Moog Sub37 Review 2025

Smooth. Fat. Overdriven. Powerful. Just a few words that get bandied about when talking about the Moog Sub 37. Released in 2014, it was one of their most feature-laden synths to-date. How does it hold up in 2025? Does it live up to the hype? Is it still worth getting now? Let’s dive in and find out.

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OSCILLATORS

As is typical for post-millennium Moogs, the Sub37 comes with 2 standard oscillators with octave switches and fully-sweepable wave knobs, which can yield some extremely exciting possibilities. Alongside the 2 normal Oscs, it also sports a Sub oscillator (which is just a Square wave tuned 1 octave below Osc 1), and a Pink Noise generator.

The oscillators are brighter than the Slim Phatty, but not quite as aggressive as the Sub Phatty. They definitely sound more ‘modern’ than the Slim Phatty, and not quite as classically-Moogy as the Slim/Little Phatty or earlier Moogs.

Past the 7:00 position on the Mixer gain dials, the Oscillators start to overdrive, which can yield some pleasingly gnarly tones when combined with the Feedback and Multidrive, but can make creating smoother gentler sounds a bit more challenging. You have to be especially mindful of this when trying to use pure Sawtooth waves in your sounds, as pushing them too hard starts to clip them and turn them into Square waves. The headroom on the Oscs was expanded for the Subsequent37, so this section doesn’t apply to that model.

Like with the Sub Phatty, the Pink Noise generator is a nice extra, but would have been better-implemented as a White Noise generator, to make it easier to use in modern Techno and Trance and House sounds. The low end on the Pink Noise overwhelms sounds a bit too easily and interferes with tonal balance on uppper-register sounds.

What’s nice though, like with the Sub Phatty (and much easier to manipulate on the 37), is the ability to detune Osc 2 from Osc 1, with more granular controls for the detuning, via the Beat Freq knob, so you can achieve some nice Reese basses or detuned hard trance lead sounds.

The PWM on this is really nice, and being able to fully sweep the waves independently with each LFO yields some very cool sounds.

And one mode that is super nice, is Duo Mode. With that enabled, you can play paraphonic 2-note chords, which is a lot of fun.

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FILTERS

That’s the other feature everyone is always most interested in when it comes to Moogs. And for this one, it yields some interesting surprises. The filter slopes are conveniently changeable from the front panel, so no obtuse button-diving like on the Sub Phatty.

And the maximum frequency cutoff for the Sub37 goes noticeably higher than on the Slim/Little Phatty, so it gets brighter and sharper than the older Moogs. That added brightness does pull away some of the attention from the saturated low-mids older Moogs were known for, but being a bit sharper and brighter here makes it much more useful in modern mixes.

Sizzling leads, snappy plucks, and gritty basses really shine on this synth, and the resonance can push sounds into some nice extreme territory.

Overall the filter still sweeps and behaves smoothly like a Moog filter should, albeit the higher cutoff makes sounds a bit brighter and harsher than they would be on an older Phatty. But using it in 4 pole filter slope mode mitigates that.

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ENVELOPES

This is another area where the Sub37 pulls away from all its predecessors. At face value it looks like just a standard ADSR. But those 2 buttons, Delay and Hold, turn these Envelopes into DAHDSR, and can be set to be triggered, synced, and looped, opening up whole new worlds of sound sculpting possibilities.

The behavior is pretty standard otherwise.

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LFO

Now things get really interesting. 2 LFOs that can be MIDI and clock synced? And with more routing options than other past Moogs? You better believe it. And they can go into Audio Rate territory, which is super cool.

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MODULATION

What makes this really surpass the Sub Phatty that we reviewed earlier, is that there are independent Mod controls for Pitch and Filter, and for many other parameters, and the knobs are +/- at 12:00 as a starting point, so you can set negative values for different sweeps and modulations. LFO 2 works all the time any time, but LFO 1 is linked to the Modwheel. So you either need to keep the modwheel on the keyboard turned up all the time while using the front panel, or set the modwheel to Up while using the VST editor, and keep it up when saving the patches, if you want to modulate sounds with more complexity.

For added fun, hold the Mod 2 button and turn any knob, to automatically route Mod 2 to that parameter!

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EFFECTS

Like with all the Moogs that came out before 2018, this is barebones on effects. One thing it does include that is super nice, are independent Feedback and Multidrive controls. Feedback is just a dedicated control implementation of the old Minimoog Model D trick of routing the audio output from the filter back into the mixer, which yields some crazy distortion when you start pushing it. And the Multidrive is nice for everything from gentle saturation to heavy crunchy distortion. You won’t find any other effects on this synth, but that’s not generally what folks get Moogs for in the first place.

End result can be anything from dark crunchy sounds to screaming wailing shrieks… and every flavor of gnarly 303 style Acid sounds in between.

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CONCLUSION

At the end of all this, is the Sub37 still worthit in 2025?

I would say, yes. For the modern Trance/Psytrance/Chillout producer, this synth is much more versatile than the Little Phatty or Sub Phatty, and it can be as gentle or as aggressive as you want, with minimal effort.

Its tone might not suit someone on the hunt for a truly Classic Moog Sound, but for a modern analog duo/mono synth, this fares very nicely. The Subsequent37 adds a couple nice extras, including more headroom for the Oscillators at the Mixer stage, but that shouldn’t be a dealbreaker for you.

If you can find this for a good deal, you will enjoy this keyboard a lot.

Moog Sub Phatty Review 2025

Aggressive. Grungy. Sterile? There are a lot of very interesting opinions about the Sub Phatty out there, and only a few of them overlap. Released in 2013, it was the beginning of the Sub series of synths from Moog, and it marked a shift in tone for Moog synths for a while. So how does it stack up in 2025? Is it worth getting today? Let’s dive in.

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OSCILLATORS

The first thing you’ll hear, are the oscillators. There’s 2 main oscillators, plus a Sub Osc that is permanently set to Square, and plays 1 octave below Osc 1, and a Pink Noise generator.

Compared to the Slim Phatty, the Sub Phatty raw oscillator tone is aggressive and in your face. Where the Slim Phatty has a smoother rounder tone (partly due to the lower cutoff point for the filter, and also because of the chips used for the VCOs) suitable for vintage 70s and 80s sounds, the Sub Phatty is brighter and dirtier and punches through in a mix more noticeably. It’s not brassy like the Prophet Rev2, but much more aggressive than the Slim.

The 2 main Oscs have full wave sweep capabilities, ranging from pure Triangle wave all the way to narrow Pulse, in a continuous function. It’s quite nice for creating some very exotic dirty electro basses and Psytrance noises.

The Osc Sync function is interesting, although it doesn’t feel like it can penetrate the same territory as the Slim Phatty’s Osc Sync. The Slim’s Sync can veer into full on FM territory with a little coaxing, and DX7 style sounds can be managed on it, whereas the Sub Phatty’s sync never quite achieves the same variety of metallic and hollow sounds.

The Pink Noise generator is helpful for some classes of sounds - the manual states producers like to use it for Percussion sounds. But for modern Techno, House, and Trance producers, Pink Noise is much less useful for modern sound design, since the low frequencies tend to crowd out the rest of the sound and mess with the tone balance. Pure White Noise or some kind of sweepable Noise generator that allows for Pink and White Noise would have been much more useful for making modern Melodic Techno and Progressive Trance sounds.

The 2 layers of Detune capabilities for the Sub Phatty are a welcome touch though, as the single Freq knob on the Slim Phatty makes it very difficult to create detuned Trance and Psytrance saw leads without veering off into uncontrolled tuning territory. Being able to detune very slightly on the main Frequency knob and then adjust the secondary knob a tiny to taste makes it easy to make usable sounds very quickly.

It’s worth noting that pushing the Oscs too loud starts to overdrive them, so factor that into your sound design choices when working with it. A delicate approach is needed when trying to make smooth and gentle sounds with these oscillators.

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FILTERS

Besides the Oscillators, this is really what everyone goes to Moog for. But does it have that Classic Moog Ladder Filter Sound?

The Sub Phatty is brighter, is our first impression. It certainly cuts off at a higher frequency than the Slim Phatty. And that sound brightens up further when you reduce the filter slope curves. Tricky part is accessing those slope curves. There’s some obtuse ways to access them via some front panel controls, which I did manage with the manual handy. But it was far from convenient. With the VST editor from Moog, it’s much much easier to change those, and access some other deep settings that expand the sound design capabilities of the synth.

The resonance pushes into self-oscillation and yields some extremely gnarly sounds when cranked in tandem with the Multidrive. It doesn’t quite sound as bright on 303-style Acid sounds that use a low cutoff and moderate Envelope Amount settings, but it can achieve some nice grit that adds fun textures to Techno and Trance tracks.

It didn’t feel quite as ‘round” and smooth as the Slim Phatty, or even the Prophet Rev2, but it did surprise us with its character while experimenting with Plucks and deep Basses.

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ENVELOPES

The Envelopes here are pretty normal, as far as synths go, so there’s not too much to say here. The Attack is a bit shorter and tighter than Some folks may be accustomed to, so you have to push it really far to make slow evolving sweeps. It’s great for Plucked sounds, though. The snappy envelopes make Techno and Trance plucks a breeze to design.

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LFO

Now this is where some serious excitement is to be had. The Sub Phatty has 3 different LFO Speed Modes, which can be changed via obtuse key combos on the synth… or more easily on the VST editor. And that’s where the fun begins. Switching between Slow, Mid, and Hi speeds allows you to do really gentle wavering swells, more moderate vibratos, or even insane audio rate modulation. We got a lot of great use out of these settings while designing buzzy Hands Up and Progressive House Leads, and on some cinematic sweep type patches. This is one of the Sub Phatty’s strongest points, and really puts it in a league more in line with crazy super-mod synths like the Blofeld or Virus.

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MODULATION

As this is an analog synth marketed as more of a budget synth a notch or two beyond the Little Phatty, there isn’t too much to talk about here. Routing options are pretty minimal. It would have been nice if the Amount controls began at 12:00 and could be changed to positive or negative values to yield more exotic modulations. But for the synth’s overall capabilities, the modulation options are workable.

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EFFECTS

“Effects” is a bit of an inaccurate header for this section. All the Sub Phatty has is Multidrive. Which we found to be more of a Saturator on lower settings, and then at higher settings, it turns into distortion. It doesn’t mangle the sound quite as nicely as the Overdrive on the Slim Phatty or the Feedback + Multidrive combo on the Sub37, but it does yield some nice added grit to sounds.

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CONCLUSION

So, at the end of all things, is the Sub Phatty worthit? Is it still relevant in 2025?

While it lacks in modulation capabilities and the Pink Noise isn’t nearly as useful as the manual claims, this synth has a lot of heft to it, and if you are looking for a snappy semi-modern sounding Moog that can do aggressive sounds and more serene tones, this one would work well for you.

Its oscillators are big and aggressive, and the filter does add a lot of nice character.

In the right contexts, this synth could stand front and center in some very big tunes, and add a lot of welcome character. It definitely works great for Tech and Electro House basses.

So while it might not be our first choice for an analog synth, if you happen to find one at a good price, it could serve a lot of solid uses in your tunes and set you apart from everyone else. Its aggressive gusty character almost takes it to Prodigy territory, and if you can run it through other FX for reverb or distortion or chorus, you will get some very exciting tones out of it.

So overall, we might recommend a couple other synths before this one to Synth Newbies, but we would not turn our nose up at future opportunities to work on it either. We’d recommend it for producers and keyboardists after a specific kind of gritty sound.

That’s our take on it, anyway.

Synth Showdown is here!

Ever wondered about the differences in sound between a Moog and a Prophet?

Wonder no more!

Sequential Prophet Rev2 Review 2022

Brassy. Thin. “Not real analog.” These are a few common comments that have appeared since the Sequential Prophet Rev2 first came out in 2017. Is it, though?

Or is it the best polyphonic analog synth at its price range, as others say?

Or is it both?

Let’s take a dive into the Rev2, and see what we discover as we explore the synth.

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OSCILLATORS

The oscillators on the Rev2 air fairly polarizing, it seems. Because they’re not true VCOs, the traditional analog purists are dismissive of them. But despite their tuning being digitally-controlled, they are still analog oscillators. Just analog oscillators not prone to tone drift when the temperature changes.

All the typical waveforms are here - Sawtooth, Triangle, Pulse, and one extra - Saw-Triangle.

What makes these waveforms truly exceptional, is that all of them can be pulse width-modulated (not just the Pulse/ Square). Sequential calls it Waveshaping, but it is essentially pulse width modification. And it sounds cool.

The best part?

You can link the waveshapes to LFOs or any other parameter, and create exotic, moving, sweeping tones that you may not hear elsewhere.

Oscillators also have a coarse tune that shows up on the screen as the actual note you’re scrolling to (and its octave position) for creating chords or octave spreads, and also Fine Tune controls for each oscillator, for custom detune amounts (which is great for Trance and Psytrance leads).

An added bonus feature that’s super nice is the OSC Slop feature - it allows for fine-tuned mimicry of the random tuning instability present on vintage analog synths. It can be very subtle, or very extreme, and can be useful for creating detuned leads and pads with a little more organic movement

Sync is also available, for when you want to create more metallic sounds and textures.

The general sound of the oscillators, especially the Sawtooth, is, as some users describe, very brassy and in your face. This is due in large part, to the Curtis filter (discussed below), and the lack of innate low-mid saturation common among Moogs and other analog synths. Any saturation baked into the signal chain on this synth appears to emphasize the upper mids, and as such, this synth is well suited for biting leads, and really tight plucks.

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FILTER

What review of the Rev2 would be complete without talking about one of its biggest selling points?

The Curtis filter.

An analog filter that’s seen use in Prophet synths since the 1970s, it can self-resonate in 4-pole mode (but doesn’t in 2-pole mode), it’s what helps give the Rev2 its characteristic tight sound and brassy character.

Compared to the filters on synths like the JP8080 or Slim Phatty, the Curtis filter and attached ADSR+Delay Envelopes are tight, clean, and perfect for making wide long pads, and tight, punchy plucks and basses.

One thing we’ve noticed is that if you’re trying to do plucky lopassed techno rumble type basses, you’ll need to keep the Filter and Amp Release times longish, otherwise you end up with a peculiar snap-back sound from the filter. It won’t impact the bass movement at all, even when in Unison/ Mono mode, so Psytrance and Techno enthusiasts won’t have problems with longer release tails on driving basses. It’s just somewhat unusual.

In general, the filter is great, and is reminiscent of the Nord Lead 3, but much much smoother. Juicier, even.

It’s a very warm, organic sound.

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AMPLITUDE

The ADSR Envelope may be VCA, but it behaves more or less like any other, so there’s not really much to say here. Each parameter is nice and tight, so you can achieve as snappy or as gentle of sounds as you need.

And most importantly, it has a Pan Spread feature that in single voice/ oscillator mode acts like an alternating auto-pan feature, and like a stereo widener in Unison mode. The Pan Spread is mono-stereo compatible, too. So you can make bouncing binaural plucks and midrange basses, and they’ll pingpong back and forth for stereo width, and will collapse to mono with no phase cancellation. Very helpful for adding width without using any external tools.

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LFO

This is where things start to get really interesting. The Rev2 sports 4 LFOs, and multiple LFO types, including a Random waveform that can be sped up into something like using Noise as a modulation source.

The other waveforms are pretty standard - Triangle, Saw, Reverse Saw, Pulse. Nothing too out of the ordinary here. Initially they’re free-running, but can be clocked, and can be assigned to most other parameters, which gives you piles of sound designing capabilities.

Be wary of modulating pitch with it though. It tends to cause extreme pitch warping effects at even moderately low amounts.

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MODULATION

Now the Modulation section is where this synth stands apart from other analogs. It has 8 slots in the Mod Matrix, and has an additional 3rd envelope with full ADSR controls, so you can modulate an additional parameter freely of the other slots.

And the regular Mod Matrix slots allow you to control just about any parameter by 22 sources, giving you tremendous sound sculpting capabilities with minimal effort.

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EFFECTS

The effects on this are something of a mixed bag. The Delays are all great - and increasing their rates doesn’t cause any pitch warping effects that plague a few VST Delay FX.

The Chorus is decent, although limited in editable parameters. It does a nice job widening sounds and unless pushed to extremes, doesn’t cause super unpleasant phasing or pitch warping effects.

The Phasers and Flangers are alright, although they lack the degrees of flexibility that the Virus, Mininova, and Blofeld offer, so unless you’re very careful with dialing them in, you can end up with weird metalllic howls rather than pleasant swooshes.

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UNISON

Now, the Unison is both the Rev2’s great strength, and also a little bit of a weakness. Being able to sum as many oscillators as you want and then detune them in the Unison section is great, and can yield some fat SuperSaw type sounds, which are great for leads and arps.

But.

Unison is Monophonic only. So no big SuperSaw pads or stacked chord leads like you can do with a Virus, or JP8080, or Blofeld.

Sweet lead toplines and low octave lead support, that’s where this shines in unison mode.

One interesting feature, similar to the Blofeld, is that you can dial in the amount of voices being summed in Unison, and then you can detune from there. So you can make a 2 voice sound with detuning for oldschool detuned Saw leads, or you can go for all 16 voices with a tiny touch of detuning, and creating huge solo leads that’ll shake your speakers.

Pity there isn’t a variable unison mode that lets you sum however many voices for a monophonic aspect, and then use the remaining voices polyphonically. That would yield some interesting and exciting tones. Can’t have everything, we suppose.

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CONCLUSION

So, is the Prophet Rev2 worthit? Does it live up to the hype?

Yes.

It’s bold, in-your-face, yet just neutral enough to sit cleanly in a mix. It has modulation capabilities that outstrip many of its competitors, and it has enough voices to be usable for both pads, supersaw leads, and dirty punchy basses. A small touch of distortion fattens it up to sound comparable in warmth to a Moog, and the Curtiss filter adds a bouncy roundness to sounds that makes it fantastic for plucks. And the Pan Spread function is incredibly useful for creating wide sounds, and sounds that bounce around the stereo field, adding mono-compatible customizable width.

The Rev2 is a definite winner for analog polys.

Hear it in action: