AudioPilz Takes on the Moog Subharmonicon in ‘Bad Gear’ Episode

AudioPilz kicks off the video with his customary irreverence, calling the Moog Subharmonicon a relic better suited for a museum. We all know how Florian loves to lampoon the gear he reviews, and this episode is no exception. He makes it clear that this piece of techno-history, with its roots interwoven with the likes of the Trautonium and Rhythmicon, evokes a bygone era. Yet, it’s precisely this quirkiness that forms the nucleus of the Subharmonicon’s appeal. The laugh-out-loud humour never overshadows the analysis, as AudioPilz effortlessly balances pointed critique with genuine appreciation for these curious instruments of old.

Diving into the nitty-gritty of the Subharmonicon, AudioPilz presents an in-depth exploration of the synth’s engine, which hosts a sextet of oscillators. Shaped into two groups, each consists of a VCO and two subs tuned to mathematical fractions, offering a sound palette that veers from the predictably harmonic to the intriguingly absurd. Now, don’t expect any frills – Moog’s less-is-more philosophy is laid bare with no LFOs or unnecessary embellishments. The lack of modulation options might seem like a brawl without the fists, but that’s where the ingenuity of the design really shines. Appropriately for a synth of this pedigree, filtered through the prism of its ladder filter and VCA, it achieves a coarsely refined sonic canvas ripe for exploration. Moreover, AudioPilz thoroughly investigates the sequencers that govern this beast, showcasing their understated complexity yet undeniable potential for those daring enough to embrace its patterns. Only here could you experience polyrhythms so mind-bending they could twist your brain into a corkscrew.

When AudioPilz moves towards live performance, he highlights the Subharmonicon’s unique ability to produce hypnotic techno grooves, despite facing a multitude of expected barriers. It’s here, in the throes of a live jam, that its primitive sequencer and gritty sound can shine. Driving percussive clinks and clanks echo through your ears, pushing the boundaries of what’s considered music. Each jam offers a distinct flavour, from the minimalistic to the overwhelmingly chaotic. It’s a familiar scenario for anyone who’s tangled with Eurorack adventures, where the line between sonic brilliance and uncomfortable wall of noise is razor-thin. Synth enthusiasts know that just like a punk gig, sometimes simple primal soundscapes speak the loudest. AudioPilz’s exploration offers a real-time sonic vision into what this Moog beast can yield when set free into the wild. The deeper nuances of its character, whether mixed with subtle effects or layered into complex orchestrations, reveal its bare-bones beauty in converting discomfort into a crude yet beguiling experience.

In true AudioPilz fashion, the verdict on the Subharmonicon is as honest as it gets. It’s all about the juxtaposition of its historic lineage against the demands of a modern music setup. There’s a charm to its subharmonic scales and minimalist design, but don’t be fooled—this Moog isn’t for the faint-hearted. While it was a breath of fresh air upon release, over time it has become something of an acquired taste. As Florian succinctly puts it, if your idea of sound exploration is unassuming bleeps and bloops that behave with the compliance of a dodgy kebab, then the Subharmonicon may just be calling your name. Bear in mind, the thin veil separating tunefulness from discord is always present, making every session an adventure into the unknown.