Moog Subsequent 25 User Manual
  1. Manuals
  2. Brands
  3. Moog Manuals
  4. Synthesizer
  5. Subsequent 25
  6. User manual
Moog Subsequent 25 User Manual

Moog Subsequent 25 User Manual

Hide thumbs
Table of Contents

Advertisement

Quick Links

Download this manual

Advertisement

Table of Contents
loading
Need help?

Need help?

Do you have a question about the Subsequent 25 and is the answer not in the manual?

Questions and answers

Related Manuals for Moog Subsequent 25

Summary of Contents for Moog Subsequent 25

  • Page 4: Important Safety Instructions

    IMPORTANT SAFETY INSTRUCTIONS WARNING - WHEN USING ELECTRIC PRODUCTS, THESE BASIC PRECAUTIONS SHOULD ALWAYS BE FOLLOWED: 1. Read all the instructions before using the product. 2. Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool or the like.
  • Page 5 TABLE OF CONTENTS UNPACKING & INSPECTION SETUP & CONNECTIONS ABOUT SUBSEQUENT 25 FEATURES & CONTROLS PRESETS PANEL BASICS OF SOUND SIGNAL FLOW OSCILLATORS MIXER FILTER ENVELOPES MODULATION GLOBAL PITCH CONTROLS SHIFT MODE HIDDEN PARAMETERS PITCH DUO MODE FILTER / MODULATION...
  • Page 6 SUBSEQUENT 25 This 2-note paraphonic analog synthesizer is ideal for both performance and sound design use. It combines the classic, hands-on control of vintage Moog instruments with a dynamic and gritty new sound engine.

  • Page 7: Unpacking And Inspection

    2. Either a 1/4” instrument cable and amplified speakers or headphones with a 1/4” inch plug 3. A properly wired AC outlet SETUP AND CONNECTIONS Place Subsequent 25 on a stable surface such as a table or keyboard stand at a height suitable for playing comfortably. INPUT...

  • Page 8: Audio Out

    Using Subsequent 25 with an external MIDI device requires one or two MIDI cables. To use Subsequent 25 as a MIDI controller, connect one end of a MIDI cable to the Subsequent 25 MIDI OUT jack and the other end to another device’s MIDI IN jack.

  • Page 9: Features And Controls

    MIDI Control Change (CC) data. As with its larger 37-key sibling, Subsequent 25 also has the ability to play more than one note at a time using the Duo Mode function. This allows each of the two Subsequent 25 oscillators to play independent pitches.

  • Page 10: Saving Presets

    Preset. The current position of each knob and the status of each button determines the natures of the sound emanating from your Subsequent 25. Dialing up sounds in Panel mode is exactly like dialing up sounds in a classic synth without Patch memory, but when you’re finished sculpting your sound, you can save your work.
  • Page 11 Rather than building up waveforms one harmonic at a time, the way an additive synthesizer does, analog synthesizers like Subsequent 25 provide the means to shape and filter complex, harmonically rich waveforms to selectively remove, reduce, or emphasize specific harmonics—a technique called subtractive synthesis.
  • Page 12 DAW, as well as for controlling external devices using the Subsequent 25 front-panel controls. All the settings that make up a Patch are called its parameters, which is simply another name for settings.

  • Page 13: Oscillator Controls

    OCTAVE: This knob sets the pitch range for that Oscillator. Pitch range is expressed in feet, a throwback to the age of pipe organs, when a pipe’s physical length determined its pitch. The Subsequent 25 OCTAVE knobs cover four pitch ranges corresponding to four octaves. The lowest setting is 16’, and the highest setting is 2’.
  • Page 14 When you play the keyboard with these settings, you shouldn’t hear anything. This procedure initializes the front panel and gives you a starting place for creating your own Patches and exploring the capabilities of your Subsequent 25. EXPLORE THE OSCILLATORS After patch initialization, turn up the OSC 1 knob in the MIXER section.

  • Page 15: Oscillator Sync

    Subsequent 25 sound. It is especially useful for crafting monstrous Moog bass Patches. NOISE: This knob controls the level of the Subsequent 25 Noise Generator. Settings higher than 6 push the level beyond unity, imparting gentle Filter distortion. Noise is useful for programming punchy percussion and other unpitched sounds.

  • Page 16: Filter Controls

    Turning it clockwise increases the Resonance, causing a peak in amplitude at the Cutoff frequency. Settings above 7 cause the Filter to self-oscillate. MULTIDRIVE: MultiDrive acts as the Subsequent 25 distortion processor, offering effects ranging from asymmetrical, tube-like warmth to aggressive hard clipping, with a smooth continuous transition in between.
  • Page 17 Envelope Generator to begin the Attack Stage. In voltage- controlled synthesizers like Subsequent 25, this signal is called a Gate. The Gate ends when you release the key, telling the Envelope Generator to begin the Release Stage.

  • Page 18: Envelope Controls

    TIME ADSR As you play the Subsequent 25 keyboard, technique determines how the Envelope Generators (EG) respond, which impacts your musical expression and articulation. If you release the key before the Envelope reaches either its maximum or Sustain Level, the Release Stage immediately takes effect.
  • Page 19 808. It uses a sine wave and a 2-stage Envelope Generator to create the sound. Subsequent 25 lets you re-create this vintage sound with just a bit more thump.

  • Page 20: Modulation Controls

    All LFOs generate repeating waveforms in the sub-audio range. The Subsequent 25 LFO has an extended range capable of generating audio frequencies as well. At sub-audio rates, the LFO is useful for generating repeating effects. At audio rates, the LFO adds harmonic complexity to its destination.

  • Page 21: Lfo Waveforms

    By routing LFO or Envelope modulation to an Oscillator’s wave amount, you give the waveform motion by changing its harmonic content dynamically. As the control signal changes, so does the waveform. Although the continuously variable Subsequent 25 Oscillators let you apply modulation to any waveform, it’s most traditional to modulate a pulse wave.
  • Page 22 With a little practice, these buttons can even be pressed while performing, in order to increase the available key range. KEYBOARD: Subsequent 25 is equipped with a velocity-sensitive keyboard, so that all 25 keys transmit MIDI velocity data in response to how fast the keys are depressed.

  • Page 23: Shift Mode

    SHIFT MODE Although you can control all Subsequent 25 functions directly from the front panel, you’ll need to dig a little deeper to reach some of them. Shift mode reassigns several front-panel controls so you can use them to edit hidden parameters.
  • Page 24 SHIFT MODE (Continued) PARAMETER: VELOCITY TO FILTER ENVELOPE DECAY/RELEASE KNOB: FILTER ENVELOPE RELEASE Changing this setting lets you specify how much velocity affects the Filter Envelope’s Decay and Release times. To lengthen the Decay and Release in response to how hard you play on the keyboard, engage Shift mode and turn up the Filter Envelope’s RELEASE knob.
  • Page 25 Shift mode and turn the NOISE knob. When nothing is plugged into the EXT IN jack on the left side of the Subsequent 25, the FDBK / EXT IN parameter takes the output of the mixer and feeds it back into this mixer channel, resulting in a variety of distorted, sometimes chaotic, sometimes mellow qualities.

  • Page 26: Hidden Parameters

    The maximum range is up or down 12 semitones. NOTE: Middle C refers to the C key at the center of the Subsequent 25’s keyboard, not to the pitch usually referred to as middle C, which is actually one octave higher.

  • Page 27: Note Priority

    Glide affects all notes you play. NOTE PRIORITY In addition to setting the Global Note Priority parameter on page 39, the Subsequent 25 allows you to set the Note Priority individually for each Preset, either using or overriding this global setting. The default setting is Global, which uses the current Global Note Priority setting.
  • Page 28 CV will continue gliding to the target pitch at the current Glide Rate, regardless of whether or not the Subsequent 25 is playing a note. When Gated Glide is on, the pitch CV only glides while a note is playing, and is held constant in between notes.

  • Page 29: Modulation Parameters

    (Continued) FILTER / MODULATION FILTER SLOPE By default, the Subsequent 25 Filter rolloff is set to the classic Moog 24dB-per-octave slope. You can change this setting in real time as you play, making the change in slope part of your performance.

  • Page 30: Filter Envelope

    LFO rate will change by four times for every octave of pitch change. LFO MIDI SYNC This lets you synchronize the Subsequent 25 LFO with an external MIDI clock signal, typically from another synth, a sequencer, or a digital audio workstation.
  • Page 31 HIDDEN PARAMETERS (Continued) FILTER ENVELOPE RESET When Filter Envelope (EG) Reset is turned on, each new note triggers the Filter Envelope to reset from zero, so its output sweeps fully from zero to maximum with each Attack. By default, with Envelope reset turned off, an Envelope Attack sweeps the Envelope output only from its current level to maximum.

  • Page 32: Amplifier Envelope

    AMPLIFIER ENVELOPE AMPLIFIER ENVELOPE TRIGGER MODE As mentioned in the Envelopes Overview, by default, legato playing on the Subsequent 25 keyboard prevents Envelopes from retriggering on subsequent notes. With single triggering, Subsequent 25 prevents Envelopes from retriggering on subsequent notes unless you’ve released the previous key.
  • Page 33 HIDDEN PARAMETERS (Continued) AMPLIFIER ENVELOPE RESET When Amplifier Envelope Reset is turned on, each new note triggers the Amplifier Envelope to reset from zero, so its output sweeps fully from zero to maximum with each Attack. By default, with Envelope reset turned off, an Envelope Attack sweeps the Envelope output only from its current level to maximum.

  • Page 34: Midi Parameters

    MIDI GLOBAL SETTINGS MIDI PARAMETERS Shift mode lets you modify the Subsequent 25 default MIDI settings. You can change the MIDI transmit and receive channels, turn local control on and off, filter MIDI data, enable and disable fine-resolution data recognition, and enable and disable the DIN or USB ports to send, receive, and merge MIDI data.

  • Page 35: Midi Out Channel

    Channel 2, and so on, all the way up to D# above middle C, which selects Channel 16. MIDI INPUT SELECT Subsequent 25 can send and receive MIDI data through the DIN jacks labeled MIDI IN and MIDI OUT or through its USB port, depending on your preferences.

  • Page 36: Local Control

    HIDDEN PARAMETERS (Continued) MIDI MERGE DIN INPUT Subsequent 25 can merge MIDI data it receives with the MIDI data it transmits. You can specify the path of the merged data so that data received at either the MIDI IN jack or the USB port is passed through to the MIDI OUT jack or the USB port.
  • Page 37 HIDDEN PARAMETERS (Continued) MIDI OUTPUT FILTER It is possible to filter the MIDI data that Subsequent 25 sends so that certain data isn’t received by external MIDI devices. To turn on the MIDI output filter, engage Shift mode and press the BANK 2, BANK 4, and PATCH 2 buttons.
  • Page 38 (Duo Mode). But what happens when you press two keys at the same time in Mono Mode? By default, Subsequent 25 plays the note corresponding to the most recently played key - regardless of its position. This is called last-note priority. You can change that...
  • Page 39 C (maximum). NOTE: The value of this parameter can be set using up to five octaves of keys, exceeding the Subsequent 25 keyboard range. Sending a MIDI note from an external device can set this value beyond the range of the Subsequent 25 keyboard itself.
  • Page 40 Press C# twice to send all 16 Presets to your computer as a single Preset Bank file. If you record this MIDI system exclusive data on your computer and then send it back to your Subsequent 25, it will replace all 16 Presets stored in the Subsequent 25 memory.

  • Page 41: Midi Channel

    MIDI OPERATIONS & CHARTS MIDI CHANNEL By default, Subsequent 25 is set to receive and send MIDI on Channel 1, but it can be configured to send and receive to MIDI Channel (1-16). MIDI CONTROL CHANGE (CC) MESSAGES The tables on the following pages list all Subsequent 25 MIDI CC messages.
  • Page 42 MIDI OPERATIONS & CHARTS (Continued) Transmit / Recognize / 1. Basic Information Remarks Export Import MIDI Channels 1 - 16 1 - 16 Note Numbers 0 - 127 0 - 127 Program Change 1 - 16 1 - 16 Bank Select Response Modes Supported: Mode 1: Omni-On, Poly Mode 2: Omni-On, Mono...
  • Page 43 MIDI OPERATIONS & CHARTS (Continued) Transmit / Recognize / 1. Basic Information Remarks Export Import Master Volume Master Balance Notation Information Turn GM1 System On Turn GM2 System On Turn GM System Off DLS-1 File Reference Controller Destination Key-based Instrument Ctrl Master Fine/Coarse Tune Other Universal System Exclusive...
  • Page 44 MIDI OPERATIONS & CHARTS (Continued) 2 - MIDI Timing and Transmit / Recognize / Remarks Synchronization Export Import MIDI Clock Song Position Pointer Song Select Start Continue Stop MIDI Time Code MIDI Machine Control MIDI Show Control Transmit / Recognize / 3 - Extensions Compatibility Remarks Export...
  • Page 45 MIDI OPERATIONS & CHARTS (Continued) CC Number CC Number Parameter Values (MSB) (LSB) Mod Wheel MIN TO MAX (0 TO 16383) Filter Mod Amount MIN TO MAX (0 TO 16383) LFO Rate MIN TO MAX (0 TO 16383) Pitch Mod Amount MIN TO MAX (0 TO 16383) Glide Rate MIN TO MAX (0 TO 16383)
  • Page 46 MIDI OPERATIONS & CHARTS (Continued) CC Number CC Number Parameter Values (MSB) (LSB) Filter EG Decay MIN TO MAX (0 TO 16383) Filter EG Sustain MIN TO MAX (0 TO 16383) Filter EG Release MIN TO MAX (0 TO 16383) Filter KB Amount MIN TO MAX (0 TO 16383) Amp EG Attack...
  • Page 47 MIDI OPERATIONS & CHARTS (Continued) CC Number CC Number Parameter Values (MSB) (LSB) Filter EG KB Amount 0-127 Amp EG KB Amount 0-127 VCO Gate Reset 0-63 = OFF, 64-127 = ON Filter EG Reset 0-63 = OFF, 64-127 = ON Amp EG Reset 0-63 = OFF, 64-127 = ON 0-42 = LINEAR CONSTANT RATE,...
  • Page 48 MIDI OPERATIONS & CHARTS (Continued) CC Number CC Number Parameter Values (MSB) (LSB) Filter EG Hold 0-127 Amp EG Hold 0-127 Pitch Bend Up Amount 0-24 (SEMITONES) Pitch Bend Down Amount 0-24 (SEMITONES) 0 = 1 POLE, 32 = 2 POLES, 64 = 3 POLES, VCF Filter Poles 96 = 4 POLES Filter EG Velocity to...

  • Page 49: Specifications

    OTHER CONTROLLERS: Pitch Bend, Mod Wheel POLYPHONY: Monophonic, 2-Note Paraphonic LFO: Triangle, Square, Sawtooth, Ramp, Sample & Hold FILTER: Moog Ladder Filter with 6/12/18/24 per Octave Slopes PRESETS: 16 (4 Banks, 4 Patches per Bank) EFFECTS TYPES: MultiDrive AUDIO INPUT: 1 x 1/4” (Ext. In) AUDIO OUTPUT: 1 x 1/4”...

  • Page 50: Service & Support Information

    (828) 251-0090 to register your product. CARING FOR SUBSEQUENT 25 Clean your Subsequent 25 with a soft, dry cloth only – do not use solvents or abrasive detergents. Heed the safety warnings at the beginning of the manual. Do not drop the unit.
  • Page 51 Moog Music Is An Employee-Owned Company Located In Asheville, NC...

This manual is also suitable for:

Lps-sub-007-01

Table of Contents