Just as recent electronic music trends have brought back taste in classic synths, they’ve resurrected classic effects brands, too. So it’s worth taking note of how Eventide is part of the new flagship Moog One.
It seems this has been brewing some time. When it comes to music manufacturers who began in New York and New Jersey, there’s Moog and there’s Eventide. (Well, and Electro-Harmonix, or Steinway if you want to get creative.) Founder Richard Factor: “I knew Moog before he was Moog.” That story, in Richard’s booming voice:
Eventide Engineer Tony Agnello also had a running friendship with Bob, say the manufacturers. This project brought the current Eventide team together with Cyril Lance, chief engineer at Moog, and his development group.
So, what do you get in the Moog One package?
There are five effects:
Those are the latest algorithms, as you’d find in the Space and H9 pedals, as well as the H8000 and H9000 hardware. You also get this nice display with tons of parameter controls.
These effects are available on the master bus. (The Moog One also has in-line effects for each synth.) So the reverbs can sit on those sends – the Moog One’s dual mono sends with stereo return, or single stereo send with stereo return.
Moog engineering sends along some more clarification about how effects assignment works:
Eventides are locked to the master bus and are send effects only, so the WET is always at 100% and you have control over the send to that effect. You can drop the input signal independent of the send level by using the front panel VCA control if you want less dry.
The CTL 1 and CTL 2 on the insert effects per timbre are modular and can be changed to control different specific parameters per insert effect, these can be set in the insert effect more page.
Makes loads of sense – and it says something about the Moog One that things are set up the way you’d most likely want.
If you spend a lot of time with Eventide effects, you’ll hear a lot of Eventide effects in productions. So integrating them with a synth – meaning signal path and routing are available via integrated controls (plus you need fewer cables) – that makes sense. And Moog need to sell users on the Moog One’s higher price point – it’s really a kind of studio in a keyboard. It’s just that unlike digital workstations of recent decades, which buried a lot of the actual synthesis, this one puts the synthesis at the front.
More on the Moog One: