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The Subharmonicon owes its ultra-fat sound to its two analog VCOs — each with two separate suboscillators — which churn out the warmth and grit for which Moog synths are known. The suboscillators divide the fundamental frequency of the VCOs down to four octaves below in 15 subdivisions, and their sawtooth waveshape packs a punchy wallop distinct from sine or square wave suboscillators. By independently tuning the VCOs and subs, you can generate massive chords that track with the VCO frequency, turning this monosynth into a pseudo-polyphonic pad machine. To shape the signal, the Subharmonicon includes a VCA and self-oscillating 4-pole lowpass resonant filter, with variable attack and decay controls. Even without the sequencer and patchbay, the Subharmonicon is a formidable analog synth that produces hearty sub-bass and screaming leads.
Brain-twisting polyrhythmic sequencingWhat really sets the Subharmonicon apart from other modular synths is its idiosyncratic sequencer section. The Subharmonicon has two 4-step sequencers, which can impact the VCO or suboscillators’ rhythms and frequencies. While four steps might not seem like a lot, when paired with the Subharmonicon’s polyrhythm section, you can quickly dial up loping, swinging rhythms, with dotted notes, triplets, and out-of-time pulses that twist the sequence in unexpected ways. You can adjust the tempo manually or quantize the rhythm to an external clock to sync to your Moog Mother Ecosystem modules and third-party Eurorack units. From percussive sounds to complex, moving chords, the Subharmonicon is capable of creating textures unlike any other semi-modular synth in its class.
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