The Mother Of All Moog Mother 32 Reviews

In this video, Sonic State’s Nick Batt takes a look at the recently introduced Moog Mother 32 – a “vintage-voiced” semi-modular all-in-one analog synth that works equally well as a stand-alone instrument, or as part of a Eurorack modular synthesizer.

The Mother-32 module is a 100% analog instrument, and offers a one-knob-per-function interface, a voltage-controlled sequencer and a 32-point analog patch bay.

The Mother-32’s semi-modular design means that no patching is required. The 32-point patch bay, though, lets you patch the sections within the Mother-32 however you like, and provides access to an assignable CV output jack, MIDI-to-CV conversion, external audio input, a second voltage-controlled mixer, sync, and multiple unit expandability.

Check out the review and then share your thoughts on the Mother-32 in the comments!

Pricing and Availability

The Moog Mother-32 is available now, with a street price of US $599. More information is available at the Moog Music website.

19 thoughts on “The Mother Of All Moog Mother 32 Reviews

    1. Wouldn’t get two to be honest. You’re better off getting one, then spending the rest on some interesting Euro modules. Sub 37 if you want to play keyboard, modular if you want to twiddle knobs of sequence I’d say.

  1. Moog are slowly losing their way and are competing in a market were their edge is not so sharp, 5 years ago they had a comfort zone with a patent in their own slice of the market. Now the market has changed and the competition is a lot fiercer and that edge is not so clearly defined

    Want a bold prediction, in 10 years time or so moog will be bought by a larger company or out of business

    1. Be meaningful if that hadn’t already happened years earlier. It is just a name to sell shit. Kodak will always be in business or selling shite because it global brand, like Polaroid, some Asian company will buy the brand to sell some crap. The name Moog will always sell shite regardless of quality, the form of that is really subjective – it was a pioneering forward thinking company in the 1970’s, beyond that it just makes synths with a logo people like. I ain’t saying they sell rubbish synths, they are good just not been special since reforming, retro-grade bollocks in a technology age, and they make money serving the market this bull.

      1. They’re making and selling better quality gear than a lot of companies out there…who shit on your corn flakes this morning?

    2. You might be trolling us here, but in case you’re not, that is a pretty bold statement – especially considering Moog just had its most successful year yet. There aren’t many (if any?) synths out there that can compete with the Sub37 on price/features/build quality, and it has been massively successful. The Moogerfoogers and Minifoogers have done incredibly well, and the Werkstatt did so well that they released it as an official product and then developed the Mother 32 on the same architecture. Moog is one of the pillars of the synthesizer world, and there aren’t many companies, save maybe DSI, that can claim the heritage or cultural impact that Moog can. Also, the company is 50% owned by its employees, so I doubt it’s going to be sold off any time soon. Plus, I’d be willing to bet they have some more awesome products up their sleeves.

      We’ll see how well your “edgy” synths hold up 10 years from now.

      1. While I agree with everything you just wrote, it’s also true that now there are more options for monosynths in the price range: Dominion1 (which I personally prefer) and Korg/ARP’s Odysee are just two examples. So it is true that they can’t just rely on their name anymore which is good for us customers 🙂

      2. I’d guess OP would say that heritage and cultural impact are exactly the sort of thing that comfort and blind a heavy-weight like moog until they’ve fallen behind (or more realistically, the rest of the pack begins to catch up dangerously close).

    3. Everyone is a pundit. So, you’re an expert on the economics and dynamics of the synthesizer market then? Can we leave this stuff on the Apple blogs please?

      I mean, what’s wrong with saying “Moog just isn’t doing it for me lately”? Instead, your gut = “the market”.

    4. “5 years ago they had a comfort zone with a patent in their own slice of the market.”

      What patent would that be? Genuinely curious–I didn’t think they’d had a living patent in many, many years.

        1. Other patents by Bob Moog and the original incarnation of Moog Music:

          US 3,475,623: Electronic High-pass and Low-pass Filters Employing the Base-to-Emitter Resistance of Bipolar Transistors
          US 3,800,088: Apparatus For Producing Special Audio Effects Utilizing Phase Shift Techniques
          US 3,943,456: Signal Generator for Electronic Musical Instrument, Employing Variable Rate Integrator
          US 3,974,461: Wide Dynamic Range Voltage Controlled Filter for Electronic Musical Instruments
          US 3,981,218: Preset System for Electronic Musical Instrument
          US 3,991,645: Electronic Musical Instrument with Exponential Keyboard and Voltage Controlled Oscillator
          US 3,997,863: Helically Wound Pitch-determining Element for Electronic Musical Instrument
          US 4,027,569: Keyboard for an Electronic Musical Instrument Employing Variable Capacitors
          US 4,028,979: Multiplexer for Electronic Musical Instrument
          US 4,032,720: Integrated Demultiplexing Circuit with Continuously Variable Outputs
          US 4,038,898: System for Producing Chorus Effect
          US 4,046,049: Foot Control Apparatus for Electronic Musical Instrument
          US 4,050,343: Electronic Music Synthesizer
          US 4,099,439: Electronic Musical Instrument with Dynamically Responsive Keyboard
          US 4,108,041: Phase Shifting Sound Effects Circuit
          US 4,117,413: Amplifier with Multifilter
          US 4, 145,943 Electronic Musical Instrument Capable of Generating a String Chorus Sound
          US 4,158,751: Analog Speech Encoder and Decoder
          US 4,166,197: Parametric Adjustment Circuit
          US 4,180,707: Distortion Sound Effects Circuit
          US 4,202,238: Compressor-expander For a Musical Instrument
          US 4,213,367: Monophonic Touch Sensitive Keyboard
          US 4,228,717: Electronic Musical Instrument Capable of Generating a String Chorus Sound
          US 4,280,387: Frequency Following Circuit
          US 4,282,787: Electronic Musical Instrument Simultaneously Operable in Monophonic and Polyphonic Modes
          US 4,778,951: Arrays of Resistive Elements for use in Touch Panels and for Producing Electric Fields

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