In 2018 Moog introduced its first analog polysynthesizer in nearly three decades, The Moog OneIt’s a huge, intimidating beast designed to allow musicians to play multiple analog synth voices at the same time. Even more daunting than the front panel full of controls is the price. When originally released, the Moog One came in eight- and sixteen-voice versions at $5,999 and $7,999 respectively. The Moog One 8 has since been discontinued and the sixteen-voice version has jumped in price to $10,000, leaving a gaping hole in Moog’s analog synth lineup.
The Muse is an attempt to fill that void and make a polyphonic Moog synthesizer more affordable. This $3,499, eight-voice, bi-timbral analog machine has two oscillators, a modulation oscillator, three low-frequency oscillators (LFOs), two filters, two envelopes, a digital delay, and aftertouch (though not polyphonic). There are synths with more features, but this is still a pretty solid core with plenty of flexibility. Plus, there’s one thing the Muse has over those other synths: It’s a Moog.
Classic sound
There’s something special about the sound of a Moog synthesizer. There are plenty of synthesizers out there that do an admirable job of emulating the iconic sound of a Moog bass, but they can never compete with the real thing.
I was reminded of this several times during my testing. I played the Moog Muse alongside several different instruments, from the Korg Monologue and Minilogue XD toward Novation II Bass Station and the Arturia Polybrute 12There’s something about the sound of a Moog oscillator and its iconic ladder filter that feels bigger and warmer than almost anything you’ve played before.
Photography: Moog
Part of this is due to the particular characteristics of the oscillators here, which are based on the Minimoog VoyagerThey’re not just analog, they’re aggressively analog; where other modern analog polysynths go to great lengths to stay perfectly in tune, treating natural analog drift as something to be adjusted to taste, the Muse leans into its natural imperfections, giving it plenty of character and body.
It’s easy, with eight voices at your disposal, to assume that you should be using the Muse to play chords and pads, but don’t ignore the bass on this instrument. It’s huge, and puts virtually every other polysynth I’ve played to shame. It’s especially absurd when you stack all eight voices in unison. This instrument may be built with pads and key sounds in mind, but it’s a beast on bass and leads, just like you’d expect a Moog to be.
Of course, there are plenty of other, cheaper options for powerful mono synths. To justify the price, the Muse has to offer more complex, wider-ranging sounds. Fortunately, it also excels at epic pads, cinematic strings, and punchy keys.
The sound-shaping options here are pretty solid. The dedicated modulation oscillator can control pitch, filter, or pulse width, or even become a third audio frequency oscillator. Its tuning isn’t as stable as the main oscillators, though, making it ideal for feeling woozy and dissonant.
There are also frequency modulation (FM) and ring modulation circuits to turn that analog warmth into metallic, resonant bells and plucks, and an overdrive circuit to add even more rawness. Plus, there are three LFOs and two envelopes, and all of these can be connected via the 16-slot modulation matrix to create complex sounds ranging from chaotic EDM basslines to long-evolving soundscapes.
