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Review: IK Multimedia SampleMoog
by Glen Heffner - 09 March 2008 -
As soon as I received the attractive box from IK Multimedia for review, the first thing that hit me were the words “the Moog Synth Anthology”. Further viewing of the box claimed that they had “16 rare, collectable Moog synths in one product”. I was immediately intrigued by the fact that IK Multimedia was essentially claiming that they had a “historic collection” of Moog Synthesizers, all in one box. How cool would that be?
Want to find out if the claim holds up? Could SampleMoog be the answer to finding those Moog sounds that you had heard at one time or another but never quite managed to acquire? Welcome!
Overview Description
The SampleMoog is a softsynth that features all 16 vintage Moog synths produced by Moog. SAMPLED SOUNDS polished to near perfection by IK Multimedia’s sister company Sonic Reality, this plug-in features over 1700 sounds, 1000 presets, 100 combination presets and 600 multi-sampled sounds. It has a built-in multi-effects section with 32 effects, is 16 part multi-timbral, utilizes 2 different synth engines, has over 50 synth editing controls, 256 note polyphony, the sounds can be read by SampleTank, good midi implementation, plus a Stand alone mode. That is quite a lot of features for a US Retail Price of $329.
To be very clear here, this is a SAMPLED instrument. That means that all the sounds are recordings of the real instruments as opposed to Modeled instruments. So which is best?
Modeled instruments are a comprehensive software attempt to emulate the original design of the synths by recreating the actions & interactions of the original circuitry as closely as possible. SampleMoog does use modeled processes, such as a specially modeled Moog filter, so you do get a bit of a both worlds. I would find it extremely hard to believe that any company could undertake the job of modeling 16 different synths in one box. By sampling the instruments, the authentic sounds of the synths come through. Synth parameters, effects and other methods available to the softsynth give the user plenty of creative pathways in which to transform the sounds.
I feel that IK Multimedia, (to be called “IK” throughout the rest of this review), sought to capture the true essence of the original synths. After listening to the presets, they have certainly positioned these wonderful Vintage instruments between my Studio Control Room Speakers!
I have owned many Moog synths over the years and yearned for the others. The sounds I hear on this collection are essentially the very ones that motivated me to acquire Moogs whenever I could.
Sonic Reality should be given a medal for their choices of sampled sounds. It is a fantastic labor of love. Incidentally, SampleMoog is a cooperation between IK Multimedia, Sonic Reality and Moog Music® Inc.
It is also very constructive to know that IK have provided raw sampled patches. These are sampled waveforms so you can “start from scratch” just like you would have with the original instrument.
Requirements
The SampleMoog supports VST, AU and RTAS.
Power PC based Macs: 866 MHz G4 processor, 512 MB, and Mac OS X 10.4 or later
Intel Based Macs: 1.5 GHz Intel Core Solo processor, 512 MB, Mac OS X 10.4 or later
Windows PCs: Pentium 1 GHz/ Athlon XP 1.33 GHz, 512 MB, Windows XP/Vista or later
Installation
IK has decided to eliminate the Syncrosoft dongles that they were part of their copy protection. This is a major move and that means that they are putting a lot of trust in their customer base. Subsequently, please buy the software that you use!
Installation was a snap. There are two DVD disks. The program installation is simple and you can put the 4 GB instrument library wherever you wish, even on a network drive. [Ed. Note: as true with all IK products, you can quickly change the “opening library” location or move it any time]. The program will function in DEMO mode for 10 days, but after that, it is necessary to authorize the software. The easiest way is to log on to the internet and follow the instructions. IK provides a serial number for your software when you register. An authorization code will be generated that once entered into the softsynth will keep you running without restriction.
The Vintage Moog Synths
SampleMoog comes with 16 vintage Moog Synths. I think that it is only appropriate to let you know the models and a bit about each one. I believe in giving you the reader, as much information as possible so you are an informed consumer.
Modular Moog 3C – The Modulars were the beasts that could be configured with various “block” modules and then connected with patch cables. Many patch cables. World-class artists such as The Beatles and Emerson, Lake and Palmer used the 3C. It was in production from 1967 to 1972.
Modular Moog 15 - This was considered one of the “portable” versions. In production from 1972 until 1981, it had a duophonic 49-note keyboard and more stable oscillators than the 3C.
Modular Moog 55 – The Moog 55 was enclosed in two solid walnut racks and was considered an expandable total studio system. It featured a 61-note keyboard and a switch-operated sequencer. They were produced from 1972 through 1981.
MiniMoog Model D – Introduced in 1971 the MiniMoog D was the first portable Moog that offered the performing musician everything that he/she wanted. Versatile, warm fat sounds and some of the best bass-lead sounds ever; it is still highly the most sought after Moog even today.
Polymoog – This was Moog’s first polyphonic synthesizer. The preset-based keyboard featured 71 touch responsive keys and 8 presets. The presets were strings, piano, organ, harpsichord, funk, clav, vibes and brass that could be split into three parts. All could be treated with a Moog filter with modulation, 3 band EQ, and envelope control.
Taurus I – The greatly regarded 13-note pedal-board produced from 1976 until 1981 featured four presets (Taurus, Tuba, Bass and a user-programmable patch). It was famous for the incredible bass that it could generate.
Prodigy – The Prodigy (1976-1984) was a monophonic synth that was mainly considered a Bass-synth. During its reign, it was used extensively in dance, techno and electronic music.
Multimoog – A real classic monophonic synth (1978-1981), there were less than 1000 ever made. It featured 2 oscillators, a 24dB Moog filter, a ribbon controller, variable waveforms, sample and hold, aftertouch, and LFO.
Vocoder - The Vocoder originally invented in 1936 at Bell Labs, as the first device to generate artificial speech, became popular in the 1970’s. Moog released their version in 1979. The Vocoder divided 16 bands into 16 separate frequency bands that could be modulated from external sources (such as a voice). The Vocoder came with a microphone and had line inputs for modulating other instruments.
Concertmate MG-1 – This synth is a bit of an anomaly because it was made by Moog for Realistic to sell at Radio Shack around 1980. While it qualifies as a synth, it performed more like a 10 voice organ.
Source – The Source was the first Moog synth that featured patch memory storage and transfer capabilities. An extraordinary sounding synth it had 16 memory locations. Unique to the Source were the flat-panel membrane buttons. There were no knobs, buttons or sliders on the synth. A 3-octave, 37-note keyboard, 2 VCO’s, an arpeggiator, and a digital sequencer all added to the appeal of this instrument. Backup was implemented by the use of cassette tape. The Source was manufactured from 1981 to 1985 and used by artists such as DEVO and The Human League.
Rogue – The Rouge (1981-1983) seemed to be a much-expanded version of the Concertmate MG-1. It was a very easy to use synth with a 2 ½-octave monophonic 32-note keyboard.
Memorymoog – One of the great Moog synths, the Memorymoog (1982-1985) came in two versions: the Memorymoog and the Memorymoog+. The Plus version could be expanded with a Midi retrofit and had more stable oscillator control. The Memorymoog was polyphonic, stored 100 programs, had six independent voices, two envelopes, a 24dB/octave lowpass filter and more.
Etherwave Theremin – Invented in 1919, the Theremin is one of the earliest electronic instruments. It was designed to play by using your hands to control pitch and volume and your hands never touched the instrument. Bob Moog loved the sound of the Theremin and later when he opened Big Briar in North Carolina, he started making Theremins. (1999) The Etherwave Theremin is a wonderful addition to the Moog collection.
MiniMoog Voyager – (2002) A supreme synth created in the latter days of Bob Moog’s life, the Voyager is based on the MiniMoog Model D. A 44-note keyboard, monophonic synth with three true analog voltage controlled oscillators, noise source, two resonant Moog-style filters, two ADSR’s, a mixer module and much more. This is the “state of the art” in Moog synths.
Little Phatty – (2006) The last synth produced before Bob Moog passed away and it is a great one… True analog monophonic synthesizer with a 37-note keyboard, 100 user-editable presets, a single VCLPF: 24 dB/Oct Moog Ladder filter, two ADSR EGR’s a 4-waverform LFO, Midi In/Out and more. It is considered a great performance synth.
Before we dig in…
It is useful to know that the SampleMoog is based on IK SampleTank’s 2.5 synth engine. SampleTank and SampleMoog operate almost exactly in the same way…. For example:
If you select a sound from the Browser, it appears in a Mix Window.
From the Mix Window, (where you have 16 separate areas for instruments), along with 16 groups of controls for each instrument (volume, pan, etc.) you can utilize. Up to 16 sounds can be layered or split across the keyboard. When a sound is highlighted, you are presented with editable controls available for the sound. Mentioned in the Overview, the 50-synth knobs for sound editing become available once you highlight an instrument. Additionally, you have an Effects Section with four windows. Click on anyone of them and all 32 effects will drop-down. Select an effect and like the editable controls for sounds, you will see controls for editing effects. Up to 4 effects can be applied to each instrument. Don’t be too concerned with this section. This was put here only to give you an idea of the actual operation of SampleMoog and as a reference as you might find it useful to refer back to later. NOW WE BEGIN!
SampleMoog
Audio Midi Setup
Upon opening SampleMoog for the first time, you will be presented with the following screen. This allows you to set your Audio Driver and Outputs Routing. SampleMoog supports up to 16 stereo outputs. Sample Rate and Buffer Size is available within this window too. There is also a Preference Window. From here, SampleMoog allows you to adjust Tempo for internal Loop Sync and BPM sync effects. You can select “Reload previous session on Startup” if you wish. This is useful so you do not have to always start with an empty screen.
The Main Screen
When completing the Audio Midi Setup, you will see a very well laid out screen. Almost all of your work will take place from this view. A seven-octave keyboard is located at the base of the softsynth with a section of editing controls and the effects section above that. The upper section is a 3 part area that includes (from left to right), the Mix area, the Browser, and the Part Preset area.
Walnut wood design surrounds most of the synth creating a relaxed warm look. Pitch Bend and Mod Wheels are located at the lower left hand side near the keyboard. The right side of the keyboard has Zone and transposition controls.
At the top left hand side are three buttons, from left to right: Lock, (to view your registration information), “i” (clicking here gives you basic information such as software version) and the last button, “Midi Ctl”, allows you to set up associations that control midi parameters. I will cover this more at the appropriate place.
While I definitely like the look of the screen, I do have one glitch with it. I feel that the red screen is too dark in some areas and perhaps the color/contrast combination with black actually made sections of the screen hard to read. Even in IK’s excellent manual, there are photos of certain sections that are essentially “black”. Adjustable colors (like in Sonik Synth) or a contrast/brightness control would be a superb addition to an otherwise fine looking screen.
Loading & Playing Instruments - (The Browser Window)
In the middle of the SampleMoog Interface is the Browser Window. The Browser consists of a list of folders with the name of each specific Vintage Moog instrument. By clicking the triangle beside a folder, the triangle will point downwards to display additional folders with descriptive names, which in turn contain instruments from which you can select sounds. Double-clicking will load a sound into the selected slot Mix Window. Folders are indicated with a solid red triangle while instruments are a black triangle with a red outline.
As stated earlier, the location of the sounds folder was determined when you installed SampleMoog. However, you can move your samples to any place on your hard drive followed by specifying a new “root” folder in the Preferences area (covered shortly). Organize instruments into banks of your own choosing; rename them, place your favorite sound into these banks, the choice is yours. When you are ready to work specifically with that group, you can just identify a different “root” folder. Overall, this is an extremely flexible management system and I wish that other companies would take note of IK’s intelligent format!
The Mix Window
The Mix Window displays selected instruments that you choose from the Browser. You can run up to 16 different instrument channels simultaneously in SampleMoog! The Mix Window only displays eight channels at once but on the upper right hand side of the Mix Window there is two boxes labeled "1-8" and "9-16". Clicking on these boxes will switch you between the two views.
All instruments that you add are called PARTs. Each PART has a variety of parameters that you can change or view in each part slot. This includes midi channel, solo, instrument, empty, ram usage (MB), polyphony (POLY), pan, volume (VOL), out and level. Some are only for viewing while others are editable. Click and drag is supported for editable functions such as midi channels. Each of the instrument channels has the following parameters within its instrument channel:
Here is a close-up of the section and a description of what each parameter does:
PART: clicking on this will select an instrument or a blank area. If you want to layer sounds and have already loaded a sound into PART 1, click on PART 2 and then select another sound from the Browser to load a sound into the second PART area.
Midi Channel: Click and Drag to select a Midi Channel that you want for each part
Mute: this will mute the part selected
Solo: Clicking on this will allow you to hear only the sound on the channel Part selected.
Instrument: The name of the instrument chosen from the Browser
Empty: Clicking on this will quickly unload the instrument from the selected part.
RAM Usage (MB) – If you click on the MB where you have loaded an instrument, you will be able to see how much memory the sound is taking.
Polyphony (POLY) – This is a useful feature. The display shows how many notes are allocated to a particular sound. For example, if you have a bass part assigned to 32 notes, the chances are very good that reducing it to 1 or 2 notes is preferable (since a bass is not normally playing more than one or two notes at a time). This will save memory and free up notes for other instruments. POLY like Midi Channel is a Click & Drag operation.
Pan – Determines the position of the instrument within the Stereo Field (Click & Drag)
Volume – Determines the volume of the instrument within the Stereo Field (Click & Drag)
Out: You set the number of Outputs you wanted within the Preferences area (up to 16 stereo outputs). Based on the number you selected, you can assign the stereo output that you want for each instrument. (Click & Drag).
Level: This is a monitoring feature so you can see the instrument’s level/Volume value. This is visible during all playback performance sequences thus helping to set proper levels to your sequencer.
Controlling SampleMoog
Synth-Sampler Section: SampleMoog gives you complete control of the synth engine through the Synth-Sampler section. Here you can control more than 50 parameters divided into 8 sections: Synth, Range, Filter, Envelope 1-2, LFO 1-2, and Velocity. By clicking on one of the switches that deal with the synth, (the LFO 1 for example), you will see the controls available for LFO 1settings.
SampleMoog also allows you to switch between two types of sample engines: Pressing the “Synth” button in the Synth-Sampler Section will reveal the two Synth engines and their parameter knobs.
1. Resampling Engine: This is the “standard” sampling engine that changes pitch and speed simultaneously producing what is known as the famous “chipmunk” effect.
2. STRETCH: An IK exclusive, STRETCH synchronizes loops, solo instruments and non-pitched instruments while maintaining their tempo, pitch and harmonics way beyond their original intended range. While you will not always get great results, this unique technology might inspire you. I have found STRETCH to work wonderfully on most solo instruments when I want to play “outside” the normal range of a sampled instrument.
MACRO Controls Section: Each SampleMoog instrument has up to four MACRO controls associated with it. These parameters labeled A, B, C and D display different names depending upon the particular instrument’s characteristics. Continuous Controller numbers 12, 13, 14 & 15 are permanently assigned to these Macros but other CC’s can be used to control the MACRO parameters.
Portamento Time: Portamento is the glissando time between notes. If the LEGATO mode is enabled, you control the portamento time with the PORT.TIME knob. The range of portamento goes from 1 ms to 10 seconds.
Performance Mode: There are three performance modes: MONO, POLY, and LEGATO 1-2
MONO: If you engage the MONO mode, you will be able to play only single notes. Excellent for leads!
POLY: Polyphonic allows you to play multiple notes simultaneously for chords, pads, etc.
LEGATO: The definition of Legato is “smooth, connected” and that is exactly what the LEGATO settings do. When you enable it, only the first note will have the attack of the original sound. The rest of the sounds will sound smooth and connected.
The Effects Controls
SampleMoog offers 32 impressive DSP effects of which four can be used per instrument. In addition, a fifth effect, (EQ) is fixed in the first slot ready to be used at any time. To use the Effects, just make sure that you have a selected instrument loaded in the Mix Window area. Go to the Effects section and click on the arrow located at the right of the Effects slots. Right away, a drop-down list of the available effects will appear. Select a specific effect and its editable parameters will appear as a series of knobs. You can turn Effects On/Off by clicking the associated Switch. When it is illuminated, it is on. I should mention that if you want to empty an Effect Slot, just select the NO EFFECT option from the drop-down list.
I was able to use quite a number of effects without taxing my CPU too much. I am very impressed with the sounds vs. the CPU usage. The Effects are excellent overall and give a lot of “fire power” to the sound of the Moog synths. The list of effects includes:
Reverb, Ambience, Reverb Delay, Spring Delay, Delay, Filter, Envelope Filter, Multi Filter, Wah-Wah, Chorus, Multi Chorus, Phaser, AM Modulation, FM Modulation, Flanger, Envelope Flanger, Auto Pan, Tremolo, Rotary Speaker, Lo-Fi, Distortion, Phonograph, Crusher, Overdrive, PreAmp, Tone Control, Cabinet, Parametric EQ, Channel Strip, Compressor, Limiter, Slicer
To say the least, this is an outstanding collection of editable effects and a tremendous addition to SampleMoog.
Mini Keyboard: The Mini Keyboard visually displays your incoming notes (via your Midi controller or keyboard) and functions as the input device for playing SampleMoog with your mouse or computer. The Pitch and Modulation Wheels reflect incoming Midi data for Pitch Bend and Mod Wheel Midi Messages. They are pre-programmed for the included patches, but the Mod Wheel can be assigned to any user assigned parameter you wish. The Pitch Bender range can be customized from the Synth controls page.
Transpose: Once an instrument is loaded it can be transposed by clicking on the +/- buttons located to the right of the Mini Keyboard. A transposition range of +/- five octaves is available.
Zone Control: This is the most powerful feature in SampleMoog. When you press the Zone button down, the Mini Keyboard will display how all the samples are mapped across the keyboard by showing the samples grouped into color zones. If the keys show no color then there are no samples associated with those keys.
To activate a Zone simply click on it with the Mini Keyboard, your mouse or keyboard controller. Once selected, you can edit any of the Synth-Sampler parameters JUST FOR THIS ZONE! For example, if you were working with drums, you could find the Crash Cymbal sample and choose to increase the attack time so it would come in very slowly. The power of Zone Control is that you are really working at the sample level. Your work can also be saved in a Part Preset. Saving will be discussed in a moment.
Midi CTL Association: SampleMoog can be fully controlled by hardware or keyboard controllers by associating Midi CTL (controls) to SampleMoog knobs. [Reviewer’s Comment: I would have liked to see a “Learn” function that would have been much faster, however this is still functional.] One nice feature is that a different Midi CTL Association table can be created for any or all of the 16 SampleMoog parts and then saved into a Preset or Combination Preset.
The procedure is not difficult. First, click on the MIDI CTL located at the top left of the softsynth. Click on any knob you want to automate. The MIDI CTL window will open revealing four columns: Knob, Min and Max values and the Controller Number. By clicking and dragging on the Controller Number field, you associate a Midi Controller Number to the parameter that you want to control. Like Zone Control, the MIDI CTL Associations can be saved with an instrument.
Preferences: Preferences is selected from the Part Preset Area . This same area also gives you quick access to the NET, (the SampleMoog website), a Photograph of the synth you are working with and other functions such as RENAME, SAVE, etc.)
Upon opening, you can Browse and select the ROOT folder for your SampleMoog instruments. You can also choose between High Quality and High Performance. High Performance will lower the CPU load but at the cost of a slightly lower audio quality. The “Relist on Startup” if “On” will automatically scan your instrument bank each time you restart SampleMoog. This will assure that all your instruments are correct in your list when you restart. In most cases, this is not necessary unless you are regularly moving your samples around. Regardless, you can manually relist the library at anytime. As mentioned earlier, here is where you can select the number of Outputs available to the softsynth. Remember you can have up to 16 stereo outputs.
Net: Clicking on Net will connect you to the SampleMoog main website.
Organizing Instruments
Instruments Location: By default, all SampleMoog instruments are placed in a specific location on your hard drive. However, you can easily change this at any time. A SampleMoog instrument is made up of three files:
1. Instrument>STH: contains the instrument name and description
2. Instrument>STI: contains the instrument program
3. Instrument>STW: Contains the instrument waveforms
If you want to you can move, duplicate, and/or group instruments into different folders as you see fit. Just remember to get all three of the files. Whenever you like, you can go to Prefs: and select the new location as your ROOT folder!
Search Function: Clicking on the Search Function will open a search window, Type a keyword into the box, hit “OK” and SampleMoog is supposed to find all the instruments that have your keyboard in it. After the Search has completed, the Search button will turn into a Back button. Click on the Back button supposedly retrieves the complete instrument list. Unfortunately, I was unable to get any results with the Search Function even when using keywords such as “bass”, “pads” and “keys”. I spoke with IK Multimedia and they are aware of this problem and are currently working on an update to address it.
Disk Functions
Along the bottom of the Mix Window are the Saving Functions. These include; Save, Save As, Delete and Backup.
Instruments and Part Presets: There are actually two types of sounds: “Parent” and “Child”. The “Parent” is a sound that has been created using waveforms. A “Child” would be a variation of that sound after you select, edit & save the “Parent”.
SAVE: When you SAVE a “Parent” sound as a PRESET, it will create a “main folder triangle” (red). All “Child” sounds, (based on the “Parent” sound), that you save will be placed into that folder as small expandable black triangles. These PART Presets will be listed in a sub-folder under the “Parent” group. Sound complicated? It isn’t. Do it a few times and you will soon grasp it.
SAVE AS & DELETE: If you want to save an existing Preset with another name, you use the Save As function. Pressing the Delete button will permanently remove it
COMBI PRESETS:
Clicking on the right hand side of the words “Load Combi” will open a list of Combi Presets. These are multi-channel or multi-layered/split combinations presets that are excellent in defining the scope of how SampleMoog can be utilized. Not only do they sound great but also they really give you many examples in terms of just how flexible this type of programming can be. Of note, is the preset “Reset Combi”, which “zeros out” any number of patches or settings that you might have been working on. This is a useful feature if you decide to start a combination patch all over again vs. having to reset the entire various settings one by one!
Combi Preset saves the entire SampleMoog module status. This includes all 16 Mix windows & settings, Midi Control settings and Range Section data. This is the way to save a complete multi-timbral setup.
SAVE AS & DELETE: To save a Combi Preset with another name, you would use SAVE AS, to delete, use DELETE…
Backup Function: Clicking on this button will Back-up the entire instrument’s data. You can select or create a new folder and then click OK. Backup is a great way to share settings between musicians, producers, etc. who are working in different locations on the same project. With Backup, one can quickly load the correct library without any trouble.
WRAPPING UP
SampleMoog is an amazing piece of software. Of the 16 Vintage Moog Synths, I’m thrilled with almost all of them. The Modular Synths, MiniMoog Model D, the Polymoog, the Source (one of my all-time favorites) and the Memorymoog, all wonderful. In addition, the MiniMoog Voyager and the Little Phatty, relative “new comers” from Moog Music Inc. since 2002 and 2006 respectively are fabulous.
Perhaps the biggest surprise of all is the Etherwave Theremin, with its haunting, singing tones and pure sounds! I was taken aback by the sounds that it creates.
Still, I am just scratching the surface with many of the synths. I have discovered just how flexible the Multimoog can be. The best thing about all of the instruments is that they have remarkable unique identities!
The IK Effects Section adds a very new aspect. Most of these synths were never processed with Effects. So, this is new territory. A number of the delay-based effects can synchronize to your host sequencer. (You can also set the note value to quarter note, eight, sixteenth, etc.)! This is a nice add-on!
The Synth-Sampler Section is a joy to work with and becomes almost “2nd nature” to edit. I found myself during this review being able to edit almost as quickly as if I were actually working with knobs on an old Moog. The “modeling” section, to my ears, sounds real! After selecting a specific sampled Moog synth, I then edited with the modeled filters and synth parameters. I felt completely comfortable and convinced that I was hearing the real Vintage instrument.
The major attractions other than the incredible realism of the sounds and the genuine power to do exceptional editing lies in the 32 effects, the amazingly easy organization system for storing libraries/sounds and the Zone Range feature.
I cannot praise IK and Sonic Reality enough for including a feature that permits the user to click a button and see exactly where samples are split across a particular instrument. Just as a user can edit an instrument, he/she can then edit the individual samples used in the instrument!!! THIS IS AMAZING!
So, do I have to stop raving for a few moments? Only about the Search Function that I was unable to get working. But I’m certain that IK Multimedia will take care of this problem. I also wish that the screen could be a bit more readable to view. It just seems to be too dark. Next, I don’t particularly like the Midi CTL function. I believe that it should have a “Learn” feature. In other words, when you select a particular knob on SampleMoog, I would like to be able to click “Learn” and then move the appropriate midi control on my external controller. Instead, you have to step through a screen in SampleMoog to set it up.
Nevertheless, at $329 for 16 instruments, that works out to $20.56 for each Moog Synth! When you put it in context, this is an absolute steal!!!
Outstanding sounds sampled from the Real Vintage Instruments. Extensive editing features, unique special effects, great preset patches and many special features... I give this program an “M” for Magnificent!
ABSOLUTE FINAL WORDS
SampleMoog has indeed captured the ACCURATE SOUNDS of the Vintage Synths to a stunning degree.
The Vintage “sounds of old” when integrated with the digital synthesis of the SampleMoog provide the elements to be a “real, breathing” instrument in today’s music world vs. just ancient relics from history.
The user will quickly find that SampleMoog easily produces the greatest Moog synthesizers of the past. The potential to make completely new instruments that electrify TODAY”S music with innovative fresh sounds makes it an UNBEATABLE ANTHOLOGY!
SAMPLEMOOG is as MODERN as it is VINTAGE!
Glen Heffner is a midi specialist, keyboardist/composer and engineer located in North Carolina, USA. He has a Bachelor of Music degree in Piano and operates an all digital studio. Currently he is working on an instrumental CD and completing a film score. You can check him out at www.majormidi.com or contact him at
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