Moog Music Unveils Muse v1.4: Global Modulation Unleashed

The heart of the update is the introduction of six global modulation sources: two LFOs, two ADSR envelopes, and two random trigger generators. These are not tied to a specific timbre but are available across the entire instrument, operating monophonically with multi-trig behaviour. This means a single LFO can drive filter cutoff in opposite directions on two timbres simultaneously, or envelopes can shape parameters globally for more unified or contrasting results.

Accessing these global sources is straightforward via the new ‘gmod edit’ soft button in the mod map. When engaged, the relevant menu buttons pulse, indicating you’re editing the global versions of LFOs, envelopes, or random triggers. The interface mirrors the per-timbre controls, keeping things familiar for existing users. The only exception is that global LFOs can’t be set per timbre, reinforcing their role as shared modulation sources. This design choice keeps the workflow intuitive while greatly expanding modulation reach.

One of the headline features is the newfound ability to modulate every parameter of the diffusion delay, down to the individual character functions. The video demonstrates how to assign a global modulation source, such as LFO 1, to delay time—either for both channels together or independently. The modulation source list is context-sensitive, showing only global sources when targeting global destinations.

The presenter walks through practical examples: modulating delay time with LFO 1 creates stuttered, suspended effects in crossfade mode, while pitch shift mode yields more dramatic, time-warped results. There’s also a demonstration of using global LFO 2 to modulate the filter cutoff on the wet delay signal, and global random triggers to vary diffusion amount per note. These examples show how the update enables intricate, evolving textures and dynamic effects that would have been laborious or impossible before.

Global modulation isn’t just about more sources—it’s about new performance workflows. The video highlights how users can assign global LFOs, envelopes, or random triggers to parameters like filter cutoff, diffusion amount, and delay mix, opening up a world of expressive possibilities. Assigning global LFO 2 to the character knob’s filter cutoff, for example, results in shifting high-pass and low-pass sweeps on the delay’s wet signal, all modulated by a user waveform.

The workflow is designed for hands-on control: entering global mod edit mode, assigning sources, and tweaking modulation amounts all happen from the panel, with clear visual feedback. The presenter also demonstrates stacking modulations—using random triggers for diffusion amount and LFOs for delay mix—resulting in patches where every note can sound different, with evolving delay and filter characteristics.

Performance tools like aftertouch are brought into the mix, controlling delay feedback for dynamic, touch-sensitive effects. The update encourages experimentation, letting users layer modulations and performance gestures for complex, responsive soundscapes. It’s a workflow that feels closer to modular patching, but with the immediacy of a dedicated instrument.

The video wraps up by emphasizing just how much the new global modulation sources expand Muse’s sonic palette. By combining global and per-timbre mod sources, users can craft patches of considerable complexity, with intricate modulation routings and evolving textures. The presenter notes that the examples shown only scratch the surface—there’s ample room for deeper exploration.

For patchers and sound designers, this update represents a substantial leap in creative potential. The ability to modulate every delay parameter, stack global and local mod sources, and integrate performance controls means Muse can now serve as the heart of more ambitious, modular-style setups. Moog’s approach here is both powerful and approachable, making advanced modulation accessible without sacrificing hands-on immediacy.