Moog Source

Very easy to use. I don't find the membrane layout a problem. Easy to play on stage as you only have one pair of hands anyway. Everything is clearly visible. Don't know how the presets sound as I got mine in a very sorry state without anything working. Editing patches is very easy and it is a joy to play. The keyboard has a great feel and being able to save your sounds is a real bonus. Try editing a Korg MS-20 on a dark stage in the middle of a gig!!

Typical mono synth features but where it lacks the 3rd oscilator from the mini, it makes up for it in additional features like sync, arpegiator, and sample and hold. On board sequencer is real time and to be honest I have not had the best results from it but the features it does have work so well. The portamento is so musical and it can go from that smooth moog sound to a very punchy dance bass line. very responsive and very playable. The lfo goes so fast, it could take off!
I have had synths with more features but none work as well as this. Less is more in this case.

Well, I have to say that it is one great sounding synth. I have had a few synths in my time. This one clearly stands out from the rest. It is the only analogue synth I have had where I have said, I want that sound and the source does it perfectly. It has a slightly different sound from a mini but it is typically moog. The filter is powerful and smooth. The EG is great. I have never been lucky enough to own a mini but I am quite happy with what I have got. Nothing has come close. LFO brilliant. Cuts through the mix like nobodys business. Warm tone. Try sticking through a tape echo and it takes it to the next level. Bass is sooooo good and punchy. I hope that I will keep this one for ever

Unforunately this particular synth was bought in a bit of a state. I brought it back from the dead but have had troubles. I believe the power supply can provide a lot of problems for these synths. The words, digital and early 80's dont go together that well in my opinion, but I have just found someone who is confident that they can restore it to former glory. I am prepared to do whatever it takes to get this back to top condition as it is worth it. If looked after, these synths should not cause too many problems. I dont think that I would risk it for gigs. If I was to do that, I would get another one!

Well, until now, I had lost hope but there are people who are able to fix this. I am from England and I have had difficulty getting people to fix it but I have just found someone and it will be brought back to its former glory. One person said that it is not worth fixing and he wouldnt go near it. Shame on him!!

Fantastic. One of the best sounding and best looking synths ever made.
No other synth I have had comes close. I love the sound, the looks, the big MOOG name on the back. Forget the digital emulations they just dont cut it. If it had a 3rd oscilator, I wouldn't lust after a mini. It has inspired many tracks I have written. Even when it was broken I made an entire track round it where the brief was that it was the only synth I could use after drums and vocal samples. It was versitile enough to do that.
To anyone out there thinking of getting one. You should!
I will never sell mine though!

I think it's very easy to use if you know the basics of analog subtractive synthesis. Every parameter is marked out with its own membrane button. Just touch and twirl the data knob. Away you go! Not as easy as knob-per-function but if that's what you're looking for then maybe you want a MiniMoog instead. No idea what the original presets sounded like. I think those were written over on mine many years ago.

The Source is a one-voice monophonic synthesizer with:
- 2 voltage-controlled oscillators (the same Moog oscillators in the
last MiniMoog models) with triangle/saw/square waves, pulse-width modulation, & oscillator sync
- a voltage-controlled 24dB analog low pass filter (the Moog filter) that will overdrive if pushed
- a voltage-controlled amplifier with two ADSR EG's (one for the VCF and the other for the VCA)
- an analog noise generator
- one analog low frequency oscillator (will module VCO's or VCF - though NOT pulse width) with triangle/square/sample-and-hold waveforms and an auto-trigger feature
- CV's in/out for VCO & VCF
- mod/pitch wheels
- octave switch (either 0 or 1)
- programmable glide
- filter keyboard tracking (preset not fully programmable)

Sounds pretty typical of an analog monosynth for that time. This is what sets the Source apart:
- a 16-step sequencer (w/memory for two sequences)
- an arpeggiator
- 16-preset memory (all RAM)
- cassette interface for up/downloading patches

Unfortunately the arpeggiator on mine is kinda screwy so I can't attest to its ease of use. The sequencer is not stepped so you have to play that sequence with an external click to get it right. Of course, with the CV ins you could use an external analog sequencer of MIDI sequencer with a CV-to-MIDI converter. There is a company who retrofits Sources with an upgrade to 256-preset memory and MIDI. I'd love to have it just for the memory! As far as I remember when the Source launched it was only one of two fully-programmable analog monosynths around (the other being the Oberheim OB-1.)

It's a Moog. So it sounds remarkable. That sounds really stoic. I've owned both an MG-1 and Rogue and I was completely blown away by the Source. Those other two synths sounded great too but the Source has a much larger sound, a greated presence. Almost too big a sound. It will really dominate a mix if you're not careful.

I use the Source for leads, bass, noise & drones in two indie rock bands (Vast Massive Satellite & The World Leaders) and in my Berlin School-inspired classic electronica project Great Unwashed Luminaries.

PROS:
1. I can make this synth sound amazingly close to a MiniMoog. My preset 2 sounds just like Geddy Lee's synth solos on "Xanadu" and "Tom Sawyer;" I've been able to dial up all kinds of classic synth tones with it and have fooled many thinking it HAD to be a Mini.
2. Some would say the lack of knob-perfunction is a real problem but the Source is laid out so well that it only adds maybe a second or two to your editing time. There are membrane buttons for every parameter (no menu diving) so if you want to tweak VCF cutoff you touch cutoff and twist the data knob. And that one big knob is very pleasant to play with. It feels like it is on ballbearings so it is super-smooth to twist. And the great thing is that although there is some digital control involved inside (thanks to the presets) this data wheel is 100% analog (like the new Little Phatty) so you can smoothly automate filter sweeps without any stepping and because of the analog resolution of the dial it does slower sweeps very clean. The knob does prevent really fast sweeps but you could probably get an expression pedal for that.
3. The presets! I never realized before how much time I'd spend during a set reading from charts to reprogram my MG-1 or Rogue. Now it's instantaneous.
4. The octave switch allows the Source to go very deep into bass land. And it certainly does that! Others say the Source comes closest to nailing that growling Taurus bass sound and I'd say they are right!
5. Individual wave selection and octave settings for VCO's 1 & 2. The MG-1 had it; the Rogue didn't. The MG-1 however didn't have the same VCO range for both oscillators (VCO 1 = -2, -1, 0; VCO 2 = -1, 0, +1.)
6. The auto-trigger function is useful for repeating bass lines and there is a clock input on the back so it will sync with a drum machine.
7. The tuning on the Source is quite stable. I gigged with it last week and other than a small tweak once during the set it was pretty solid.
8. It's very quiet. The MG-1 and Rogue have a fair amount of oscillator bleed even when the filter is 100% closed. Not the Source.

CONS:
1. My Source is very picky when it comes to power supply. I have to unground the power cable just so you can get any audio out of it.
2. I don't like the Moog pitch wheel. It doesn't have spring action so it's hard for me to make clean pitch bends from up through the center detent to down. That may come with practice.
3. My arpeggiator doesn't work right.

I find this synth to be very reliable. It holds tune well and thanks to the presets it is easy to change tones throughout live sets. I do gig locally with it but when I go on tour later this year I will leave it at home. I want to keep this instrument in as good a shape as I can for as long as I can. So the Bass Station Keyboard will go with me instead.

There are some who have had trouble with their membrane panels going out. If you treat them nicely (you need only touch the panels lightly) then they should last you.

Moog doesn't support the old instruments. I think they'd prefer we just buy the new ones. But there are a handful of Moog folks on the vintage synth boards who are very helpful. And there is a community of folks dedicated to preserving these instruments (such as Kevin Lightner at Synthfool) and they are also fountains of knowledge. You can still find techs who know how to work on the old-school analogs but those are becoming fewer every year.

The MiniMoog to me is still the epitome of analog monosynths but the Source has cured my desire for one, at least for the moment! It is a fairly inexpensive way to step into the MiniMoog quality sound without paying $2500 to do so. The Source is still somewhat undervalued on the second-hand market I think largely because of the lack of a knobby interface. But at some point that will change so you might want to spring for one sooner rather than later.

The only competition you might run into with the Source would be Moog Music's Little Phatty. Those generally run a few hundred more than a good condition source will. The LP will give you three more knobs, 84 more presets, and MIDI. But the LP doesn't have a noise generator, sequencer or arpeggiator. And there is an ongoing argument among synth anoraks as to how much like the vintage Moogs the new Moogs sound (some they are similar, many more say no.)

The Moog Source is very easy to use. Some people don't get it, they complain that it lacks knobs, but this is a very ergonomic and fast way to program: you keep your left hand on the wonderful smooth-spinning, nicely weighted knob (such fine quality that would be far too expensive for a multi-knobbed synth to include) and your right hand jumps around pressing the buttons to select what the knob controls. It's great really! You don't waste time moving your hand off a knob on to another, so its actually faster. And there are NO multiple levels of menus or anything. each button does one thing (for the controls).

Its a mono synth, but it does have two envelopes, one for the moog ladder filter, and one for the amplitude.. which is more than you can say for some synths (like junos). So that allows some flexibility that is nice. It has two phat moog VCO oscillators plus a true analog noise generator. And of course the third VCO is an LFO that has variable shape. Basically it IS an updated minimoog, for less than half the price.. woohoo!!!! You can easily midi it up with a 100$ midi to CV converter.

What it does... it does very well, and nothing else can do it (except maybe a minimoog). Certainly no virtual analog can even come close, and neither can other non-moog real analogs. nothing sounds the same, and it is truly a great sound. That's what it comes down to folks!

Built like a tank, and relatively easy to service. However, these are quite old, and obviously they will never make them again, so if you have one, please treat it with respect!

If you can find a technician who deals with vintage synths, this one is relatively easy and cheap to service.

As I've said before. This synth is a much needed sound for those who do electronic music, hip-hop, reggae, funk, electro, etc... And the Moog sound with the copyright filter is really warm and phat like no other. The new Moog Voyager doesn't even hold a candle to this and other vintage Moogs though as far as quality and character of tone. Try one for yourself and see. Overall, the Moog Source is a steal of a deal as bascially you are getting a Minimoog (and a VERY funky looking one) at less than half the price. Grab 'em while you still can!

It took just an hour to familiarize myself completely with the Source's features. People who complain about the lack of knobs are missing the point. The membrane panel is instantaneous to use and the single optical control knob feels nice and heavy with a free spinning action that picks up the current parameter smoothly when changing values. Its worth bearing in mind that multiple knobs/sliders on synths of a similar age often crackle and need cleaning - something you don't have to worry about with the Source's single sturdy optical controller. As a user interface the Source is about as uncluttered and easy as you could hope for.

The Source doesn't have a wealth of features. But that's probably not why you'd buy one. What it does do, it does superbly.

Some of the best sounds I've ever created have been made with the Source. The filter is beautifully warm and its almost impossible to make a patch that grates or sounds tonally wrong (something I've found many softsynths can do far too easily). I've tried to recreate my Source sounds using Reason and my laptop but its just not possible - the filters on Reason don't have the same harmonic resonance. The Source's 'Glide' is stunningly musical and capable of perfect Autobahnesque 'neeeoooowwws' (Reason's 'portamento' sounds linear and lifeless by contrast).
Despite the lack of velocity/aftertouch and the rather clunky keys the Source is the tops when it comes to classic electro bass and fat detuned leads!

I wouldn't really want to take it gigging (but then I don't think I'd like to take any 25 year old vintage synth to a gig where it might get covered in beer or dropped in transit). You can back up your sounds to an mp3 file, which is handy.

Got mine repaired by James Walker at www.synthrepairservices.com. He did a great job replacing a broken wood end panel and converting the unit for UK power. You can buy replacement membranes on e-Bay should you need one.

I got mine for #470 including delivery from the US. I was curious how the legendary Moog would compare to DSP analogue emulation and softsynths. I have to say in this case the 'analogue vs digital' argument isn't just snobbish elitism - the Source sounds great (though strangely the presets aren't impressive and you'll certainly get better sounds yourself after an hour's play). Its the business for truly warm oozing electro bass and those huge Numanoid detuned leads. Will never sell it!

this moog has to be one of the most misunderstood synths of all time, as evidenced by the previous reviewers opinion. how anyone could this it is of a bad design is beyond me. sure its knobless, who cares? to me the patch memory more than makes up for that "shortcoming", though i dont consider it to be a shortcoming at all. perhaps if it were hard to use the story would be different, but it is drop dead retarded easy to use, and can be programmed just as fast as a fully dedicated knobby synth. its membrane buttons are single function, and in the same positions that the knobs would be, so instead of grabbing a knob and turning it, you push the button of the parameter you wish to alter, and turn the single large knob. thats it. its different, not bad. the feel of the weighted, free spinning data wheel has nothing in common with the cheap plastic wheels in use today. it feels big and sturdy and precise. its easy to grab, and a hard spin will keep it turning for a few seconds. a lot of fun to play with :) a 9 because yes, knobs would have been a bit better, but the sound and feel of this synth makes their absence irrelevant.

its an analog monosynth built in 1980, its everything you would expect. i wish the key triggering worked roland style, where you can hold any key and hit another and the note will switch between the two. the source only works that way from high note to low, if you go low to high the low note does not retrigger when the high key is released. it demands a bit more attention when busting out the fatty basslines this thing does so well. i also wish that that lfo would have been a regular oscillator as well, and that its depth could be saved.. its hardwired to the mod wheel, so the lfo basically acts like a normal non patch memory synths lfo depth knob.. a bit weird.

i wish the scale went higher than 10, this is the best sounding analog ive ever used. as far as i am concerned there are only 3 moogs that really have the balls to justify the inflated prices and hype that anything bearing the logo comes with- the minimoog, for obvious reasons. the memorymoog- too expensive and rare to really be considered. and the source- the misfit child of the moog family. none of the other smaller moogs have the same punch in the face ultra organic pure funk of these 3, and of them all the source is my favorite.. just because it looks so freaking cool and gets no respect for its lack of knobs. the source is the best sounding analog synth i have ever used. its the only synth ive ever heard aside from a mini that will sound incredible no matter what you have it doing. that is cliche i know, but its true. the source is alive. it is the ultimate bassline synth, period. nothing else comes close. add the kenton midi, which adds 256 memory locations, midi obviously, and an easily syncable arpeggiator, and you will never leave home again. its that good.

ive heard of problems with the membrane buttons, and with wiring contacts inside breaking causing all sorts of weirdness, but ive never experienced any of them. technology transplant is now offering complete membrane replacements for 80 bucks so that issue is finally resolved, and the wiring is an easy fix. it takes 10 minutes or so to warm up, and needs to be fine tuned every now and then. its a 25 year old analog, what do you expect.

na

ive never loved a synth like i do my source. its the real deal. for analog mono sounds you can not do any better than this. the sound is perfection, everything else is irrelevant. i couldnt recommend it more.

Easy to use, once you've got the oscillators in tune, and found a nice sound. Keyboard feels cheap.
I used this at gigs but its all-digital control holds you so much to the programmed sounds that its more like playing a 'sampling keyboard pretending to be a Moog'
Sure the presets are nice, they sit on a Moog sound base, but programming - lets not go there just now....

As lead-line synths, or for arpeggios, fine.
The thing is, Moog seemed to miss the point with the design of this one. Having a membrane-with-alpha-dial interface is fine, but trying to relate the digital value to a control knob position.....
Also, the small business of one-at-a-time editing slows the sound development right down.

Please Moog, this works with big polysynths, not with little monosynths.

The Moog sound. Say no more.

Moog's achilles heal of course. Oscillator tuning. PITA. Sorry but that's the way it is. I sold mine to a very famous musician - apparently the little brute is still in use to this day - and bought an OSCar instead. not the same sound, but just altogether nicer to use.

NA

Moogs are Moogs. Nothing else sounds like them, but often the competition beats them another way.
If you're after a Moog to mess with, avoid this one.

Very easy, basic analog controls with good access to excellent sounds. More options on some of it's peers like the Pro One, but all the basics are here. Only proviso is the data input wheel in lieu of actualy knobs, almost as quick as having them..

Standard mono features plus some key advantages:
-One of the only monos with patch memory, very few have this-huge advantage
-CV/gate inputs make it easy to midi
-Compact size
-Data entry wheel shows numeric increments, easier to fine tune parameters

Those who disparage it are being silly, i guess they have a need to feel authoritative. I've owned many/nearly all Moogs, and the reality's that the Source, Prodigy and Rogue all give you most of that classic sound. All of these in a mix could fool you re: Mini, fundamentally the sound's are more similar than different whilst rendering advantages/quirks regarding each. Tiresome to hear those firmly inside the box recite the usual praises of the Mini to the exclusion of all else, that the Prodigy's not as good because..all excellent. Micro and Multimoog are good; these are the only two monos that i'd say don't quite have most of the classic warm Moog signature, though they sound good and are the most expressive through the aftertouch keyboards that are unusual.

Good, though I suggest gigging with something else, as with all older keys.

Fairly simple architecture, as with most monophonics

Excellent Moog sounds on a budget, as also heard with the Prodigy and Rogue; all are excellent value. Easy to create good Moog sounds..

I bought mines in a sorry state. Didn't work, wood smashed and black marker pen scribbled everywhere. Took 3 years to get the relevant parts and a joiner to replace the wood. No presets so all the sounds are mines. Editting is simple and I love the big wheel for inputing the values. I've got a photocopied manual but never use it.

Monophonic with 2 VCO's. the keyboard is awful to play and there's a slight delay for the sound to play although this might be due to the repair. It's fine when playing from a satellite keyboard using Kentons Prosolo and the filter mod. The onboard sequencers (x2) are limited but excellent for arpeggio type riffs. As mentioned earlier Kenton have convertors and other mods for this synth.

Its got the typical Moog sound but not as good as the mini. The basic LFO can be limiting but for lead and basses its the biz. I love the mellow square or pulse type sounds especially when using the mod wheel. The sound nuances can alter considerably when applying the two wheels. The noise generator is basic and quite frankly never used. For harsh distorted or self modulating leads this thing can scream. Better than the other moog mono's (not the mini). No velocity nor aftertouch but this thing was at the forefront of technology in 1981.

I've never gigged it and wouldn,t. After being initially repaired it has never let me down. If it dies then I'll make damned sure I get it fixed as I'll never get another.

As stated before I bought mine non functioning with external damage in the full knowledge it may never be repairable. But there are companies and anoraks out there who can fix them. Mine was repaired 3 years after I bought it for a very reasonable price. The external damage to the wood was repalced / repaired by a highly skilled joiner who done an excellent job. Although the wood is different it actually looks better. Moog in 1994 (when repaired) didn't exist an any form and specialist were few and far between. Still there are more now but I bet they charge an arm and a leg!

I had always wanted a Moog Source as it was simply one of the coolest synths ever made. The colours used are so ARP as opposed to typical Moog. It's a synth that newer virtual synths couldn't hope to emulate and just proves newer isn't always better. It may be limited in its capabilities but what a sound it produces. If it were stolen then I'd be gutted, truly gutted! I've got a large collection of analogue synths and not for financial gain. I bought mine at a time when analogue synths were cheap compared to digital types. I've got a few reviews on this website. What I love about this synth is its unique Moog sound that even my Jupiter 6 can't emulate. I only wish it had Midi but the Prosolo's good enough. It's now an essential part of my sound and will continue to use it. It's such a pity that machines like this are so desirable for investors, most budding young musicians will never get the opportunity to experience a Moog. I know for certain that bargains of the magnitude will never be seen again. The investors / horder types have made sure of that!

A Joke to use. Membrane surface/buttons are just a push and dial. The manual is lite reading. Good thing there is 16 memory locations. With a Kenton retrofit you can get more. The Source works great w/ my Kenton Pro 4 but the Source has no CV filter in. Kenton make the mod though.

The Source was made, I believe, for those who could not afford the Minimoog. It is so basic, probably the most rudimentary featured synth I've ever encountered. Oscillators, filter, 1 LFO and amp and filter envelopes. That's really it. Oh. Also a mixer w/ a noise source.

I give this a 10 because its so snappy (envelopes) and nothing but a Moog can sound like this. It's not as phat as the 3 VCO Minimoog and doesnt have the discrete warm sound but has its own character that makes it a worthy addition to your studio. Clause Larsen of Leaether Strip uses this machine as bass and if any of you are into industrial music you know that infamous Leaether Strip bass! This is it. Hard to believe it's only 2 VCO's. High register leads are warm and smooth. Overall a, too, simple but great monosynth (even though its a budget monosynth)

No problems w/ mine thus far. If so that synth tech needs money too!

Perhaps Kenton can help you out if you get the retrofit but other than that you can send an email to Bob Moog at Big Briar...

Amazing bass machine. One of Moog's best (Minimoog being #1). If your looking for phat punchy bass and have under $1000 to spend buy this! Don't waste your time w/ a fake thin sounding VA or even a steril Waldorf Pulse (its probably DCO..) or Novation basstation. The Source runs circles around those cheapo synths.

Since this was my first synth ever I could look at this as the only synth I've ever used. Therefore it's controls weren't as tricky to me as it might be to someone familiar with synths. Everything is edited via an incremental dial with a nice little led. I've found this very useful, especially since I can just remember what number the parameter is on. Since I came into this with no knowledge of anything electronic (I still don't know how to use MIDI even) I'm still learning how to edit. But I've already gotten some nice sounds out of it. The manual helps a lot as far as understanding what everything does, but no matter what you own, you have to experiment to find what you like.

This is a monophonic synth. There are no built in effects. It has a slot so you can store patches onto a standard cassette tape although I haven't checked that out yet. You can get a midi upgrade too, mine doesn't have one in it. The sequencer is pretty good, it's just tough to program on the fly because it's in real-time. So you kinda have to run a few practice drills before you record the sequence. It goes up to 88 notes. It also has an arpeggiator which is fun for robotic noises or just looping the same little riff at varying speeds. It has a pitch wheel that will bend the pitch when the oscillators aren't synced and will do manual filter sweeps when they are. The mod wheel controls...MODULATION! You can get good vibrato or beeping noises depending on which waveform you chose. Handy octave changing buttons. Easy to tune with just a turn of the tuning button and then tuning up the oscillators with the incremental dial. Memorizes up to 16 different patches for instant recall. I love this thing.

This isn't the kind of synth you use to match real life instruments. I love the killer leads on this thing. And the bass is very fat. I played around with some of the factory presets like harpsichord, but they really don't sound real. You can recognize what it's suppose to be. But synths are for synth noises these days. I'm totally into the cheesy Moog noises in everyway.

I've heard a lot about the touchpads going to shit, when that happens it's bye bye Source. It's already 20 years old. I don't use it on stage yet, but I will soon. I'll probably end up buying at least one more of these synths. As for now, no backup, I'll just put a "what the hell, it runs" sticker on it.

Moog is no longer around.

This is my first synthesizer ever. I've been playing guitar and bass for about 6 years and I've been into The Rentals for equally as long. The Rentals use a Moog Source, so I had to get one. I love it. I worship it. It's the bomb. If you don't want one, you wouldn't be reading this. I'd suggest you pick one up if you can. Ebay will rape you on the prices. The current going rate is about $650. Keep that in mind. Buy it, Learn it, Love it.

The presets (or at least what was on it when I bought it) are pretty lame, but presets usually are. Editing is fairly simple, but lacks the flexibility of knobs or sliders. Never seen the manual, but if you want to send me a copy, by all means do so.

Monophonic, low note priority. Keyboard action is decent for a synth. No fx, no MIDI, although retrofits are available. The on-board note sequencer is a total pain and practically useless. If it were step-entry instead of realtime, it would have been at least somewhat useful. The PATCH sequencer is pretty cool, though. It allows you record patch changes, so you can get some wacky wavetable-type sounds if you cycle through really fast. The tempo is set by the LFO, which limits usefulness somewhat.

Not a synth for copying other instruments, unless you're trying to sound like a different Moog. It's got the classic 24 db/oct filter, and can make some real fat bass and lead sounds. The membrane panel limits expressiveness somewhat, since you can only alter one parameter at a time. It's got the standard pitch/mod wheels, and those can go a long way for changing the sound in real time while playing.

Mostly reliable. I've had it overheat before, but only once and under unusualy conditions. I understand the membrane panel is impossible to replace. I wouldn't gig without something as a backup.

not applicable.

Considering what I paid for it, it was an insane deal. If lost or stolen, I'd probably replace it with a Prodigy instead. I really don't care for the membrane panel interface. I'm considering getting the Kenton filter CV input, which would definitely make it a bit more useful. I love the oscillator sync sound, especially with pitchbend. You could probably get some Jan Hammer-type guitar tones with this feature.

Editing patches is simple - just punch the appropriate parameter button on the touch panel, and twirl the data wheel. Not as intuitive as a bunch of knobs, but much better than a tiny LCD and layer upon layer of menus. Incidentally, the weighted data wheel is kind of cool - give it a spin and it keeps on going. Good for smoooooth filter sweeps.

Accessing the extended functions (sequencer, arpeggiator, etc), on the other hand, is rather clumsy.

Monophonic. Keyboard is typical synth-action: you're not gonna be playing Bach on this thing anyway, so don't worry about it.

It's got 16 patch memories, which is anemic by today's standards but is nice to have in a Moog.

The built-in sequencer can record two separate sequences with a total of 44 notes. It records in realtime, and it's very difficult to get it to loop evenly, making the sequencer pretty useless.

The arpeggiator, on the other hand, is lots of fun. It's actually more like a step-sequencer than a typical arpeggiator. You can key in any 16th-note pattern, up to 24 notes in length, and it'll loop it. The only limitation is that playing the first note a second time denotes the end of the arpeggio. Kind of dumb, but that's how it is.

No MIDI, of course, but it does have CV and S-TRIG (the same jacks serve as both ins and outs). (Most analogues use V-TRIG; you will need a special cable or convertor to drive the Source from most CV systems. See http://machines.hyperreal.org/manufacturers/Moog/schematics/moog.trigger-convert.jpg.)

I turn into Stevie Wonder every time I play this thing. The sounds sit nicely in the mix and overall it's very musical.

The voice architecture isn't terribly sophisticated, so your sonic palette is admittedly kind of limited, but it's got a nice warm sound. Very nice funk bass and bright leads.

The oscillator sync sounds amazing. When sync is turned on, moving the pitch wheel only bends the second oscillator, producing a swirl of buzzy harmonics. Awesome feature!

The filter is buttery-smooth. There are two ADSRs: one for the VCF, one for the VCA.

The LFO has triangle and square waveforms and can modulate both the VCF and VCOs. Unfortunately, VCO mod affects both oscillators even with sync on, so you can't use it to automatically sweep the second oscillator as described above.

Bottom line: It's not a machine for complex programming, but it holds its own as a source of warm bass and bread-and-butter analog. I'm giving it an 8 based on the warmth of its sound and NOT on its sonic range.

Mine's never failed me. Seems to be pretty solid.

Moog's been defunct for years now. If you can't find a repair person, email me and I'll try to recommend someone in your area.

Given the absurd prices of everything Moog these days, I don't think I'd buy another one if it got stolen. If you find it for $400 or less, grab it, but don't pay E*Bay prices.

I find myself using it mostly for basslines, funky leads, and bleepy sequences. I haven't yet built the V-TRIG > S-TRIG convertor circuit, so I haven't been able to sequence it yet. I'm sure it will become a more vital part of my studio once I get around to this. There are MIDI retrofits available but they are mad expensive.

Not a vital organ, but a good auxiliary synth.

Let's get this straight from the outset - THIS IS NO MOOG. I own a Prodigy and Minimoog, and this thing sounds like neither. Its absurd 80s method of accessing parameters is so unrewarding and lacking in spontaneity as to make it the laughing stock of the range. If you want to tweak in real time, don't go near this thing.

Monophonic with no FX, it has a pretty simple design with a pretty tatty keyboard attached.

It can vaguely imitate some Moog sounds - the middle range stuff is the most succesful. The filters aren't too bad, but what F*****G use are they if you can't tweak them properly in realtime alongside the resonance etc?!!. Its pretty poor to play and doesn't have the sharpest EG.

It is actually very dependable. Its never broken down and I use it as a backup to the REAL thing on stage.

I've been using synths for about 16 years now, and I have to say this is the biggest disappointment. It looks quite cool with its bright colours and neat surface layout but underneath the tricks don't serve the magician. OK as a backup, but frankly my SY99 and Reaktor do better Moog imitations than this thing. I may pay to get it stolen.

The Source is a monophonic analogue synthesizer made by Moog in the early 80's. It offers sixteen preset patches which can be edited. The best of which is the Taurus preset. All editing is done by pressing a membrane touch pad and turning an editing dial on the left side of the control panel. This can be tedious since all parameters can only be edited using this one dial. Other than that, it's very easy to use.

The Source has many basic synthesizer features. Two oscillators, two ADSR envelopes, lowpass VCF, sequencer, arpeggiator, and LFO. The sequencer only stores up to 64? notes (it's not much) so it is really not too helpful. The LFO only has triangle and square waveforms but they can be routed to either the oscillators, filter, or both. The arpeggiator is cool and so is the sample and hold function. It doesn't have a factory MIDI but you can install an Encore MIDI kit which also fives the Source 256 patches!

The Source produces classic Moog sounds. Deep basses, leads, filter sweeps, and strange noises are what it's good at. It's not good for strings, brass, or pianos. Perfect for electronic music. What it does, it does very well.

Solidly built, metal casing with wood sides. Only problem might be if the membrane panel is ruined it would be extremely hard to replace. Stays in tune well so I think it's safe for outside the studio (just protect that membrane panel!).

Moog is out of business but if you look hard enough there are places on the net that might sell parts for it.

The Source is definately a great synth which is often overshadowed by the Minimoog. Though it isn't as nice as the Mini it is waaaaay better than a Rogue, Micro, or MG-1. I have played and own many Moogs and I think that the true cheaper alternative to the Mini is the Source. It often times goes for about half the price of a Mini. It is also the only *monophonic* Moog with patch storage (16). True Moog sounds at a reasonable price.

Only 16 presets, but a few of them are quite good. All the presets are editable. Every parameter is editable with only one or two button pushes and the sensibly laid out front panel makes it easy to handle quick changes. Pity there's only one big knob for editting. It feels fine and is responsive though.

Monophonic, so don't expect to play chords, unless they're the unison kind achieved through detuning the oscillators a number of semitones. No effects, no expandability unless one counts cassette dumps. Two digit display for parameter values, octave switches, volume and tuning controls. Everything else is membrane switch controlled, which undoubtably saved costs. The built in sequencer is line short of a joke, limited to a few dozen notes at best. It almost never plays back at the rate one recorded to it, which is damned annoying. Worse is that both the sequencer and the arpeggiator, when in use, effectively disable the LFO! The arpeggiator is not real time, but rather a sort of on-the-fly sequencer. Don't even bother unless you're using it solely in the studio.

It's a Moog, so the sounds are uniformly excellent. Though not as good as most Moogs at bass sounds, it does a reasonable imitation of a Taurus pedalboard. Excellent lead sounds, good synth percussion and chugga-chugga grooves with the LFO controlling the filter. When the hard sync is engaged, the pitch wheel only affects the synced oscillator, so roaring solo timbres are easy to achieve, and highly recommended as the best sound this box produces. No pulse width modulation, which is a shame, but smooth filters (with resonance that goes all the way into self-oscillation) and great portamento. Very poor modulation routings: noise cannot be routed to any control input, no audio input, filter FM only from the LFO. No velocity or aftertouch control. The bottom line: it does "Lucky Man" just fine, but don't try "Frankenstein". Good, solid, basic sounds without much ornamentation.

The octave switches stuck a little, but there were no other problems while I owned it. An early microprocessor based synth, so breakdowns are to be expected, but of the two models I've played, neither had any great flaws. Probably most defective ones are long gone, so check the nice wooden end cheeks: if there are few scratches or nicks, you've got a keeper. The processor is a Z-80 (still used in Nintendo's Gameboy!!) so that shouldn't be hard to fix. Moog Music is finally back in business after more than a decade.

I parted with my Source to buy a Prophecy. I miss it a little, but it wasn't a Minimoog, despite what the old Moog ads would have us believe. A fun synth to use, but put alongside a Sequential Pro-One, OSCar, ARP Odyssey, or even a Korg Mono/Poly, it doesn't come off so well. All the others give far more latitude in programability, sound almost as good (perhaps even better in some cases), and cost not much more than a Source will. It's your call, folks. Wish list: a decent modulation section, more memories, a sequencer that could actually be used, ditto for the arpeggiator.