IMPORTANT SAFETY INSTRUCTIONS WARNING - WHEN USING ELECTRIC PRODUCTS, THESE BASIC PRECAUTIONS SHOULD ALWAYS BE FOLLOWED: 1. Read all the instructions before using the product. 2. Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool or the like. 3. This product, in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss.
TABLE OF CONTENTS 8 UNPACKING & INSPECTION 8 SETUP & CONNECTIONS 10 ABOUT SUBSEQUENT 25 10 FEATURES & CONTROLS 10 11 13 14 16 17 18 21 23 24 PRESETS PANEL BASICS OF SOUND SIGNAL FLOW OSCILLATORS MIXER FILTER ENVELOPES MODULATION GLOBAL PITCH CONTROLS SHIFT MODE 27 HIDDEN PARAMETERS 27 29 30 31 33 35 PITCH DUO MODE FILTER / MODULATION FILTER ENVELOPE AMPLIFIER ENVELOPE MIDI GLOBAL SETTINGS 42 MIDI OPERATIONS & CHARTS 42 43 45 45 46 TIME VALUE BASIC INFORMATION MIDI TIMING & SYNCHRONIZATION E
SUBSEQUENT 25 SUB This 2-note paraphonic analog synthesizer is ideal for both performance and sound design use. It combines the classic, hands-on control of vintage Moog instruments with a dynamic and gritty new sound engine.
UNPACKING & INSPECTION Check the contents of the shipping carton. Be careful when unpacking Subsequent 25 so that nothing is lost or damaged. Moog recommends saving the carton and all packing materials in case you ever need to ship the instrument for any reason. The Moog Subsequent 25 ships with the following items: 1. Subsequent 25 synthesizer 2. Power cord 3. Owner’s manual 4. Quickstart guide 5. Registration card What you will need: 1. A stand or table sufficient to support Subsequent 25 2.
SETUP AND CONNECTIONS (Continued) POWER Plug one end of the supplied AC cord into the standard IEC power connector on the Subsequent 25 left-side panel. Plug the other end into an AC outlet. The Subsequent 25 universal power supply will operate with 50 or 60Hz AC power sources ranging from 100 to 240 volts. Flip on the power switch located next to the power connector. NOTE: Your Subsequent 25 is an analog instrument and should be allowed at least 60 seconds to warm up before use.
ABOUT SUBSEQUENT 25 Subsequent 25 is a 2-note paraphonic analog synthesizer, built in the tradition of classic Moog synthesizers. It is housed in a rugged black steel chassis with aluminum extrusion, and finished with classic wood sidepieces. Equipped with 25 full-size, velocity-sensing keys, Subsequent 25 provides a highly expressive playing experience. The front panel delivers plenty of hands-on controls for designing, saving, and retrieving your own sounds.
PRESETS PANEL (Continued) (Bank and Patch Controls Continued) Whenever you want to go back to the original stored Preset, just select it again using the same BANK and PATCH buttons. NOTE: The buttons found in the PRESETS section also provide access to Shift mode, which allows you to access “under-the-hood” Subsequent 25 features directly from the front panel. To learn more, see page 27. SAVING PRESETS Saving Presets is a two-finger maneuver.
BASICS OF SOUND (Continued) Amplitude—the intensity of vibration—determines a sound’s loudness. A high-amplitude sound is loud, and a low-amplitude sound is soft. A vibrating source’s loudness depends on the amount of air it displaces, and that depends on how hard it vibrates. It’s difficult for anyone to identify a musical instrument simply by the pitch or loudness of the sounds it makes.
BASICS OF SOUND (Continued) The oscillators, filter, modulators, and other parts are connected in the most useful ways for producing and modifying electronic signals that result in sounds. Unlike the patchable connections made on modular synthesizers, many of the connections between the various Subsequent 25 circuits are hardwired, meaning that it is not possible to change the routing of the pathways that connect them.
OSCILLATORS Oscillator 1 and Oscillator 2 are the primary Subsequent 25 sound sources. Each Oscillator generates four basic waveforms: triangle, sawtooth, square, and pulse. The triangle wave consists of odd-numbered harmonics only. Its fundamental is very strong, and its overtones are very weak, making it less harmonically complex than other waveforms.
OSCILLATORS (Continued) HARD SYNC OSC 2 This button locks Oscillator 2’s phase to Oscillator 1, eliminating any phase differences between them. The HARD SYNC OSC 2 button illuminates when it’s engaged. When both Oscillators are in sync, every time that Oscillator 1 begins a new cycle, it forces Oscillator 2 to begin its cycle at the same instant, regardless of whether its previous cycle is complete.
OSCILLATORS (Continued) TRY THIS OSCILLATOR SYNC With the HARD SYNC OSC 2 button engaged, you can step through the harmonic series by turning Oscillator 2’s FREQUENCY knob. To begin, make sure both Oscillators are turned up in the Mixer. Turn both OCTAVE knobs to their lowest settings, and then press the HARD SYNC OSC 2 button so that it’s illuminated. Begin with the FREQUENCY knob turned fully counterclockwise and slowly turn it while listening for how the overtones change.
FILTER The number and relative strengths of a sound’s harmonic frequencies determine its tone color or timbre. Subsequent 25 contains a Filter for removing certain frequencies from audio signals. Because filtering gives you control over an audio signal’s harmonic content, it physically alters the waveform being filtered. Subsequent 25 uses the classic Moog lowpass Ladder Filter with four selectable slopes (see Hidden Parameters on page 30).
FILTER (Continued) (EG Amount Continued) The depth of the Envelope effect on the Cutoff frequency also depends a lot on the CUTOFF setting. If the setting is very high and you adjust the EG AMOUNT to raise it further, then the Envelope will have little effect. The lower the Cutoff frequency, then the more the Envelope will be able to modulate it.
ENVELOPES (Continued) AMPLITUDE RELEASE SUSTAIN DECAY ATTACK TIME ADSR As you play the Subsequent 25 keyboard, technique determines how the Envelope Generators (EG) respond, which impacts your musical expression and articulation. If you release the key before the Envelope reaches either its maximum or Sustain Level, the Release Stage immediately takes effect. When you play staccato (very short notes), the Envelope may never reach its Decay Stage, depending on its Attack setting.
ENVELOPES (Continued) (Envelope Controls Continued) AMPLIFIER ATTACK: The time required for the Mixer output’s amplitude to ascend from zero to its maximum value is controlled via this knob. Its value ranges from 1 millisecond to 10 seconds. AMPLIFIER DECAY: The time required for the Mixer output’s amplitude to descend from its maximum value to the Sustain Level is controlled via this knob. Its value ranges from 1 millisecond to 10 seconds.
MODULATION Controlling modulation (abbreviated as mod) is an important aspect of programming and playing synthesizers. When you modulate a synth’s audio signal, you’re changing something about the way it sounds. When you modulate a control signal, you’re changing something about its effect on whatever it’s controlling. Synthesizers route their control signals from modulation sources to modulation destinations.
MODULATION (Continued) PITCH AMT OSC 2 ONLY: Pressing this button applies pitch modulation to Oscillator 2 only, with no effect on Oscillator 1. The button illuminates when it’s engaged. If you engage the HARD SYNC OSC 2 button (which phase-locks the Oscillators), then modulating Oscillator 2’s frequency with an LFO or Envelope will change the Oscillator’s harmonic content but not its pitch.
MODULATION (Continued) (Try This Continued) like a chorusing effect. Turn it up more, and you’ll hear the entire waveform being canceled in rhythm with the LFO. That’s because you’re pushing the pulse wave beyond its maximum width, so that the waveform doesn’t have a chance to cycle back to its starting point. Applying LFO modulation to pulse width is most useful at rates normally used for vibrato—usually between 6 and 9Hz.
SHIFT MODE Although you can control all Subsequent 25 functions directly from the front panel, you’ll need to dig a little deeper to reach some of them. Shift mode reassigns several front-panel controls so you can use them to edit hidden parameters. Like all parameters, changes you make in Shift mode are memorized when you save your Preset. Engage Shift mode by holding down the BANK 4 button and then pressing the ACTIVATE PANEL button.
SHIFT MODE (Continued) PARAMETER: VELOCITY TO FILTER ENVELOPE DECAY/RELEASE KNOB: FILTER ENVELOPE RELEASE Changing this setting lets you specify how much velocity affects the Filter Envelope’s Decay and Release times. To lengthen the Decay and Release in response to how hard you play on the keyboard, engage Shift mode and turn up the Filter Envelope’s RELEASE knob. The knob’s range is from 0 to 100%.
SHIFT MODE (Continued) PARAMETER: FEEDBACK / EXTERNAL INPUT LEVEL KNOB: NOISE To manually control the level of signals coming from the Subsequent 25 EXT IN jack, engage Shift mode and turn the NOISE knob. When nothing is plugged into the EXT IN jack on the left side of the Subsequent 25, the FDBK / EXT IN parameter takes the output of the mixer and feeds it back into this mixer channel, resulting in a variety of distorted, sometimes chaotic, sometimes mellow qualities.
HIDDEN PARAMETERS You can access additional Subsequent 25 hidden parameters using a combination of buttons and the keyboard. First, engage Shift mode by holding down the BANK 4 button and pressing the ACTIVATE PANEL button. Next use the BANK and PATCH buttons to choose the parameter. Finally, press a key on the keyboard to set the parameter’s value. All parameter options are shown on the following pages.
HIDDEN PARAMETERS (Continued) LEGATO GLIDE Legato Glide ON You can change the default setting so that Glide is engaged only when you press a key before you release the previous key. This is called Legato Glide. Legato Glide OFF You can toggle Legato Glide on and off by engaging Shift mode and pressing the BANK 1 and PATCH 4 buttons. Pressing the low C# key turns Legato Glide on, and pressing the low C key turns Legato Glide off.
HIDDEN PARAMETERS (Continued) Gated Glide OFF Gated Glide ON GATED GLIDE The Glide function creates a gradual, gliding change in the Oscillator pitch voltage. Gated Glide causes this gradual change to be started and stopped by the keyboard Gate. When Gated Glide is off, the pitch CV will continue gliding to the target pitch at the current Glide Rate, regardless of whether or not the Subsequent 25 is playing a note.
HIDDEN PARAMETERS (Continued) 4 Pole • 24dB Per Octave 3 Pole • 18dB Per Octave 2 Pole • 12dB Per Octave 1 Pole • 6dB Per Octave FILTER / MODULATION FILTER SLOPE By default, the Subsequent 25 Filter rolloff is set to the classic Moog 24dB-per-octave slope. You can change this setting in real time as you play, making the change in slope part of your performance. To change the Filter slope, engage Shift mode and press the BANK 2 and PATCH 1 buttons.
HIDDEN PARAMETERS (Continued) LFO KB Tracking Amt + LFO KEYBOARD TRACKING AMOUNT Consistent LFO Rate To specify how much the LFO rate tracks the keyboard pitch, enter Shift mode and press the BANK 2 and PATCH 4 buttons. Pressing the low C key sets keyboard tracking to zero, meaning key pitch will have no effect on LFO rate.
HIDDEN PARAMETERS (Continued) When Filter Envelope (EG) Reset is turned on, each new note triggers the Filter Envelope to reset from zero, so its output sweeps fully from zero to maximum with each Attack. By default, with Envelope reset turned off, an Envelope Attack sweeps the Envelope output only from its current level to maximum. The effect of Filter Envelope Reset is more prominent with longer Attack and Release times.
HIDDEN PARAMETERS (Continued) KB, MIDI, or Gate CV Gate CV KB or MIDI Filter Env Decay Fast Filter Envelope Decay Slow Gate Open (Always On) FILTER ENVELOPE GATE SOURCE You can control whether the Filter Envelope is triggered by the keyboard, by an external control-voltage source, by both, or whether the Envelope is always on. Engage Shift mode and press the BANK 3, PATCH 1, and PATCH 2 buttons. Pressing the low C key leaves the Gate open and bypasses the Envelope Generator.
HIDDEN PARAMETERS (Continued) Amp. Env. Reset ON To change this function, engage Shift mode and press the BANK 4 and PATCH 2 buttons. Pressing the low C key turns Amplifier Envelope Reset off, and pressing C# turns it on. Amplifier KB Tracking Amt Keyboard Tracking OFF When Amplifier Envelope Reset is turned on, each new note triggers the Amplifier Envelope to reset from zero, so its output sweeps fully from zero to maximum with each Attack.
HIDDEN PARAMETERS (Continued) KB, MIDI, or Gate CV Gate CV KB or MIDI You can control whether the Amplifier Envelope is triggered by the keyboard, by an external controlvoltage source, by both, or whether the Envelope is always on. Engage Shift mode and press the BANK 4, PATCH 1, and PATCH 2 buttons. Pressing the low C key leaves the Gate open and bypasses the Envelope Generator. When you press C#, only the keyboard or a MIDI signal will trigger the Envelope.
HIDDEN PARAMETERS (Continued) MIDI OUT CHANNEL Channel 4 etc... Channel 3 Channel 2 Channel 1 To change the output channel, engage Shift mode and press the BANK 1, BANK 4, and PATCH 2 buttons. The next key you press will determine the output channel. Pressing the low C selects Channel 1, C# selects Channel 2, and so on, all the way up to D# above middle C, which selects Channel 16.
HIDDEN PARAMETERS (Continued) DIN MIDI In To DIN MIDI Out & USB Port DIN MIDI In To USB Port Only DIN MIDI In To DIN MIDI Out Only 14-bit Fine Resolution 7-bit Coarse Resolution MIDI Merging OFF MIDI MERGE DIN INPUT Subsequent 25 can merge MIDI data it receives with the MIDI data it transmits. You can specify the path of the merged data so that data received at either the MIDI IN jack or the USB port is passed through to the MIDI OUT jack or the USB port.
Send Note Data Only Send Data From KB, MOD & PITCH Only Send All Data Except Volume Data Use Preset Volume Level Use Panel Volume Level Filter OFF (Sends All Data) HIDDEN PARAMETERS (Continued) MIDI OUTPUT FILTER It is possible to filter the MIDI data that Subsequent 25 sends so that certain data isn’t received by external MIDI devices. To turn on the MIDI output filter, engage Shift mode and press the BANK 2, BANK 4, and PATCH 2 buttons. Press the C# key to send everything except volume data.
(Continued) USE PRESET KEYBOARD OCTAVE Use Preset KB Octave Use Panel Keyboard Octave HIDDEN PARAMETERS When loading a Preset, you can specify whether the Keyboard Octave setting uses the current panel settings, or the Keyboard Octave setting that was saved with the Preset. Engage Shift mode and press the BANK 2, BANK 4, PATCH 2, PATCH 3, and PATCH 4 buttons. Pressing the low C key turns this parameter off, and the Preset will sound using the current octave panel settings.
HIDDEN PARAMETERS (Continued) Aftertouch Amount + AFTERTOUCH SCALE Aftertouch Scale OFF This parameter controls the scaling of the aftertouch effect, and how deeply the use of aftertouch will affect the VCF Cutoff frequency. Smaller scale values will produce less effect; larger scale values will have considerably more effect. Engage Shift mode and press the BANK 2, BANK 4, PATCH 1, and PATCH 3 buttons. Pressing the low C key turns the Aftertouch Scale off, creating no effect.
HIDDEN PARAMETERS (Continued) RESTORE FACTORY PRESETS Engage Shift mode and press BANK 3, BANK 4, and PATCH 3. Press C# twice to reload the 16 Subsequent 25 factory Presets. NOTE: Invoking this command will delete any user Presets. NOTE CALIBRATION Engage Shift mode and press BANK 3, BANK 4, and PATCH 4. Press C# twice to run a full-range note calibration routine for the two Oscillators. This will ensure that the Oscillators remain in tune in every octave throughout their entire pitch range.
MIDI OPERATIONS & CHARTS MIDI CHANNEL By default, Subsequent 25 is set to receive and send MIDI on Channel 1, but it can be configured to send and receive to MIDI Channel (1-16). MIDI CONTROL CHANGE (CC) MESSAGES The tables on the following pages list all Subsequent 25 MIDI CC messages.
MIDI OPERATIONS & CHARTS (Continued) 1.
MIDI OPERATIONS & CHARTS (Continued) 1.
MIDI OPERATIONS & CHARTS (Continued) 2 - MIDI Timing and Synchronization Transmit / Export Recognize / Import MIDI Clock No Yes Song Position Pointer No No Song Select No No Start No Yes Continue No Yes Stop No Yes MIDI Time Code No No MIDI Machine Control No No MIDI Show Control No No 3 - Extensions Compatibility Transmit / Export Recognize / Import General MIDI Compatible (Level(s) / No) No No Is GM default power-up mode (Level / No) No No DLS Compatible (Level(s) /
MIDI OPERATIONS & CHARTS (Continued) CC Number (MSB) Parameter CC Number (LSB) Values Mod Wheel 1 33 MIN TO MAX (0 TO 16383) Filter Mod Amount 2 34 MIN TO MAX (0 TO 16383) LFO Rate 3 35 MIN TO MAX (0 TO 16383) Pitch Mod Amount 4 36 MIN TO MAX (0 TO 16383) Glide Rate 5 37 MIN TO MAX (0 TO 16383) Master Volume 7 39 MIN TO MAX (0 TO 16383) Noise Level 8 40 MIN TO MAX (0 TO 16383) VCO 1 Wave 9 41 MIN TO MAX (0 TO 16383) VCO 2 Frequency 12 44 -7 SEMITONES TO +7 SEMITONES (0
MIDI OPERATIONS & CHARTS (Continued) Parameter CC Number (MSB) CC Number (LSB) Values Filter EG Decay 24 56 MIN TO MAX (0 TO 16383) Filter EG Sustain 25 57 MIN TO MAX (0 TO 16383) Filter EG Release 26 58 MIN TO MAX (0 TO 16383) Filter KB Amount 27 59 MIN TO MAX (0 TO 16383) Amp EG Attack 28 60 MIN TO MAX (0 TO 16383) Amp EG Decay 29 61 MIN TO MAX (0 TO 16383) Amp EG Sustain 30 62 MIN TO MAX (0 TO 16383) Amp EG Release 31 63 MIN TO MAX (0 TO 16383) Glide Enable 65 - 0-
MIDI OPERATIONS & CHARTS (Continued) Parameter CC Number (MSB) CC Number (LSB) Values Filter EG KB Amount 79 - 0-127 Amp EG KB Amount 80 - 0-127 VCO Gate Reset 81 - 0-63 = OFF, 64-127 = ON Filter EG Reset 82 - 0-63 = OFF, 64-127 = ON Amp EG Reset 83 - 0-63 = OFF, 64-127 = ON Glide Type 85 - 43-85 = LINEAR CONSTANT TIME, 86-127 = EXPONENTIAL Filter EG Velocity to Time 86 - 0-127 Amp EG Velocity to Time 87 - 0-127 Release On/Off 88 - 0-63 = OFF, 64-127 = ON KB Octave
MIDI OPERATIONS & CHARTS (Continued) Parameter CC Number (MSB) CC Number (LSB) Values Filter EG Hold 105 - 0-127 Amp EG Hold 106 - 0-127 Pitch Bend Up Amount 107 - 0-24 (SEMITONES) Pitch Bend Down Amount 108 - 0-24 (SEMITONES) VCF Filter Poles 109 - 0 = 1 POLE, 32 = 2 POLES, 64 = 3 POLES, 96 = 4 POLES Filter EG Velocity to Amplitude 110 - 0-127 Note Priority 111 - 0-31 = LOW NOTE, 32-64 = HIGH NOTE, 64-95 = LAST NOTE.
SPECIFICATIONS TYPE: Programmable Monophonic / Duophonic Analog Synthesizer SOUND ENGINE: Analog SOUND SOURCES: 2 Variable Waveshape Oscillators, 1 Square Wave Sub Oscillator, 1 Noise Generator NUMBER OF KEYS: 25 TYPE OF KEYS: Semi-Weighted, Velocity-sensitive OTHER CONTROLLERS: Pitch Bend, Mod Wheel POLYPHONY: Monophonic, 2-Note Paraphonic LFO: Triangle, Square, Sawtooth, Ramp, Sample & Hold FILTER: Moog Ladder Filter with 6/12/18/24 per Octave Slopes PRESETS: 16 (4 Banks, 4 Patches per Bank) EFFECTS TYPES
SERVICE & SUPPORT INFORMATION MOOG’S STANDARD WARRANTY Moog warrants its products to be free of defects in materials or workmanship and conforming to specifications at the time of shipment. The Warranty Period is one year from the date of purchase. If, in Moog’s determination, it has been more than five years since the product shipped from our factory, it will be at Moog’s discretion whether or not to honor the warranty without regard to the date of the purchase.
Moog Music Is An Employee-Owned Company Located In Asheville, NC 52
