Moog Messenger: The Future of Analog with AndertonsKeyboardDept

Gather round, synth fans, AndertonsKeyboardDept has thrown us a bone with an exclusive first look at the Moog Messenger, a synth that’s creating quite a buzz even before it’s officially in stores. Jack Duxbury, the intrepid presenter, along with cameraman Oz Powell, give us a tour of this new analog synth marvel. They start with some ear-tingling presets that show off the Messenger’s range right from the get-go. Jack jokes about venturing through the presets, sharing that initial wow-factor experience where he enjoys the soundscapes in C minor, D minor, and G minor, making it clear that this synth already packs a punch. Throughout the opening segment, it’s obvious that the Moog Messenger is as much about immediate sonic gratification as it is about tech specs.

Oh boy, if oscillators are your jam, the Moog Messenger is serving up a spread that’ll make you double-dip. Jack dives into the core sound of the oscillators, explaining the monophonic nature – where one note reigns supreme at a time. With two oscillators to play with, each delivering their own unique vibe, there’s more than enough timbre on tap to craft some face-melting leads and thick basses. This section is a deep dive into wave shaping, where Jack cleverly shows how you can transition smoothly between different wave shapes, introducing a versatile sub-oscillator for that added depth. And just when you think it can’t get any richer, he cranks up the detuning for some phat sonic layers. Not one to bury the lead, Jack describes the synthesis process as a mind-bending act, comparing it to two oscillators ‘beating each other off,’ showing off the chaotic beauty of FM modulation without adding filters or effects. The Moog Messenger is already proving its street cred, offering a vibrant buffet of sounds fresh out the box.

Jack moves into filter territory next, exploring the infamous Moog ladder filters, which are as creamy and rich as a Chicago deep-dish. He takes us on a journey through low-pass, band-pass, and high-pass filters, demonstrating how each can contour the sound to taste. But here’s where the Moog Messenger pulls out its magic trick – the Res Bass button. This nifty feature is a saving grace for all bass heads, ensuring your low end doesn’t disappear into thin air even with funky resonance settings. You can practically hear Jack’s excitement as he flips this switch, bringing back the thumping bass that can otherwise get muddy. The section highlights how the Messenger doesn’t just deliver those classic Moog vibes but also thoughtfully addresses some common critiques of older models. Keyboard tracking and other modulation options round out this segment, showing the Messenger’s dedication to offering a complete, fat sound palette.

Shifting gears into modulation madness, Jack continues his odyssey with the Moog Messenger by unpacking its modulation and pitch wheel capabilities. It’s not just a simple knob-twiddle—ahem, these wheels are the hands of fate in your synthesis journey. He showcases how the LFOs can go from subtle pulses to frantic throbbing, each tweak exploring new sonic landscapes. Jack enthusiastically highlights how resetting the LFO with each keystroke is a godsend for bass mod enthusiasts, keeping the synth’s groove tight like a snare drum under a skyscraper. He may skip the sequencer, claiming it’s not his forte, but assures that the hardware’s quality speaks for itself. With robust metal casings and a super posh keyboard feel, you’re getting something heavyweight for $699. And then there are the inputs and outputs galore: USB-C, CV outputs, and more. It’s connectivity that keeps the Moog Messenger relevant in a studio setup, making it versatile for any beatmaker’s rig.