IK Multimedia SampleMoog

SampleMoog was created in collboraton with IK’s sister company, Sonic Reality, based on IK’s SampleTank 2.5 engine.

INSTALLATION

Gone is the Syncrosoft dongle, so listen up: If you want this to be the start of a trend, don’t steal software. ’Nuff said.

The program comes on one CD-ROM and one DVD-ROM; after installing the plug-in and instrument files, you authorize using a serial number-based system (you can use the program in demo mode for 10 days). Although an Internet connection makes the process smoother, it’s not required.

Incidentally, the manual (printed!) describes the program’s functions clearly and intelligently, includes useful info on inserting SampleMoog within all common hosts, and has some nice blurbs on the synths that were sampled.

THE SAMPLETANK 2.5 ENGINE

For an overview of the SampleTank 2.5 engine, refer to the soft sampler roundup on page 46. However, as with other IK and Sonic Reality instruments based on SampleTank (such as Miroslav Philharmonik and Sonik Synth 2), there are some instrument-specific modifications to the basic engine. For example, it also includes a very Moog-sounding filter, with dual AHDSR envelopes and dual five-waveform LFOs (triangle/square/saw/sine/random). One envelope is dedicated to amplitude, the other has separate depth controls for filter and pitch. One LFO has depth controls for Level, Pitch, and Filter, with delay; the other has no delay, but adds another depth control for Pan. Velocity can affect Amp, Filter, Pitch, Resonance, LFO1 Depth, and Envelope 2 Sustain.

Furthermore, when layering various parts, each channel has controls for key range, velocity range, and transpose. When using multiple sounds with layers and splits, you can save the entire collection as a Combi.

Surprisingly for sounds of this sort, I found IK’s “Stretch” algorithm useful. Although this time-processing technology is designed more for dealing with loops, the Harmonics and Harmonic Preservation controls can add very interesting variations — sound design fans will enjoy the possibilities.

IN USE

I’m working on some new chilled-out electro stuff (think Kraftwerk meets Eno) with a custom patch set that I created around multisamples of Minimoog waveforms using a different soft synth. As a result, the feel is very “analog.” I wanted to expand on the palette of sounds, though, and SampleMoog seemed ideal, as it would fit well with the existing sound set.

I first thought I’d use the search function to find some pads, but the only word that produced a hit was “Moog,” which, as you might expect, called up quite a long list of patches. When looking for patches, I had a needle-in-a-haystack feeling. IK is aware of this issue, which they’re working on fixing by the time you read this.

However, one compensating factor is that you’re not stuck with the default organizational scheme, which groups sounds by instrument. Once I started getting into the patches, I immediately created a “favorites” folder and whenever I found something I liked, copied the patch data to it then “re-listed” the patches (in the Preferences section) so these patches would appear in the browser. Being able to nest folders inside of folders is also helpful for organization.

When I saw there were Taurus bass samples, I couldn’t resist. I started off with the dual oscillator sound, but it was too detuned for what I wanted (a disadvantage of sampling over modeling; if modeled, I could have adjusted the detuning amount). However, the “4-Osc Sweep” Sound was breathtaking in its realism (the advantage of sampling); legato added to the feel. It quickly joined the favorites folder, as did a second preset where I added some Overdrive effect for a tasty bass snarl.

Next, I had to hear if you really could sample a theremin. Again, SampleMoog nailed it. The tasty use of portamento emulated the “sliding hand” effect, and the mod wheel allowed introducing vibrato. Amazingly, these are useful patches that instantly say “theremin.”

The Minimoog folder also includes a bunch of waveforms — just the raw waves, suitable for manipulating with the envelopes, LFOs, filter, etc. This is basically a “So you want modeling, too?” sound, as you can have a great degree of control over those organic-sounding Minimoog samples. I layered three of the sawtooth waveforms, and started adding filters and effects . . . nice! You layer by setting different parts to the same channel just like in SampleTank.

As I explored more instruments, I became increasingly impressed. What makes or breaks a sampled set like this is whether the programmers made sounds worth sampling, and the answer is a resounding “yes.” And there were plenty of surprises: For example, dropping the Moog Source “5th Sine Lead” patch down an octave gave a wonderful, unique bass sound. Polymoog strings . . . Minimoog basses . . . they’re all there.

Note that you can also tie the Macro controls (which bring strategic sound-shaping parameters to specific controls) as well as other parameters to MIDI controllers. It’s not the most elegant implementation I’ve seen — there’s no MIDI learn — but adds the option for more expressive control.

CONCLUSIONS

I didn’t have high hopes for SampleMoog, because even though IK does excellent work, sampling analog synths — and deciding what and how to sample — is a daunting task. There are also judgment calls: Do you sample sounds with filtering, or take them off and let the modeled filter do its thing instead?

Yet SampleMoog actually pulls off this ambitious project. My dominant impression is that the sounds are extremely useable; you won’t find sounds that show how hip the programmer is, but work only in limited contexts. Bear in mind this is not a “workstation” type of product, as it’s designed to produce a particular type of sound from a particular family of instruments. However, these are sounds that have become part of our musical consciousness over the past 40 years, and have a comfortable and familiar feel. They’ll add that kind of feel to your tracks, too.

While SampleMoog is specialized, it explores Bob’s contributions in a way that shows just how applicable and universal his instruments really were. He may no longer be with us, but he’s SampleMoog’s star . . . and extra props to IK and Sonic Reality for not just capturing his sounds, but somehow, some of his vibe as well.

MODELING VS. SAMPLING

Although there are plenty of synths with sampled Moog sounds, most of the Moog soft synth emulations use modeling, whereas SampleMoog uses sampling. Sampling is technically more accurate, as you’re not reconstructing a replica of the sound, but recording the sound itself. However, modeling is more flexible, as it can provide access to all the parameters that were modeled.

SampleMoog strikes a balance by including a fine emulation of not only the classic Moog 24dB-per-octave lowpass filter, but also bandpass and highpass responses, along with 6dB or 12dB slopes. You can vary the filter in real time, to add filtering effects associated more with modeling than sampling; SampleMoog even includes some “basic” sounds and waveforms that depend solely on the modeled filter for filtering effects. Envelopes and LFOs can be varied as well. Still, if you want to push patch cords around on a Moog Modular patch, you can’t do that with a sample-based program.