Moog Matriarch Semi-Modular Analog Synthesizer and Step Sequencer
Patchable 4-note paraphonic, semi-modular analog synthesizer with a built-in sequencer, arpeggiator, stereo ladder filters, and stereo analog delay
The Moog Matriarch is a patchable 4-note paraphonic analog synthesizer with a built-in sequencer, arpeggiator, stereo modulation effects and more. The Matriarch is the latest in Moog’s semi-modular design, and allows you to create rich textures, evolving chord patterns, and fresh new sounds with no patching required.
Step It Up
The Matriarch is capable of creating mono, duo, and 4-note paraphonic soundscapes using oscillators based on the Minimoog. With an array of synthesis modules inspired by Bob Moog’s original circuit designs, the sonic possibilities are limitless.
Create intricate melodies using a 256 step sequencer with up to four notes per step. Save up to 12 patterns for live playback on stage or in the studio. Create driving bass lines, dynamic melodies and evolving arpeggios with the versatile arpeggiator.
To Patch or Not to Patch
The Matriarch uses an intuitive semi-modular design to create complex synth sounds with no patching required. However, 90 modular patch points allow for endless experimentation. Quickly patch in additional modules through the easy-access panel via the included 3.5mm patch cables.
Deliver the perfect performance using an expressive 49-note Fatar keyboard, or use the patchable velocity and aftertouch to modulate your sound. Bring your melodies to life with the pitch bend, mod wheel and glide controls—or plug in your favorite expression and sustain pedals for authentic grand piano realism.
A Collection of Classic Modules
Create everything from overdriven monophonic bass to washed-out paraphonic plucks using four analog oscillators and a dedicated full-range analog LFO with six selectable waveshapes. Transform your sound using dual analog filters based on the 904A module, ADSR envelopes based on the 911 module, and VCAs based on the 902 module.
Morph static synth patches using three bipolar voltage controlled attenuators with ring mod capability. Or take your tracks to a whole new dimension with an infinite wash of delay trails using an analog delay based on the Moog MF-104M. Put it all together with the on-board mixer based on the classic CP3 module.
- Mono, duo, and 4-note paraphonic playability
- Stereo analog delay with up to 700ms of MIDI sync-able stereo or ping/pong style repeats
- 256 step sequencer with up to 4 notes per step and 12 stored patterns (Can be decoupled from Matriarch to independently sequence external gear)
- Arpeggiator with selectable modes (Order, Forward/Backward, Random)
- Semi-modular analog synthesizer - no patching required
- 90 modular patch points for endless exploration
- Expressive 49-note Fatar keyboard with patchable velocity and aftertouch
- 4 analog oscillators with selectable waveshape and hard sync per-oscillator
- Full-range analog LFO with 6 selectable waveshapes
- Dual analog filters with parallel (HP/LP), stereo (LP/LP), and series (HP/LP) modes available
- Dual analog ADSR envelopes
- Dual analog VCAs
- 3x bipolar voltage controlled attenuators with ring mod capability
- 2x4 parallel wired unbuffered mults
- Additional simple analog LFO useful for adding modulation to delay, filters and VCAs
- 1/4“ external audio input for processing guitars, drum machines, and more through Matriarch’s analog circuits
- Stereo ¼” and 3.5 mm Eurorack level audio outputs
|Unit Weight||24 lb|
|MIDI Connections||In, Out, Through|
|Number of Keys||49|
|Connector Type||3.5 mm|
Absolutely inspiring instrument. It really forces you, no, GUIDES you into stereo field glory. The filter, envelopes, and analog delay are designed specifically for stereo, and it may take some time to get used to taking advantage of it. The delay is lovely, syncable to the arpeggiator/sequencer and/or MIDI, and flexible via the patch points. There's an enormous range of things to do with the four oscillators, too. Yes, it has the four-note paraphonic mode, but I especially love stacking all four of them in the monophonic mode for a massive sound. The mixer adds its own warmth and [gently] gritty character when you push the oscillators past the 12:00 position.
There are some quirks here:
There are huge volume differences between the HP/LP Series, LP/LP Parallel, and HP/LP Parallel modes, so you have to be careful with it when switching. I've tried both TS and TRS cable sets for the output, and yet the output of the synth is actually pretty quiet--I keep the Main Volume knob around the 3:00, almost at max, all the time, and I still have to significantly increase the input gain on my audio interface, etc., to get the sound that I need. That volume knob is utterly unusable below the 12:00 position. For comparison, my Mother-32 has plenty of volume on tap at the 12:00 position. Not sure why Moog made this design decision for the Matriarch.
At the time of this writing (Nov. 2019), the MIDI implementation is a little wonky. MIDI clock signals tend to cause the Matriarch's sequencer/arpeggiator, and the analog delay time, to freak out. To bypass this weird issue, I figured out that physically patching the arpeggiator's "Clock Out" to the delay's "Sync In" on the rear panel will get the MIDI clock to sync to the delay. I hope that this can get fixed in a future firmware update.
Minor issues aside, I'm still giving the Matriarch 5 stars, because it just has a richness and depth and character all its own. It is NOT just two Grandmothers smashed together into one package.
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