Subharmonicon Patches

How to get the best blips, beeps, beats, and screams out of your synth.

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Here There Be Patches

Who needs presets? You've just found a full library of patches for the amazing and unique Subharmonicon semi-modular polyrhythmic analog synthesizer. Each patch has an audio sample, a diagram to quickly apply, and any performance suggestions.

±5 8-JI Distortion Noise Unusual West Coast
1000 Fireworks patch for the Moog Subharmonicon
A fireworks celebration for passing 1000 followers on Instagram! Thank you to everyone who has followed and enjoyed this channel. Many more patches to come, and please if you own a Subharmonicon, submit your patch to share with the world!
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  1. Patch VCO 1 OUT to VCO 2 IN
  2. VCO 2 SUB 2 OUT to VCA
  3. With a mult or splitter, patch VCA EG OUT to both VCO 2 SUB IN and VCO 1
  4. Play the CUTOFF and RESONANCE and be prepared for some surprises!
    .
    Some explanatory notes: the VCA EG is turning the SUB 2 FREQ knob for you. That in turn is input back into the VCA. This gives constant and unstable pitch and volume dynamics. By patching VCO 1 into VCO 2, we add some noise and modulation, which is ALSO being turned constantly by the VCA EG. Add the additional layers of the sequenced steps and polyrhythms, and we're approaching "west coast synth" territory, with noise, whooshes, and explosions of sound that celebrate with fireworks!
±1 12-ET Arpeggiated Plucky
Misuse Control patch for the Moog Subharmonicon
Cybotron's 1983 track "Clear" or the sample thereof used in Missy Elliot's "Lose Control", this patch is a demonstration of extending the sequencer from 4 to 16 steps with an easy-to-tune and recognizable sound.
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  1. Tune VCO 1 just north of 12 o'clock.
  2. Tune SEQ 1 knobs so each step is a semitone above the previous.
  3. Tune VCO 2 to match VCO 1 (only needed if you make VCO 2 audible)
  4. Tune SEG 2 knobs so each step is 4 semitones above the previous.
  5. TIP: Press and hold the EG button and use the NEXT button to step through each tone individually to simplify tuning.
  6. Set RHYTHM 1 to be 4x as fast as RHYTHM 2, so that RHYTHM 1 completes a single pass perfectly for each step of RHYTHM 2. In other words, RHYTHM 2 is playing quarter notes on the beat, and RHYTHM 1 is playing 16th notes in time.
  7. Here's the sauce: Patch SEQ 2 OUT to VCO 1 IN. This makes Sequencer 2's knob position impact VCO 1's pitch.
  8. Adjust the rest of the knobs accordingly.
    .
    In the linked example, about halfway through the patch, another layer of this exact patch was added, with the VCOs tuned 3 semi-tones down, for a bit of extra "bite".
±1 8-JI Distortion Driving ModRhythm
Filter ATM patch for the Moog Subharmonicon
This patch was inspired by Sarah Belle Reid's recent video about a Fixed Filter Bank module, the Zlob VC F3DB. The module allows CV control of independent filter bands. Obviously that can't be done with the Subharmonicon as it just has one filter. BUT, the cutoff can be sequenced, and that's what we have here.
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The patch uses a single pitch to highlight the lesson and technique here, the only modulation is occurring from the immediate switching of the cutoff to different values. I made three different versions with the patch bay with different timbres, then Noir et Blanc Vie and his Thursday night live stream community listened and voted, this was the winner.
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Big thanks to both Sarah and Noir for having a hand in this new patch technique to add to the Subharmonicon quiver.
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  1. Tune knobs accordingly, keep sequencer knobs at noon so they do not modify the pitch. Turn VCO 2 mixer completely down.
  2. Patch VCA OUT to VCO 1 IN.
  3. Patch any sequencer that has CV out to the CUTOFF. This patch uses the Arturia Keystep Pro, 87bpm, 16 steps, 1/8th note triplets, and each step is a C note at each octave. Sequencer order set to random, so it's basically just sending rhythmic voltage changes with a whole-volt relationship (1v/octave).
  4. Play VCO 1 SUB 2 to introduce some pitch variety.
    .
    Filter Bank. Filter ATM. Get it? Dad joke title.
±1 8-ET Ambient Atmospheric Dark Swells Unusual moody
Debrisless patch for the Moog Subharmonicon
Wild PWM using an external LFO. Use any CV LFO source you have, this was recorded using the LFO OUT from a MOOG WERKSTATT-01. Feeling a bit moody as the show Debris has been canceled. Even if it's a genre you don't like, the soundtrack and sound design is worth the hours.
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First 15 seconds of this patch are dry, and it's already wild, but Hybrid Reverb in Ableton 11 (Textures + Tides algorithm) pushes it a few light years.
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  1. Turn the knobs as indicated.
  2. Patch VCO 2 OUT to VCO 1 SUB IN.
  3. VCO 1 OUT to VCO 2 IN
  4. VCF EG OUT to VCO 1 IN
  5. VCO 1 SUB 2 OUT to CUTOFF
  6. External LFO out to VCO 1 PWM IN
±2 8-ET Chords Melodic ModRhythm
Four Off The Floor patch for the Moog Subharmonicon
Let's use all four polyrhythms, without creating chaos! Tune the knobs, then patch:
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  1. VCO 2 OUT to VCO 2 PWM IN
  2. SEG 2 OUT to CUTOFF IN
For performance dynamics, play the VCO 1 oscillators in, as well as the EG amount, and decays.
±2 8-ET Ambient Atmospheric Dark moody Unusual
Shipyard patch for the Moog Subharmonicon
Dramatic, quirky, heavily modulated, emotive. You don't need an expensive Eurorack rig to do this, you just need to patch your Subharmonicon creatively. And as you see here, doesn't mean lots of cables, just maybe sending outs to ins that don't seem obvious. For example, sending a VCO back to itself, or using a VCO to modulate the cutoff. Add some polyrhythms and you've got a stew, baby.
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  1. Dial all the knobs.
  2. Patch VCO 2 OUT to CUTOFF IN
  3. VCA EG OUT to VCO 1 SUB IN
  4. VCO 1 OUT to VCO 1 IN
±2 8-ET Atmospheric Chords Dark Melodic moody Pads
Hesitation patch for the Moog Subharmonicon
Another fine patch from phonsonic. This is really just a nicely tuned patch with a medium-speed VCA and VCF. And only one patch cable (unless you are controlling clock with a DAW as phonsonic often does), but unplug it to hear just how much it adds.
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  1. Tune the knobs, you know the drill.
  2. Patch SEQ 1 OUT to CUTOFF IN.
Add some effects and baby you've got a stew going!
±5 Blippy Driving Melodic Plucky
Happy Anniversary! patch for the Moog Subharmonicon
Happy Anniversary to the Moog Subharmonicon! May 12, 2020 you created a future classic synth. This is a happy, plucky patch that can give you ideas for the little sparkly things you can add to your tracks with this beast of an instrument.
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  1. Tune the knobs, duh. But, as this is a +/-5 octave patch, it can be tough. Just tune each step to your liking on a pleasant chord with only the VCO 1 Level audible. Turning everything else down will make your life easier.
  2. RHYTHM 1 and RHYTHM 2 are set so that SEQUENCER 1 runs at 4x the speed of SEQUENCER 2, easiest to find by setting RHYTHM 2 all the way anti-clockwise first.
  3. Patch SEQ 2 OUT to VCO 1 IN. This is a great patch to keep in your pocket to increase the step count of your sequencer with the Subharmonicon. We're using SEQ 2 to influence VCO 1 which effectively gives us 16 steps instead of 4.
  4. Patch VCA OUT to VCO 1 PWM. You can play with the patch bay on this one, it just adds a little bit of flavor.
  5. Play All. The. Knobs.
  6. Use reverb sparingly and bring this instrument in to your mix to add another dimension.
  7. MOOG WE LOVE YOU FOR CREATING THE SUBHARMONICON.
8-ET ±1 Driving Melodic
I'm Blue patch for the Moog Subharmonicon
Another patch from phonsonic as he explores the Subharmonicon. In this one he starts incorporating other instruments. But the SubH is still the star, as you can hear. Why "I'm Blue"? This patch incorporates a DIY stringed instrument for the bass made from a French biscuit tin. Hence it's called the Eiffel. Hence Eiffel 65. Hence Blue.
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  1. Patch SEQ 1 OUT to VCO 2 IN
  2. DAW Clock IN at 120BPM
  3. CLOCK OUT to modular for playing well together.
±1 12-JI Melodic Pulse
DFAM-FOs patch for the Moog Subharmonicon
Simple patch to demonstrate how to use an external CV sequencer, such as the Moog DFAM, to essentially add LFOs to the Subharmonicon. This patch uses the PITCH of the DFAM to give vibrato, and the VELOCITY from the DFAM for tremolo. In the sample audio, it ends with the unmodulated Subharmonicon sequence so you can see just how much sound shaping this allows.
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  1. Tune VCO 1, SUBs, and SEQUENCER 1 to a basic pattern, as desired.
  2. Patch DFAM VELOCITY OUT to Subharmonicon CUTOFF IN.
  3. Patch DFAM PITCH OUT to Subharmonicon VCO 1 IN.
  4. Tune PITCH pots on the DFAM to 12 o'clock on each step, and give a TINY bit of variation, from 1-4 with a slight rise, and 5-8 returning to the start position.
  5. Tune VELOCITY pots on the DFAM starting at 9 o'clock on step one, gradually rise to step 3 at 11 o'clock, then gradually back to 9 o'clock on step 5. Steps 6, 7, & 8 are full off.
  6. Start with a very fast tempo on the DFAM, between 12 and 1 o'clock. You have essentially shaped two seperate CV "waves" running at low frequences to provide modulation to the Subharmonicon.
  7. Tinker and enjoy.
±1 8-ET Ambient Atmospheric Dark Melodic moody
Abbott and Costello patch for the Moog Subharmonicon
Fresh patch from phonsonic as he explores the Subharmonicon. This one (patch #003) reminded me of the film Arrival (2016), hence the name.
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  1. Patch SEQ 1 OUT to VCO 2 IN
  2. SEQ 2 OUT to VCO 1 IN
  3. VCO 2 SUB 1 OUT to VCA IN
  4. VCA EG OUT to RHYTHM 2 IN
  5. VCF EG OUT to RHYTHM 1 IN
±1 8-ET Ambient Dark Melodic moody
The Investigation patch for the Moog Subharmonicon
Patch #002 from a really cool project from phonsonic exploring and documenting work with the Moog Subharmonicon. This one has a flavor of a procedural crime drama, when the protagonist is on the hunt, whether through evidence or through an alley.
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  • CLOCK IN from external source (DAW for example), set to 90BPM
    .
    Tip: If a DAW is unavailable, you can manually adjust the TEMPO to match the sample.
12-ET ±1 Bass Dark Driving Melodic
Wages of Fear patch for the Moog Subharmonicon
The patch is simple in terms of learning the instrument, but musically rich. Root drone and key so you can do anything over it. It's what Tangerine Dream did with it in the 1977 soundtrack to the movie Sorcerer. Which I've discovered is terribly named, and doesn't actually feature their music prominently. RIP Roy Scheider and slower tempo'd entertainment, but if you're a synth geek, check out their soundtrack which was fuller and more rich than you'll get from the film. No patch cables, just a little tuning and taking advantage of the Subharmonicon internals. It sends triggers to both VCOs regardless of the rhythms of the sequencers, so we can get a steady drone note out of VCO 2 without much work. The result is that steady droning root and rhythm, allowing us to bring the bass line that VCO 1 provides in and out via the mixer. Add some slight phasing and reverb for that classic Tangerine Dream sound and you're in it.
  1. Tune VCO 1 and VCO 2 to the same root.
  2. Tune SEQUENCER 1 steps to the interval you hear in the sample.
  3. Play all six mixers to create dynamics and a driving backing track to your creation.
±1 8-ET Ambient Chords Melodic Plucky
Out For a Walk patch for the Moog Subharmonicon
Out For a Walk. Patch #001 from a really cool project from phonsonic exploring and documenting work with the Moog Subharmonicon.
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  1. SEQ 1 OUT to CUTOFF IN
  2. SEQ 2 OUT to VCO 1 IN
  3. CLOCK IN from external source (DAW for example), set to 90BPM
    .
    Tip: If a DAW is unavailable, you can manually adjust the TEMPO to match the sample.
±1 8-ET Driving Plucky Arpeggiated
Octarine Dream patch for the Moog Subharmonicon
Create a subtly moving, steady, root note octave-based background layer, in the vein of Tangerine Dream. Hence, Octarine Dream.
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Highights of using the Subharmonicon specifically: We are only modifying pitch of one VCO. The other will drone with a fifth, and isn't sent to the sequencer. However! We are using two polyrhythms. It's the secret sauce to give us some interspersed triplets to really flesh things out.
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Additionally we are using the patch bay to mirror our pitch of BOTH sequencers to open the cutoff. The result is that when playing one sequencer alone, we have some subtle dynamics. When we bring in the second sequencer, we are adding to that signal and really amplifying the peaks and valleys. Enjoy!
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  1. Tune VCO 1 to your root note and VCO 2 to a 5th above.
  2. Tune SEQUENCER 1 pitches to full octaves.
  3. SEQUENCER 2's tuning doesn't need to be exact, it's only going to modulate the CUTOFF later.
  4. Set the other knobs accordingly.
  5. Patch SEQ 1 OUT to CUTOFF IN. Use a mult or a stackable cable because...
  6. Patch SEQ 2 OUT to CUTOFF IN as well.
±5 12-ET Dark Distortion Driving Plucky
These Darker Days patch for the Moog Subharmonicon
Community patch submission from Ritsaert. ±5 octave tunings can be hard to dial in from a template, since a teensy bump can have you off massively. If you have trouble recreating, check out Ritsaert's video tutorial building this patch.
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  1. Tune both SEQUENCERS to match, as well as the VCOs. You'll need to use your ear, again if you have trouble see the video above.
  2. Patch VCO 2 OUT to VCA IN. When removed, the patch will give you the blippy beat moreso than the notes.
  3. Play the VCF EG AMT
±5 12-ET Melodic Plucky Dark Distortion
Romutt patch for the Moog Subharmonicon
A sizzly, dirty patch. One listener said it reminded them of a barking dog. Hence, "Romutt". And yeah, polyrhythms and resonance are kind of a dog's wheelhouse so here we go.
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  1. Patch VCO 2 SUB 1 OUT to VCO 1 PWM IN
  2. Patch VCO 2 SUB 2 OUT to VCA IN.
    .
    Performance, play SUB 2 FREQ—whose volume is OFF—to create some sick movement. Play VCO 2 FREQ to alter things in a major way, and switch VCO 2 between PWM and SAW to get some more modulation.
Major inspo while noodling around came from the book Patch & Tweak by Kim Bjørn.
· Romutt
±5 12-ET Chords Melodic Plucky
Teaser patch for the Moog Subharmonicon
A patch submitted to this website by Hangul Monk. Has a nice waltz-y feel.
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  1. Patch SEQ 2 OUT to VCO 1 IN
  2. Patch VCF EG OUT to VCO 2 SUB IN
  3. Dial the rest of the knobs, and play them all!
· Teaser
±2 8-ET Ambient Atmospheric Unusual
Rainforest Cafe in an Abandoned Mall patch for the Moog Subharmonicon
From @pinkcloudblues: "This simple patch is a nice way to get an ethereal stereo spread and add other interesting noises to your mix by using just the Subharmonicon and a Death By Audio Rooms stereo reverb pedal. Similar effects can be achieved with other stereo output equipped guitar pedals. Tweak all the sub-freq knobs to add more parrots and melodic variations over time."
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The audio sample above starts with a dry signal with no effects first so you can hear the source. Your patch doesn't have to precisely match this to get the same vibe: just program two complimentary or duplicate chords on your VCOs, and get your heaviest, longest, shimmeriest, stereo 'verb on a pedal or post-processing.
  1. SEQ 1 OUT to CUTOFF IN
  2. CLOCK OUT to TRIGGER IN
±1 8-ET Ambient Pads Atmospheric
At-Moog-Sphere patch for the Moog Subharmonicon
This patch from Fawns of Love is a fantastic demonstration of the importance of your signal path and effects. The end of the clip you can hear the dry signal, which is wildly simple, but demonstrates how to use this wonderful instrument for fantastic atmosphere.
  1. Tune both VCO 1 and VCO 2 to the same note. We won't be using the SUBs.
  2. Patch VCO 1 SUB 2 OUT to VCO 2 PWM IN.
  3. Turn the rest of the knobs and press the other buttons per the template.
  4. In your effects chain, at a tempo of 60 BPM:
  • 1/8 note dotted delay
  • 1/16 delay
  • 5.40 sec decay reverb
  • chorus
This patch was submitted by Fawns of Love. Give them a listen at the link there, or check out their Instagram at @fawnsoflove.
±5 12-ET Blippy Plucky Unusual
Mouth Pops patch for the Moog Subharmonicon
This is a fun little patch that dry sounds like making your cheek pop with your finger. But then we add a crazy delay and suddenly it's a textured palette for multiple uses in a track. Fun both ways.
  1. CLOCK OUT to Cutoff IN
  2. VCF EG OUT to VCO 2 PWM IN
  3. SEQ 2 OUT to VCO 1 IN
±1 12-JI Ambient Chords Dark Melodic
This Patch Will Kill You patch for the Moog Subharmonicon
Inspired by the "after the break" music from the podcast This Podcast Will Kill You. Simple patch really, just follow the knobs. It has a negative VCF EG, so to tune it, it may be easier to move that knob to a positive value to make sure you have sound while dialing in the patch.
±2 Unquantized Ambient Pads Swells Unusual West Coast
Buchlaesque & Resonant patch for the Moog Subharmonicon
A Buchlaesque, living, almost generative music patch from Kyle Mackenzie Bates of Drowse. West coast synth sounds from the king of East coast synth gear? Sacrilige or genius? You decide.
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  1. SEQ 1 OUT to RHYTHM 3
  2. VCO 2 SUB 1 OUT to VCO 1 PWM
  3. VCO 1 SUB 2 OUT to VCO 2 PWM
  4. VCF EG OUT to VCA
  5. VCA EG OUT to CUTOFF
  6. UNQUANTIZE!!!!++++$$$$$
  7. Play the RESONANCE and VOLUME
The linked sample on SoundCloud is a dry signal, but Kyle also made it available with some effects courtesy the Eventide Timefactor here: Buchlaesque Resonant Moog Subharmonicon Patch w/Eventide Timefactor
±1 12-ET Bass Melodic Dark
Wandering Star patch for the Moog Subharmonicon
Partial cover of Wandering Star by Portishead. Musically, this isn't maximizing any features of the Subharmonicon other than its wonderful Moog-i-ness. Polyrhythms nary a one and Subharmonics are limited to octaves and fifths. The purpose of this patch—in addition to having a bit of fun—is to demonstrate using an external device to trigger the envelopes apart from the sequence steps.
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It's a versatile tool, and doesn't even need CV per se. In this case we're using the FM Drum separate line output on the Drumbrute Impact to trigger on every quarter note, when the sequencer only moves every bar. That's right, an audio line out. Since it's lower voltage than CV, you need to make sure when using this method that the signal is at a loud enough volume and fast enough attack velocity for the Subharmonicon to perceive it as increasing voltage and trigger the...er...trigger.
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  1. Tune VCO 1 SEQUENCER 1 to B3, B3, B3, A#3
  2. Tune VCO 2 SEQUENCER 2 to F#3, G3, F#3, F#3
  3. Tune the SUB oscilators of both VCOs to octaves below and/or fifths.
  4. MIDI IN from the Drumbrute Impact MIDI out. This gives our clock and transport controls.
  5. Patch FM Drum out on the Drumbrute Impact to Subharmonicon TRIGGER in.
  6. Step sequence FM Drum on the Drumbrute Impact on every quarter note.
  7. To make them play well together, tap RESET on the Subharmonicon before hitting Play on the Drumbrute Impact.
Obviously, you don't have to use the Drumbrute Impact specifically, or these exact settings, but hopefully it gives you an idea of how you can control triggers on your Subharmonicon from external gear.
±1 8-JI Bass Driving Dark Pulse
Freeway patch for the Moog Subharmonicon
Driving techno bass patch. This is a simple demo that helps explain the patchable interactions between the two sequencers. Everything you are hearing is coming from VCO 2.
  1. Tune a low frequency on VCO 2 (set to pulse width modulation) and its SUBS.
  2. Set RHYTHM 1 to max and RHYTHM 2 to min, so that RHYTHM 1 is exactly 4x the speed of RHYTHM 2.
  3. In this sample, I'm using external MIDI from the Drumbrute Impact to clock the Subharmonicon at 135bpm. If you don't want to use an external clock, the TEMPO knob in the pictured template will put you in a similar groove.
  4. Tune SEQUENCER 1 so that STEP 1 is exactly one octave below STEPS 2–4. STEPS 2–4 should be set at 12 o'clock so we get the oscillator's unmodified pitch. You'll may need to turn the volume on the VCO 1 (or a VCO 1 Sub) up on the mixer so you can get the tuning right. Then kill the VCO 1 mixers, maybe leaving a little rumble of VCO 1 SUB 1 up.
  5. Now, tune the first two STEPS of SEQUENCER 2 to the same note, and the last two STEPS of SEQUENCER 2 down a step.
  6. Patch SEQ 1 OUT to VCO 2 IN
  7. Play the CUTOFF, RESONANCE, and VCF EG AMT to adjust the timbre.
  8. Play the VCF DECAY to go from plucky bass to held notes.
How does it work? What is happening?
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By patching Sequencer 1 to VCO 2, we are using the knobs of Sequencer 1 to change the pitch of VCO 2. It's the only oscillator we are listening to. We've ignored and muted VCO 1 for this patch. To make this super clear, just unplug the SEQ 1 to VCO 2 patch cable, and you'll hear the unmodulated notes from Sequencer 2. It's the pitch knobs of Sequencer 1 that are affecting our notes, and only on that first pulse to give the driving octave bass line.
· Freeway
±5 8-JI Ambient Blippy Dark Melodic Driving Unusual
Dwupsy patch for the Moog Subharmonicon
Whoa, let's unpack. First, this patch is using an external MIDI drum machine, specifically the Arturia Drumbrute Impact. That's the MIDI in (and the percussion in this sample), and is set to 114bpm.
  1. VOC 1 OUT to CUTOFF IN is providing some modulation
  2. VCF EG OUT to VCO 2 IN is modulating VCO 2's pitch
  3. VCO 2 OUT to RHYTHM 1 IN is providing some dynamic tempo changes
  4. SEQ 1 OUT to VCA IN is giving some amplification modulation
  5. CLOCK OUT to VCO 2 SUB IN is giving us some of the weird happenstance blips.
Play the VCF EG, both positive and negative, Cutoff and Resonance. Finally, VCF ATTACK and VCF DECAY are critical here, maintaining a tight ratio between the two (or not) to really make things space-y.
· Dwupsy
±2 12-ET Ambient Swells Distortion
Atmoswell patch for the Moog Subharmonicon
VCO 2 will act as a drone.
Patch SEQ 1 into TRIGGER IN so that the envelope is triggered with each note instead of with the sequence.
Patch VCA OUT to VCO 2 for the swelling noise.
(in the SoundCloud sample, delay and reverb is provided in Ableton)
±1 12-ET Driving Melodic
Da Welk patch for the Moog Subharmonicon
  1. CLOCK OUT to TRIGGER IN
  2. TRIGGER OUT to CUTOFF IN
  3. VCF EG OUT to RHYTHM 2 IN
  4. SEQ 2 OUT to VCO 1 IN
Play all the knobs. Do it.
· Da Welk
±1 12-ET Driving Melodic
Da Welk Alt patch for the Moog Subharmonicon
This is the SAME as the DA WELK patch. But ignore the RHYTHM knobs, and do whatever you want.
  1. CLOCK OUT to TRIGGER IN
  2. TRIGGER OUT to CUTOFF IN
  3. VCF EG OUT to RHYTHM 2 IN
  4. SEQ 2 OUT to VCO 1 IN
Play all the knobs. Do it. ESPCLY TH RTHMS
Melodic 12-ET ±2 Ambient Chords
Happy Free Thing patch for the Moog Subharmonicon
Those patch lines go to nowhere?! It's external gear, frenz! This patch makes use of an external clock (use any source you want, or internal if you don't have one), and the Moog Grandmother! Rad! Don't worry, if you don't have a Grandmother this patch is still super interesting with the Subharmonicon by itself.
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TUNING
This is quite specific, you'll find some things similar or nearby that are nifty, but if you want to recreate this patch, you'll need to sequence your pitches as follows (get out a free tuning app on your phone, or use your DAW):
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SEQ 1 A♭(6), B♭(5), E♭(6), A♭(5)
SEQ 2 C♭, E♭(4), A♭(5), D♭(4)
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CLOCK IN from Modular System
CLOCK OUT to Grandmother Modulation Sync in
TRIGGER OUT to Grandmother Modulation Rate in
2:1 cable Grandmother Wave out + Sample and Hold out to Grandmother Attenuator in
Grandmother Attenuator out to SubHarmonicon CUTOFF IN
Grandmother Attenuator mix for unique Modulation
/ enjoy
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This patch is a community submission from @altruit, make sure you check out their channel. Constant creations with analog synths. Find them at SoundCloud, Bandcamp, and Facebook here: https://linktr.ee/Altruit
12-JI Ambient Melodic Driving
Carpenter One patch for the Moog Subharmonicon
Inspired by some of the John Carpenter motifs from the early 80s.
Tune the oscillators to your desired pitches. Tune the sub-oscillators to either octaves or 5ths. SEQ 1 pitches are a fifth, root, root, flat sixth. SEQ 2 pitches are root, third, flat fifth, flat fifth.
Patch SEQ 1 CLK out to CUTOFF in. This provides the classic eighth note rhythm Carpenter often employed with synthesized hi-hats.
±5 8-JI Blippy Swells Unusual
Upshift patch for the Moog Subharmonicon
This makes use of some interesting patching as well as VCF effects when the VCF ATTACK is longer than the VCF DECAY. Thanks to patching VCO 2 OUT to the VCA, it still produces some sound when not playing, which satisfyingly adds to the feeling of an engine idling, then various futuristic upshifts while playing.
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Fiddle with everything, you'll get some interesting sounds; the interplay between the TEMPO, VCF ATTACK, and VCF DECAY are where you find the the good stuff.
· Upshift
Bass Distortion Unusual ±1 12-ET
Sewer Crush patch for the Moog Subharmonicon
This is an unusual patch where we're using VCO 1's sequence and Sub 1 to turn knobs for us on VCO 2's sub and pulse width modulation. We're also piping VCO 2 back into itself. The result is a pulsating, swelling, throbbing base line that has a really gritty, almost bit-crushed character.
±2 Arpeggiated Driving Melodic Plucky 8-ET
HeadSpaceSmash patch for the Moog Subharmonicon
Tune oscillators and subs to chords of your liking. SEQUENCER 1 and 2 are suggestions, but RHYTHM 1 should be 8x the speed of RHYTHM 2. RHYTHM 3 should be at least at neutral (top dead center) to add some triplets. Bring all VCO and SUB levels in and out as desired. Play ALL THE KNOBS. Patch cords turn this to noise, 100% optional.
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The audio here is from a live performance using this patch. Light reverb is provided by the Boss RV-6.
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Live performance on YouTube
Bass Driving Melodic ±2 8-ET
Extender patch for the Moog Subharmonicon
The highlight of this patch is using SEQ 2 out to VCO 1 in, with RHYTHM 1 set to 8x of RHYTHM 2. In this configuration, you can create a 32-step sequence with SEQUENCER 1. You can adjust the pitches and VCOs as desired. The big idea here is of using the pitches of SEQUENCER 2 to modify the pitches of SEQUENCER 1. This patch sets the pitch of SEQUENCER 1 to a steady note so it's more obvious what's happening. Then you can tinker from there.
Chords Driving Noise Percussion Bass ±2 8-ET
Heartbeat patch for the Moog Subharmonicon
Adjust RHYTHM 2 so it is exactly half time (double) RHYTHM 1.
Adjust VCOs and SUB FREQs as desired, I like to keep them at root, 3rd, and 5th for this patch.
Fiddle with VCF ATTACK and VCF EG AMT until you start hearing the whooshing pulse.
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OPTIONAL: Patch VCO 1 out to VCO 2 in, and VCO 2 out to VCO 1 in as indicated by the dotted patch lines. This makes the VCOs into something akin to a noise generator, dropping any musical quality and just leaving the strong, whooshing heart beat. In this mode, play the CUTOFF and VCF EG AMT to increase/decrease the effect. You can hear this in the second half of the recorded sample.
Blippy Noise ±1 8-JI
Star-Gate patch for the Moog Subharmonicon
Tune SEQ 1 and SEQ 2 to desired hi-octave pitches.
For percolating clusters, adjust the RHYTHM 2, RHYTHM 3, and RHYTHM 4 SEQ 2 knob rates.
Adjust VCA DECAY for unique universal rhythmic clusters.
Reset and play sequence; perform on all mixer dials to bring different pitches in and out of the cosmic void.
© Moog Music Inc.
Swells Chords ±1
Spiral Ways patch for the Moog Subharmonicon
Tune sequencers to desired pitches.
Tune SUB VCO 1 FREQ 1 to a Fifth. Tune SUB VCO 2 SUB 2 to a Major 3rd.
Adjust VCF ATTACK for crescendo depth.
© Moog Music Inc.
Chords Plucky Percussion ±1 8-ET
Poly Rock patch for the Moog Subharmonicon
Tune SEQ 1 and SEQ 2 to desired pitches.
Tune SUB OSC 1, 2, 3, and 4 to desired chord shapes.
Patch CLOCK OUT to VCA IN for “drums.”
© Moog Music Inc.
Arpeggiated Blippy Chords ModRhythm Melodic ±1 12-ET
Cloud Path patch for the Moog Subharmonicon
Open VCO 1 LEVEL first.
Tune SEQ 1. Open VCO 2 LEVEL. Tune SEQ 2. Turn volume back down.
Repeat tuning for all SUB OSC; tune to desired intervals. Turn volume to zero.
Reset and play sequence. Slowly increase volumes of VCO 2 LEVEL and then all Sub levels.
Press RHYTHM 3 SEQ 1 for double-time feels (indicated by dotted line).
© Moog Music Inc.
Blippy Driving Percussion Kick ±1
Bateria patch for the Moog Subharmonicon
Kick drum tuning is controlled via filter CUTOFF.
Adjust VCF DECAY and EG AMT knobs for different kick drum flavors.
© Moog Music Inc.
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How is it doing it? The RESONANCE self-oscillates when cranked.
· Bateria
Pads Distortion Ambient Swells Driving Melodic ±2
Point Zero patch for the Moog Subharmonicon
Tune SEQ 1 and SEQ 2 to desired pitches.
Tune all Subharmonic Oscillators to desired interval.
Adjust VCF ATTACK for length of filter sweep.
© Moog Music Inc.
Melodic Chords Pulse ±1
Mellow Harmonies patch for the Moog Subharmonicon
Sequencer pitches are suggestions; adjust to taste.
© Moog Music, Inc.
Blippy Unusual ModRhythm ±1
Slip & Fall patch for the Moog Subharmonicon
Sequencer pitches are suggestions; adjust to taste.
© Moog Music Inc.
Blippy Driving Melodic Arpeggiated ±2
Three Hands on the Wheel patch for the Moog Subharmonicon
Sequencer pitches are suggestions; adjust to taste.
© Moog Music Inc.
Melodic Chords ±1
Aquatic Chords patch for the Moog Subharmonicon
Sequencer pitches are suggestions; adjust to taste.
© Moog Music Inc.