Synth Site: Moog: Multimoog: User reviews Add review
Average rating: 4.5 out of 5
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Lars Smith a professional user from Denmark writes:
The Moog Multimoog Synthesizer is a quite underrated synth. Though a little thinner in the sound than the Mini - and, some say, even the Prodigy, it still is a very versatile synth, even more than the Mini, which then again is more "whole" and complete. I owned one in the 80ies and I got some incredible sounds out of it, f.ex. one that was totally similar to dropping a big bowl of china of a stone floor!!! The ways of combining different kinds of modulation sources and destinations through the mod wheel and the very nice touch-sensivity, and the fact that you can run the oscillators down to sub-sonic, makes it a synth that is perfect for sound effects, you cannot get anywhere else, unless you own a modular synth. Also the "open" back-panel is a gift! Between 3 and 4 in rating.

Rating: 3 out of 5 posted Friday-Sep-06-2002 at 08:08
Cosmic_Rob a part-time user from NYC writes:
I've got MultiMoog #1149. The aftertouch makes this a really satisfying machine to play.

Rating: 5 out of 5 posted Wednesday-Aug-15-2001 at 19:55
Andrew a part-time user from Earth writes:
Below is what started out as a quick note on how I felt about this synth. Somehow, it wound up being a little more than a sentence or two. : )

The Multimoog is a very nice synth. It's well built, and overall it has a very solid feel. Physically speaking, Aftertouch (generated by the "Force Sensor" in the "Keyboard Touch" section of the Multi) responds much nicer than I would have thought from a synth from this era. It has a nice smooth action and it's easy to adjust your playing style to have it modulating the destination only when wanted. The Aftertouch sensitivity is also adjustable via an "Amount" knob which really helps in zeroing it in for whatever destination that you've selected. Aftertouch "Destination" Settings are: OSC A waveshape, Sync Osc A to B, Filter, Osc A/B/Filter, Osc A/B, or only Osc A.

Another option with each of these aftertouch routings is that you can either set it for "Bend" or "Mod" via a white slide switch. The Bend setting will apply modulation directly proportional to the amount of force you are applying to the key. The Mod setting routes the force sensor's output to the Multimoog's LFO which in turn modulates the selected destination. The amount of key force changes the amount of LFO modulation applied to the destination.

The separate "Modulation Section" has three controls. The "Rate" knob is self explanatory and will top out at 30 HZ.

The "Source" switch has settings for: Bend, Filter contour, Square LFO, Triangle LFO, S/H Auto and S/H Kbd.

The "Routing" switch has destinations of: OSC A/B, Off, Osc A/B/Filter, Filter, Off (yes, again!), and Osc B's waveshape.

The left hand controller's Mod Wheel is tied into the "Source" and "Routing" destination settings and acts as a "Mod Amount".

For the Oscillators, there is an "OSC A", "Master A&B" and "Osc B" section on the control panel. Oscillators A and B each have a continuous "Waveshape" control. That means instead of selecting a specific Saw or Square waveform with a switch, the waveform is continuously variable from Saw to Square and from Square to Narrow Pulse waveforms. As mentioned above, Waveshape can be modulated by Aftertouch, or by various other sources in the Modulation Section. Osc A's second control is an "Interval" knob (not switched) with a range of +/- five semitones. Osc B doesn't have an Interval knob, but instead has a "Doubling" control knob. Set it at the 12 o'clock position and there is no effect. Moving to the left sets the volume level of a "1 Octave Down" Sub Oscillator. Move it to the right of 12 o'clock and it sets the volume of the "2 Osc Down" Sub Oscillator. The Sub Osc output will of course be added to the OSC A and B output levels. In the "Master A&B section, there is one "OSC A/B Mix" level control, and an "Octave" Switch that controls both Oscs' pitches with settings of 32' through 2' and "Wide". When set to Wide, it enables the "Wide Freq" knob which sweeps the pitch of both OSCs from infrasonic to almost ultrasonic ranges.

Next to the OSC section is the single "Noise Level" control. There's not much to say about it other than it's the Noise level pot. ; )

Rounding out the major programming sections of the Multimoog are "Filter" and "Loudness Contour". Loudness Contour consists only of the "Attack" and "Release" controls for the VCA's envelope generator. Not much going on here other than to say that the Release knob can control either Decay or Release times. This depends on if the white "Loudness Sustain" switch is set for "Max" or "Zero" sustain levels. (These two sustain levels are indicated by the associated envelope shape.) If the Sustain switch is set for zero sustain, the Release knob will also act as a Decay control. If the Sustain switch is set for maximum sustain, the Release knob will work only as a release (there is no decay on an envelope with full sustain). Another envelope related function is the white "Release" slide switch. You can use this to enable/disable the release segment of the envelopes. This is useful if you'd like an envelope with a slow decay, but a fast release. Just bypass the release segment with the switch, set the Loudness Sustain switch to zero sustain, and set the Loudness Contour Release knob (now acting as a Decay time) to a slower setting. The filter envelope settings will have to be set accordingly.

The "Filter" section has three knobs. The filter "Cutoff" works in conjuction with the "Contour Amount" knob (called "Envelope Amount" on other synths). The Contour Amount can be set for positive or negative modulation. I wish the Contour Amount offered a wider range of control over the cutoff frequency. For some settings, I can't get the sound that I expect to. This could be a calibration issue on my particular Multimoog, but I get the feeling that this is the way it was designed. While adding resonance, the "Emphasis" control attenuates the overall signal level quite a bit. Not a huge deal, but you will have to readjust the volume to compensate if using judicious amounts. It seems a little more noticeble on the Multimoog than on other synths that I own for some reason. The last controls of the Filter section are the "Attack" and "Release" "Filter Contour" knobs. These work in a way identical to the the Loudness Contour controls.

* One important thing to note about the filter is that the bass response is less than it should be. Due to the filter circuit's design, a high pass filter effect attenuates the lower frequencies. There is a simple modification for this (thanks to M. Caloroso!) that you can find in the Analogue Heaven archives and elsewhere.

Some other Multimoog features are "Glide", "Single/Multiple Trigger", "Filter Mod by Osc B" (audio and sub-audio rate FM of the filter, but there's only "Weak" and "Strong"switch settings to set the modulation amount), "Filter Mode" (settings are: "Full"=kbd tracking, "Norm"= No kbd tracking, and "Drone"=Filter self oscillates and tracks kbd.). There are a few more options that mainly deal with interfacing. For the sake of my fingers, I'll omit them.

Things I would've liked to have seen implemented in this synth: Ability of the filter envelope to control Osc sync (like the force sensor), individual octave switch settings for each Osc., a volume control that's in a corner and not in the middle of the control panel, more cutoff range control from the Filter Contour Amount knob, and better sounding filter resonance (ducking!). These are all minor quibbles when you consider when this synth was released.

Overall Opinion: There's some GREAT sounds to be had here. The Multimoog doesn't sound as warm as the Minimoog or Source but warm isn't always what you want. It can sound massive, especially when routing the force sensor to control Osc sync.. Other nice sounds are attainable when using only one Osc, negative Contour Amount settings, modulating the Oscs' Waveshape, or just experimenting with different modulations. The ribbon controller is nice alternative to a wheel. After using it, I now wish the Korg Prophecy's ribbon was mounted up/down instead of side to side. It's much easier to use in this orientation in my opinion.

Final words: If it's true that there were only 1000 Multimoogs ever made, I'd say grab one if you can find one. Most likely, you'll be very pleased!

Rating: 4 out of 5 posted Sunday-Jul-08-2001 at 11:09
J. Kusler a part-time user from USA writes:
I have have two beautiful Multimoogs. One is is perfect working order and the other I saved from death. Its plastic curtain that the pots stick up through is badly warped on the edges. But I am planning to send it off to a Moog tech for some TLC and resurrection, I am told is doable. (fingers crossed)

I was a Minimoog owner at one time and loved it. But connect up two of the Multis and they kick ass. Every bit as much as a Minimoog, I feel. Plus some routings not available on the Mini.

The sound is all original Moog. Big and fatttt. A great user interface too. And one of the more rare portable Robert Moog era synths. Only 1000 made, and who knows how may are still surviving?

If you can get one, go for it!

Rating: 5 out of 5 posted Thursday-Feb-08-2001 at 19:37
Rix a professional user from netherlands (europe) writes:
i traded my 5-years old cd-player for a Multimoog. the guy i traded it with surely didn't know what he had. the Multimoog is really a great synthesizer! i've got many different synths at home, but none sounds like this one. anyone who disagrees with me and has got a Multimoog should give it to me rightaway as they don't know what they're talking about! i you see one for it...have fun with it....and laugh at everybody who doesn't own one.....those guys are usually the one's who are the most jealous!!!

Rating: 5 out of 5 posted Thursday-Dec-16-1999 at 09:58
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