GAK REVIEW: MOOG SUBsequent 37 CV
The Moog Phatty series of synthesisers, the first of which, the Little Phatty, (the last ever synthesiser designed from the ground up by the late great Bob Moog) cemented the success of the new Moog Music Inc generation. Available in quite a few iterations and funky sometimes random limited editions during its life cycle, The Slim Phatty, the desktop and rack-mountable version of the Little Phatty, was a huge success. It sold by the absolute bucket load and brought the previously ‘exclusive’ Moog sound within the reach of the masses. It was criticised by some for its perceived lack of controls, but its audio engine for the price simply could not be argued with. The production run of the Little Phatty ended in 2013. So when Moog announced and first demonstrated its successor, the SUB 37, the synth world held its collective breath….
The specification hailed a synth that was the most powerful and flexible non-modular synthesiser Moog have ever produced, and the price point was in line more or less with the outgoing model. Built-in sequencer, 1 knob per function sound editing, improved drive circuitry, and paraphonic capabilities the list goes on. The front panel replete with ally capped knobs, classic white on black Moog facia, and lovely wooden end cheeks, it was quite frankly a beautiful object to behold. Just over 3 years later and a hell of a lot of units sold Moog refuse to rest on their laurels and have announced the Subsequent 37 and the Subsequent 37 CV, the latter globally limited to 2000 but more on that shortly. More evolution than revolution this time it represented effectively the Sub37 ‘stage ii’ rather than a hugely different synth despite its all-new nomenclature. However, all the little differences applied do add up to a very nice overall upgrade indeed.
While the Subsequent 37 retained the classic look of the outgoing model with only the name separating them visually, the Subsequent 37 CV Limited edition has an all-new look with a very attractive matt aluminium finish on the body and all new wooden inlayed alloy end cheeks. It is within these lovely new end cheeks that lies the big difference in the CV version apart from its distinctive look. On the right-hand end panel there are 6 assignable sockets on regular jacks in the form of 2 gates and 4 CVs enabling seamless integration and control over modular systems from your Eurorack to mighty 5u systems. Add to that this being a limited edition run, you have, in the longer term at least, basically a depreciation free asset.
Those that will get full use of the additional CV implementation will, I imagine, be relatively few and far between. But for those looking for this type of connectivity from an instrument rather than a faceless and soundless controller it will be an absolute boon. Plus I suspect it will find favour with people looking for something just that little bit more special, particularly those drawn to its distinctive look, and of course with the burgeoning number of collectors of these rarified Asheville incarnations. Due to its limited numbers and the broad appeal, these are unlikely to be available for very long, so the time to treat yourself is now.