in your music.
Better Reproduction of Analog with Direct Filter Circuit Modeling
TAE® produces the characteristics of the analog filters in the digital domain.
Let’s take the Prophet V for example. Due to advances in computer processing power, the Prophet V can now employ direct filter modeling techniques to achieve unprecedented accuracy in the emulation of the original's analog 4 pole low pass filter. By modeling the operation of the individual hardware components of the filter circuit, the warm nuances synonymous with the original's analog sounds are recreated. The harmonics generated add to the richness and warmth of the sound produced by the filter. As a result of the direct recreation of the analog circuitry in the Prophet V, the same characteristics of the sound are present, thus giving the user a truly analog sound.
Implementation of soft clipping
In analog synthesizers, the resonant filter uses a current limiting function, preventing the signal from being too loud (soft clipping).
TAE allows the reproduction of this current limiting function, making the sound more natural. It also allows filters to enter self-oscillation like original hardware synthesizers do.
Also, soft clipping can be a kind of saturation effect, but with a very particular shape. Common shapes can't give good results compared to analog soft clipping which is very particular to output amplification stages of analog synthetisers, and is a critical component to "the analog sound".
Academic pricing:
Academic - $127.00
Lab Pack 5 - $599.00
Lab Pack 10 - $1,099.00
Lab Pack 5 - clearance, while supplies last, all sales final - $299.31
For the best in price, service and support, contact:
Kelly's Music & Computers
Phone: 1-888-562-8822
E-mail: sales@kellysmusic.ca
Web: http://www.kellysmusic.ca