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Moog One 16-voice Analog Synthesizer

61-key, 16-voice Programmable, Tri-timbral Analog Synthesizer with 3 Voltage-Controlled Oscillators, 2 Independent Analog Filters, 4 LFOs, 3 Envelope Generators, Arpeggiator, Sequencer, Onboard Effects and Eventide Reverb Suite, and CV I/O
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The Ultimate Moog Dream Synth

As the first polyphonic Moog synthesizer in more than three decades, Moog One spearheads a new era of analog synthesis. Handcrafted at the Moog factory in Asheville, North Carolina, Moog One is a programmable, tri-timbral analog synth featuring an intuitive tactile interface that transcends the boundary between instrument and artist, allowing you to achieve your musical goals unimpeded. And then, of course, there’s that legendary Moog sound. Moog analog circuits are renowned for their unrivaled punch and rich harmonics, and Moog One represents the definitive evolution of these classic circuits. Years of research went into this analog dream synth, and it shows in every aspect of its masterful design. Under your fingers, Moog One will exceed your every expectation as it inspires your musical creativity and opens portals to a vast sonic universe.

Advanced sound engine architecture

Available in 8- and 16-voice versions, Moog One can simultaneously articulate eight or 16 voices, depending on the configuration of your instrument. The Moog One polyphonic sound engine is built upon the most advanced architecture ever conceived for a Moog synthesizer. Per voice, Moog One features three state-of-the-art analog voltage-controlled oscillators (VCOs), two independent analog filters (a Variable State filter and the famous Moog Ladder Filter) that can be run in series or parallel, a dual-source variable analog noise generator, an analog mixer with external audio input, four LFOs, and three envelope generators. You can split or layer the three timbres — each with its own sequencer, arpeggiator, and onboard effects library — across the premium 61-note Fatar keyboard with velocity and aftertouch.

Premium onboard effects

Moog One offers a growing library of programmable per-synth and master bus effects, including chorus, delay, phase, bit reduction, vocoding, and a suite of premium Eventide reverbs such as Blackhole, Shimmer, Plate, Room, and Hall. Effects can be applied as Synth Effects and Master Bus Effects. Synth Effects are applied to individual timbral layers, while Master Bus Effects can be accessed via sends from all three synthesizers. Though its onboard effects are digital, the Moog One audio path is completely analog when all the effects are true bypassed.

Creativity without constraint

Clad in a handcrafted ash cabinet, the Moog One aluminum front panel is fitted with 73 knobs and 144 buttons, welcoming hands-on interaction with all the sound-sculpting and performance controls. Extended on-screen functionality is effortlessly accessed via More buttons (one for each module) that serve up additional parameters in the center-panel LCD to deliver the most intuitive and efficient synthesis experience possible. To the engineer, Moog One is a sophisticated technological marvel; to the synthesist, it is an unparalleled facilitator of fluid musical expression that lets you create, sculpt, and transform your sound without constraints.

Performance Sets and Snapshots for instant recall

A valuable feature that vintage synths didn't offer was preset storage. If you haven't had the joy of playing, say, a Minimoog, imagine not being able to save or recall a patch for instant deployment in a live show. Moog One is a veritable playground for tone tweakers and sound designers. Its front panel is graced with scores of knobs and buttons; the status of each — as well as the countless under-the-hood parameters — is stored in memory for quick recall from a massive bank of presets.

The Moog One searchable Browser and interactive LCD center panel make finding your sounds quick and easy; saved Presets can even be assigned to the front panel Performance Sets for instant recall. When investigating a sound, pressing the Snapshot button lets Moog One capture and recall a time-stamped snapshot of a preset at its current settings, eliminating the need to incrementally save data manually while experimenting.

Store tens of thousands of presets

A Moog One preset is a self-contained blueprint, saving the parameters for all three layers of timbrality, along with each timbre’s sequencer, arpeggiator, and modulation settings. Moog One has the capacity to store and recall tens of thousands of presets that you can easily categorize, edit, notate, and even share via USB drive. Up to 64 presets can be arbitrarily grouped to a Moog One Performance Set, where they are immediately selectable via the front-panel Bank/Preset button configuration — a vital feature for live performances and session work.

Presets can be shared with an unlimited number of Performance Sets, allowing quick access to desired presets for each live gig, studio date, and composing session. Preserving more than just presets, User Spaces save global behaviors, MIDI settings, knob behaviors, port and pedal configurations, and even the LED brightness level of your working environment. This means that a USB thumb drive in your pocket can temporarily make any Moog One in the world your personal instrument.

Three polysynths in one

Moog One is not only polyphonic; it's tri-timbral (3-part multitimbral) — that is, capable of playing up to three individual Synths simultaneously — split, layered, or zoned across the keyboard — all from within a single preset. With each Synth capable of accessing its own sound parameters, note range, arpeggiator, and sequencer, you can create rich ensemble performances and deeply layered, evolving soundscapes.

Essentially three independently addressable polysynths in one, the Moog One tri-timbral architecture lets you easily assign, split, layer, and stack voices with up to 48 oscillators in Unison mode. What's more, each synthesizer is furnished with its own full-featured step sequencer, arpeggiator, and effects processor. The Panel Focus module simplifies and streamlines the complexities of multitimbral synthesis. Choosing a Synth for panel focus switches control of the Moog One front panel knobs and buttons to the selected Synth layer. You can also select multiple Synth layers concurrently to simultaneously tweak multiple Synths.

Cutting-edge triangle/saw and square/pulse oscillators

Each Moog One voice is driven by three newly designed analog VCOs. Each oscillator outputs a user-defined mix of the selectable triangle/sawtooth wave, plus a variable-width pulse wave. Unlike with traditional oscillator designs, you can shape and modulate the rise/fall time of the triangle wave, and the reset phase of the sawtooth wave, to build classic analog tones that are uniquely rich and complex.

Blending the tri/saw and square/pulse waves together opens the harmonic floodgates, resulting in waveform complexity not commonly associated with analog synthesis. The Moog One oscillator section is also equipped with waveform modulation, hard sync, ring modulation, and FM (Frequency Modulation) for virtually unlimited analog sound generation.

Dual-source noise generator

Each Moog One voice has access to an advanced dual-source analog noise generator that lets you select, mix, and dynamically articulate different noise colorations (white, red, and purple) via its dedicated noise envelope generator. This unique module is a potent tool for adding percussive attack, breathiness, or full-spectrum impact to a sound.

Flexible analog mixer

The Moog One mixer provides volume controls and filter routing for each oscillator, noise generator, ring modulator, and external audio input, allowing sound sources to be shaped by using filters independently or in combination.

Moog Ladder and State Variable filters

Moog One features two kinds of analog filters – a newly designed multimode State Variable filter for surgical precision and the legendary Moog Ladder filter with selectable 1-, 2-, 3-, and 4-pole lowpass/highpass modes. Between them, the two filters can process sounds — individually or together, in series or in parallel — to deliver a colorful spectrum of vintage, contemporary, and futuristic filter sounds.

Three assignable envelopes

The envelope generator (EG) is a time-honored tool for dynamic sound shaping. There are three Moog One assignable DAHDSR (Delay, Attack, Hold, Decay, Sustain, Release) EGs that go way beyond traditional ADSR envelopes in terms of flexibility. In addition to looping, synchronization, and time-scaling capabilities, the character of each of these envelopes can be easily molded by per-stage envelope curves.

Low-frequency oscillators

The LFO (low-frequency oscillator) is another classic synthesis tool for creating cyclical motion in analog synthesis. Moog One is spec'd with four wide-range LFOs that are assignable to nearly any destination. With capabilities that include MIDI synchronization and clock divisions, start delay time, number of repeats per instance, fade-in and -out times, and much more, these LFOs far surpass the traditional LFO's comparatively limited functionality. Using the Variation parameter, you can smoothly morph between sine and triangle, square and pulse, sawtooth and ramp, or sample and hold and noise waveshapes.

Premium Fatar keyboard and X/Y pad

The exquisite tactile experience of playing Moog One doesn't end with its knobs and switches. The keyboard feel is incredible! Its premium 61-note, velocity- and aftertouch-sensitive Fatar TP-8S keybed is semi-weighted evenly across its black and white keys. Particularly notable is the shape and matte finish of the black keys, allowing for a balanced, dynamic playing experience with natural, seamless fluidity up and down the keyboard.

The enhanced Left-Hand Controller (LHC) features pitch-bend and mod wheels made of high-quality milled aluminum and, beside them, a fully assignable, pressure-sensitive, 3-axis X/Y pad that provides additional emotive expression and continuously variable control.

A tour de force

Packed with cutting-edge technology and more than a half century of Moog analog synthesis design expertise, Moog One is nothing short of a tour de force, one of the most compelling synthesizers we have ever laid hands on at Sweetwater. We are, quite simply, blown away. We know you will be as well.

Moog One Analog Synthesizer Features:

  • 8- or 16-voice polyphony
  • 3 VCOs per voice with waveshape mixing and OLED displays
  • Unison mode (up to 48 oscillators on the 16-voice instrument)
  • 2 filters per voice with filter mixing (2 multimode State Variable filters that function as a single filter, and a classic lowpass/highpass Moog Ladder filter)
  • 3 DAHDSR envelopes per voice with user-definable curves
  • 3-part multitimbrality
  • Separate sequencer and arpeggiator per timbre
  • Chord memory
  • Dual-source noise generator with dedicated envelope
  • Mixer with external audio input
  • Ring modulation with selectable routing
  • Oscillator FM and hard sync with selectable routing
  • 4 assignable LFOs
  • Premium 61-note Fatar TP-8S keybed with velocity and aftertouch
  • Assignable pressure-sensitive X/Y pad
  • Digital Effects (Synth and Master Bus)
  • Eventide reverbs
  • Selectable glide types
  • USB and DIN MIDI
  • Save, categorize, and recall tens of thousands of presets
  • Create Performance Sets that make up to 64 presets accessible at the push of a button
  • 2 x ¼" stereo headphone outputs
  • 2 pairs of assignable ¼" outputs (supports TRS and TS)
  • 4 x ¼" hardware inserts (TRS)
  • 1 x ¼" external audio input (line-level)
  • 1 XLR + ¼" TRS combo external audio input with trim knob
  • 9 assignable CV/GATE I/O (5-in/4-out)
  • USB drive support for system and preset backup
  • LAN port for future expansion

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Tech Specs

  • Type: Keyboard Synthesizer
  • Sound Engine: Tri-timbral Synth
  • Analog/Digital: Analog
  • Number of Keys: 61
  • Type of Keys: Full Size
  • Aftertouch: Yes, Fatar TP-8S
  • Velocity Sensitive: Yes
  • Other Controllers: Pitchbend, Mod wheel
  • Pads: X/Y Pressure-sensitive Pad
  • Polyphony: 16 voice
  • Presets: 64 Presets, 128 Performance Sets
  • Oscillators: 3 x VCO per voice
  • Waveforms: Sawtooth, Triangle, Pulse Width
  • LFO: 4 x LFO
  • Filter: State-variable, Ladder
  • Envelope Generator: 3 x DAHDSR
  • Arpeggiator: Octave Range, Pattern, Direction, Pendulum, Gate Time, Sync
  • Sequencer: 64-step
  • Audio Inputs: 1 x XLR-1/4 Combo (mic/line), 1 x 1/4" TRS (line), 4 x 1/4" TRS
  • Audio Outputs: 2 x 1/4" TRS (main L/R), 2 x 1/4" (sub 1/2)
  • Headphones: 2 x 1/4" TRS
  • USB: 1 x Type B (system/data backup), 1 x Type A
  • MIDI I/O: In/Out/Thru/USB
  • Pedal Inputs: 1 x 1/4" TRS (sustain), 2 x 1/4" TRS (expression 1, 2)
  • Other I/O: 4 x 1/4" TS (CV out), 2 x 1/4" TS (CV in), 1 x RJ45 LAN (future expansion)
  • Mod Matrix: Assignable per Synth
  • Power Source: 4-pin 19V DC Power Supply (included)
  • Height: 7"
  • Width: 42"
  • Depth: 20"
  • Weight: 45 lbs
  • Manufacturer Part Number: MOG-ONE-002-01

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Customer Reviews

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Rated 5/5

Moog One 16 voice

Right now I'm still in the process of reading the manual in messing around with this wonderful instrument I have a lot to learn But I'm enjoying every minute of it thank you Sweetwater and most of all thank you Mr. Bob Moog.
Music background: Singer, songwriter, composer, producer and owner of Lil' Redd Robinson recording studios.
Rated 5/5

Different than I expected

Let me start by saying where I am coming from. I had a Juno 106 that I loved and eventually sold for next to nothing as newer synths came out with more complex sounds, and with that more complexity.

I started with a Kawai K5, moved on to a Roland V-Synth GT, then a Fantom X8 and finally the newer Fantom 7. Loved them all, but increasingly found myself writing songs with presets, and not doing ANY synthesis like I used to do with the Juno.

That's when it hit me. I am not a menu-deep-diver. I hate that. SO along comes the Moog One.

I ordered it from Sweetwater and it arrived much to my horror on a FedEx truck that apparently let it sit in a days worth of soaking rain. Lickilly it was double boxed and filled with dessicant. I pulled the box appart with my bare hands (no box cutter needed) and decided to check it out before flat out returning it.

To my suprise the inside was completely dry. Synth powered up with a WHOOOSH (loud one compared to silent Fantom) and within seconds became inaudible.

I tapped through each of the presets, and honestly my first reaction was MEH! Boy this was an expensive Juno 106! On top of that, I wasn't used to the Fatar Keyboard, but had grown VERY fond of the keybed on the Fantom 7. I wasn't sure about this at first honestly.

That night after wife went to sleep I decided that something just didn't make sense with my reaction. So I hit INIT and cleared the patch - starting with nothing but oscillator 1 and the determination to try to make something impressive.

Without the manual, within an hour I had the deepest, thickest, lushest sound I have ever heard in my life, panning around, fattening and thinning with an oscillator controlled detune, running through that ladder filter.

I haven't touched the Fantoms or VSynth in days. Although I still prefer the Fantom 7 keybed, I am growing more used to the Fatar and besides, the Fantom sequencer is where I do my composition anyway. I need to Moog for the sound.

I haven't even worked on a song in days. Just working on sounds. I will be doing this for months/years. It really is that robust. I am still only using Synth#1 (2 and 3 are still off) and not even having to run unison mode or ANY of the effects to get sounds that would have made me faint a year ago. I haven't touched the arpeggiator or sequencer either. This thing is unbelievable.

It is more than likely the last synth I will ever buy, and probably will force a couple into retirement, BUT (and here's the important part) if you are only hearing the stuff on YouTube or listening to the presets YOU ARE NOT HEARING ANYTHING that this thing will do!!! For some unknown reason (as of firmware 1.40) they seem to have left this thing on economy mode and not put it into sport mode, so don't judge it until you get to twist some knobs for an hour. You will be blown away and clearing the next 6 months of your weekends for some synth time.
Music background: Songwriter
Rated 5/5

The Rolls Royce of Analog Poly's

First off this synth has a massive sound and it can be so diverse its just incredible. The design for the UI is superb, its so well thought out it just inspires you to create. The One is also built like a tank, my tech took the base plate off of ours to replace the fan sheet metal screws with silicone mounts. The entire build is an absolutely stunning inside, alot of attention to detail, well done Moog! A modern classic.
Music background: Executive Producer - Universal Music Group
Rated 5/5

A work of art

This is an astonishing achievement in synthesis. The presets are nice but the real magic is found when you build your own sounds. I've had the Moog One 16 voice for less than a week and I already feel like I understand the overall functionality and workflow. I am not a master synthesist in any way. I would consider myself to be firmly in the intermediate level of proficiency. That said I created my first patch today in under a half hour and most of that time was spent exploring parameters and just having a blast. A quick browse of the manual and several how to videos later I feel like I have a solid understanding of most of the functions, connectivity, routing etc. I absolutely adore working with this magical creation. Every time I sit down with it the ideas just flow it's truly an inspiring partner. The consideration of workflow in regards to ease of use and intuitive design is mind blowingly brilliant. This is the most expensive piece of gear I've ever bought and was very very nervous about potentially being disappointed. Those fears have been abated, in fact they've been obliterated. This synth is just a miracle. I am looking forward to working with this synth for the rest of my days.
Rated 5/5

A work of art

It really is as good as I hoped. It is the most fun synth to play and explore because it is designed to be used as an instrument by a musician. Full sized keys, 16 voices, large control panel, easy to read display, no compromises. Creating patches and modulations are easy and fun and simple patches sound as rich and full of character as any vintage classic. I imagine it will take years to fully explore all of the possibilities. Thanks to Moog and Sweetwater I was able to make this dream a possibility.

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What Do Our In-house Gear Experts Think?

Yuval Fuchs

After spending some quality time with the Moog One, all I can say is WOW!! I am seriously at a loss for words about how incredible this synth sounds. The depth and richness that can be achieved, even just scrolling through presets, along with a build quality reminiscent of the finest of instruments, makes this the king of all synths in my book.

Want real Moog sound? Take it from the die-hard analog synth masters here at Sweetwater: buy a Moog. It doesn't matter which one; their synths start at top quality and only go up from there. Sweetwater's relationship with Moog goes way back, and some of us fondly remember the last time Bob himself came to visit. Over the years, we've had the honor of watching Moog grow and evolve, and with synthesis experts like Daniel Fisher on staff, we're still one of the first companies to catch wind of new Moog products - they never fail to impress! Whether it's a classic reissue, a breakthrough new keyboard, or even a cool effects pedal, you can be sure anything you get from Moog will make you happy, and we'd love to tell you all about it.

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