Moog Subsequent 37 operation manual
I see my job as being one that
must provide the artist with
the capability of imparting
complexity and dynamics to
his music.” - Dr. Robert Moog
“
3
IMPORTANT SAFETY INSTRUCTIONS
WARNING - WHEN USING ELECTRIC PRODUCTS, THESE BASIC PRECAUTIONS SHOULD
ALWAYS BE FOLLOWED.
1. Read all the instructions before using the product.
A. Keep these instructions. B. Heed all warnings. C. Follow all instructions
2. WARNING: Do not use this product near water. To reduce risk of re or electric shock, do not expose
this product to rain or moisture. - For example, but not limited to: near a bathtub, washbowl, kitchen sink, in a wet
basement, or near a swimming pool or the like.
3. This product, in combination with an amplier and headphones or speakers, may be capable of
producing sound levels that could cause permanent hearing loss. Do not operate for a long period
of time at a high volume level or at a level that is uncomfortable.
4. The product should be located so that its location does not interfere with its proper ventilation.
Do not block any ventilation openings with any items including but not limited to newspapers,
table-cloths, curtains, etc. Install in accordance with the instructions in this manual only.
5. The product should be located away from heat sources such as radiators, heat registers, or
other products that produce heat. No naked ame sources (such as candles, lighters, etc.) should be
placed near this product.
6. The product should be connected to a power supply only of the type described in the operating
instructions or as marked on the product.
7. The power-supply cord of the product should be unplugged from the AC mains socket-outlet
when lef t unused for a long period of time or during lightning storms.
8. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure
through openings.
9. Clean only with a dry cloth.
10. The product should be serviced by qualied personnel when:
a. The power supply cord or the plug has been damaged.
b. Objects have fallen, or liquid has been spilled onto the product.
c. The product has been exposed to rain.
d. The product does not appear to operate normally or exhibits a marked change in performance.
e. The product has been dropped or the enclosure damaged.
INSTRUCTIONS PERTAINING TO RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
Do not open the chassis. There are no user serviceable parts inside. Refer all servicing to qualied personnel only.
GROUNDING INSTRUCTIONS: This product must be earth-grounded; if it should malfunction or breakdown,
earth-grounding provides a path of least resistance for the electrical current to reduce the risk of electric shock.
This product is equipped with a cord having an equipment grounding connector and a earth-grounding plug (plug
with a third prong). The plug must be plugged into an appropriate socket outlet that is properly installed and
earth-grounded in accordance with all local codes and ordinances.
DANGER: Improper connection of the equipment ’s earth-grounding connector can result in a risk of electric
shock. Check with a qualied electrician or serviceman if you are in doubt as to whether the product is properly
earth-grounded. Do not modify the plug provided with this product – if it will not t in the socket-outlet, have a
proper outlet installed by a qualied electrician.
NOTE: This equipment has been tested and found to comply with the limits for a class B digital device, pursuant to
part 15 of the FCC rules. These limits are designed to provide reasonable protection against harmful interference in a
residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed
and used in accordance with the instructions, may cause harmful interference to radio communications. However,
there is no guarantee that interference will not occur in a particular installation. If this equipment does cause
harmful interference to radio or television reception, which can be determined by turning the equipment off and
on, the user is encouraged to try to correct the interference by one or more of the following measures:
—Reorient or relocate the receiving antenna.
—Increase the separation between the equipment and receiver.
—Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
—Consult the dealer or an experienced radio/TV technician for help.
CAUTION: Please note that any changes or modications made to this product not expressly approved
by Moog Music Inc. could void the user’s authority granted by the FCC to operate the equipment.
TABLE OF CONTENTS
7 UNPACKING & INSPECTION
7 SETUP & CONNECTIONS
9 OVERVIEW & FEATURES
9 BASICS OF SOUND
12 BANK & PRESET SELECTION
13 PROGRAMMING SECTION
14 KEYBOARD OCTAVE BUTTONS
15 ARPEGGIATOR SECTION
17 STEP SEQUENCER
18 STEP EDIT MODE
21 GLIDE SECTION
22 MODULATION SECTION
25 OSCILLATORS SECTION
27 MIXER SECTION
28 FILTER SECTION
29 ENVELOPE GENERATORS
34 OUTPUT SECTION
35 MIDI MENU
TABLE OF CONTENTS
39 PRESET MENU
43 GLOBAL MENU
50 CONTROLLERS MENU
52 MIDI OPERATIONS
56 NRPN OPERATIONS
60 SERVICE & SUPPORT INFO
61 SPECIFICATIONS
UNPACKING AND INSPECTION
Check the contents of the shipping carton
Be careful when unpacking the Subsequent 37 so that nothing is lost or damaged. Moog recommends
saving the carton and all packing materials in case you ever need to ship the instrument for any reason.
The Moog Subsequent 37 ships with the following items:
I. Subsequent 37 analog synthesizer
II. Power cord
III. Owner’s manual
IV. Registration card
What you will need:
I. A stand or table sufcient to support the Subsequent 37
II. Either a 1/4 inch instrument cable and amplied speakers or headphones with a 1/4 inch plug
III. A properly wired AC outlet
SETUP AND CONNECTIONS
Place the Subsequent 37 on a stable surface such as a keyboard stand at a height suitable for
playing comfortably.
External
Audio in
I
O
USB MIDI
5-Pin DIN MIDI
Control Voltage
7
POWER
Plug one end of the supplied AC cord into the standard IEC power connector on the Subsequent 37’s
left-side panel. Plug the other end into an AC outlet. Warning: An apparatus with CLASS I construction
(such as this device) shall be connected to a MAINS socket outlet with a protective earthing connection.
The Subsequent 37’s universal power supply will operate with 50/60Hz AC power sources ranging from
100 to 240 VAC / 50-60 Hz using 13W. Flip on the power switch located next to the power connector.
NOTE: It may take as long as 60 seconds for the Subsequent 37 to warm up before oscillator tuning has
stabilized if you’ve left it outside on a cold night. (Although its oscillators are surprisingly stable, the
Subsequent 37 is an analog synthesizer, after all.)
AUDIO OUT
With the MASTER VOLUME turned all the way down, plug one end of a 1/4 inch instrument cable into the
Subsequent 37’s AUDIO OUT jack and the other end into an amplied speaker or mixing console input.
Adjust the level by slowly turning the MASTER VOLUME knob clockwise while playing the keyboard.
If you’ll be using headphones, plug them into the headphones jack (on the front panel’s bottom-right
corner) with HEADPHONE VOLUME turned all the way down. Adjust the level by slowly turning the
HEADPHONE VOLUME knob clockwise while playing the keyboard. Note that MASTER VOLUME
must be turned up as well.
EXTERNAL AUDIO IN
Located just above the AUDIO OUT jack, the jack labeled EXT IN allows the Subsequent 37 to shape and
lter external sounds. This is an unbalanced input that accepts a line-level signal.
NOTE: You must press a key to pass external audio through the Subsequent 37. You also can use a Moog
FS-1 footswitch, or simply press the LATCH ON button in the Amplier Envelope section and make sure that
the Amplier Envelope’s SUSTAIN level is up.
USB
To use the Subsequent 37 with a computer, connect one end of a USB cable to the Subsequent 37’s
USB port and the other end to an available USB port on your computer. The Subsequent 37 supports
MIDI I/O over USB, but not audio data. The Subsequent 37 is class compliant. No drivers are required
for USB MIDI connectivity.
MIDI
Using the Subsequent 37 with an external MIDI device requires one or two MIDI cables. To use the
Subsequent 37 as a MIDI controller, connect one end of a MIDI cable to the Subsequent 37’s MIDI OUT
jack and the other end to another device’s MIDI IN jack.
To control the Subsequent 37 from an external MIDI controller, connect one end of a MIDI cable to the
Subsequent 37’s MIDI IN jack and the other end to an external controller’s MIDI OUT jack. By default,
the Subsequent 37 is set to transmit and receive MIDI data on MIDI Channel 1.
CONTROL VOLTAGE IN
The PITCH CV, FILTER CV, and VOL CV inputs each accepts an expression pedal (such as the Moog EP-
3) or a control voltage signal from 0 to +5 volts. If you connect a TRS expression pedal to VOL CV, you
can use your foot to control the Subsequent 37’s output level. If you connect a TRS expression pedal to
FILTE R CV, you can sweep the lter cutoff in the same manner. The PITCH CV input is calibrated so that
a one-volt change in the control voltage will result in a one-octave change in frequency.
The KB GATE input accepts a +5 volt signal, which causes the Subsequent 37’s envelopes to trigger.
8
OVERVIEW AND FEATURES
The Subsequent 37 is a 2-note paraphonic analog synthesizer, built in the tradition of classic Moog
synthesizers. It is housed in a rugged black steel chassis with aluminum extrusion, and nished with
classic wood sidepieces. Your new Subsequent 37 starts with a high-quality, 37-note keyboard that has
both velocity sensitivity and aftertouch. This offers a highly expressive and musical playing experience.
All critical performance and sound design features are provided directly on the front panel, which is
equipped with 40 knobs and 74 switches. This makes creating, saving, and retrieving your own sounds
fast and effortless. Each knob and switch on your Subsequent 37 also sends and receives MIDI, making
the Subsequent 37 a completely automatable analog synthesizer and powerful MIDI controller.
Unlike its smaller sibling, the Subsequent 37 has the ability to play more than one note at a time via a
new function called DUO MODE. This allows each of the Subsequent 37’s highly stable oscillators to
play completely independent pitches from one another. Voices are then processed through a single,
classic 20Hz-20kHz Moog Ladder Filter. The Filter section has a dedicated selector switch for lter
slope, and control for MultiDrive. When combined with the new Mixer Feedback function, a vast array
of sound creation possibilities become available.
The Subsequent 37 boasts 2 fully assignable modulation busses, 2 DAHDSR looping envelopes, and a
powerful arpeggiator with a paraphonic 64-note step sequencer. Each of these sections has a
dedicated SYNC switch, which allows you to easily determine which features are synchronized
to MIDI, internal clock, or running free.
With its extensive feature set and one-knob-per-function design, the Subsequent 37 is the ideal
instrument for any synthesist, sound designer, or performing musician.
BASICS OF SOUND
If you’re new to the world of music synthesis, it helps to have at least a rudimentary understanding of
music and acoustics. Even if you know this stuff like the back of your hand, it never hurts to approach it
from a fresh perspective.
Several qualities distinguish one musical sound from another, including pitch, loudness, duration, and
timbre. Being able to manipulate those qualities allows you to turn raw sound into music.
Simply put, sound occurs when a vibrating object causes the air around it to vibrate. That object could
be a guitar string, a loudspeaker, or anything capable of rapid movement. An individual vibration is
called a wave or cycle, and the rate of vibration is called frequency. Frequency determines the sound’s
pitch, and pitch determines how high or how low you perceive the sound on a musical scale. Frequency
is measured in Hertz (abbreviated Hz), which describes the actual number of times that something
vibrates every second. One thousand cycles per second is called a kilohertz (kHz).
wavelength
amplitude
low frequency high frequency
9
BASICS OF SOUND (CONTINUED)
Amplitude—the intensity of vibration—determines a sound’s loudness. A high-amplitude sound
is loud, and a low-amplitude sound is soft. A vibrating source’s loudness depends on the amount
of air it displaces, and that depends on how hard it vibrates.
It’s difcult for anyone to identify a musical instrument simply by the pitch or loudness of the sounds
it makes. Every musical sound also has a characteristic tone color or timbre (pronounced tam’–br, as
in tamborine, not tim’–br, as in a tree falling). Differences in timbre make it possible to distinguish one
instrument from another.
If you analyze a single cycle of a musical sound, you can perceive it as a complex combination of
simple sine waves, each wave different in frequency and amplitude. When their frequencies are wholenumber multiples of each other (and in musical sounds, they usually are), those simple waves are called
harmonics. A sound’s timbre depends on its harmonic content. The rst harmonic—the one with the
lowest frequency and usually the greatest amplitude—determines its pitch. Higher harmonics are often
called overtones. Normally, the higher the overtone’s frequency, then the weaker its amplitude.
When those harmonics are combined in a musical sound, a single cycle of that sound has a specic
shape, which synthesists call a waveform. Just as the frequencies and relative amplitudes of the
sound’s harmonics determine its waveform, the waveform determines the sound’s timbre.
Instead of producing sounds acoustically the way vibrating objects do, synthesizers generate
electrical signals that are amplied and converted to sound. Just as sound has frequency and
amplitude, so does the kind of alternating current produced by a synthesizer. An analog
synthesizer’s primary sound source is called an oscillator.
The oscillator’s waveform, of course, determines the sound’s harmonic content. Some waveforms
are rich in harmonics, while others have relatively few. Depending on the waveform, some overtones
may be absent altogether. Waveforms with lots of overtones, such as sawtooth and square waves, are
harmonically the most complex. Waveforms with fewer overtones, such as triangle and narrow pulse
waves, are harmonically less complex.
Rather than building up waveforms one harmonic at a time, the way a Hammond organ does, analog
synthesizers like the Subsequent 37 provide the means to shape and lter complex, harmonically
rich waveforms to selectively remove, reduce, or emphasize specic harmonics—a technique called
subtractive synthesis.
KB: Keyboard (Pitch Voltage)
VCO: Voltage Controlled Oscillator
VCF: Voltage Controlled Filter
EG: Envelope Generator
LFO: Low Frequency Oscillator
VCA: Voltage Controlled Amplifier
The Subractive Synthesis Model
10
The oscillators, lter, modulators, and other parts are connected in the most useful ways for
producing and modifying electronic signals that result in sounds. Unlike on a modular synthesizer,
many connections between the Subsequent 37’s various parts are hardwired, meaning that it is not
possible to change the routing of the pathways that connect them.
The electrical signals within a synthesizer are either audio signals or control signals, depending on
the pathway they follow. Typically, an audio signal begins with an oscillator and passes through the
lter on its way to the audio output. Control signals are used to change things, like the pitch, timbre,
waveshape, or loudness of an audio signal.
Any time a signal controls something, no matter whether it’s controlling an audio signal or another
control signal, we say that it modulates it. In synth-speak, you could say that a steering wheel
modulates a car’s direction and the accelerator pedal modulates its speed. When you play the
Subsequent 37’s keyboard, the key you press modulates the instrument’s pitch. You can modulate lter
cutoff by turning a knob manually, or you can apply a control signal from a low-frequency oscillator or
envelope to modulate it electronically. It’s worth noting that a control destination can be modulated by
more than one control source.
The diagram below illustrates how the Subsequent 37 generates sound. It shows the ow of audio
signals, represented by solid lines, and control signals, represented by dotted lines.
VCO 1
SUB LVL
VCO 1
LVL
VCO 1 MOD
& CNTRL
PITCH 1 CV
& MOD
NOTE
SYNC
PITCH 2 CV
& MOD
OSC 1-2
SYNC
VCO 1
CORE
VCO 2
CORE
VCO 1
SUB
VCO 1
WAVE
VCO 2
WAVE
SUB 1
VCO 1
MIXER
VCO 2
FILT SLOPE
SELECT
LADDER
FILTER
MULTIDRIVE
MULTI-
DRIVE
VCA
H. PHONE
AUDIO
AUDIO
OUT
VCO 2 MOD
& CNTRL
VCO 2
LVL
NOISE
LVL
FILTER EG
CV & MOD
RESO-
NANCE
VCA EG
& CV
FDBK/EXT
AUDIO LVL
NOISE
CORE
NOISE
EXT. AUDIO
FEEDBACK
EXT
AUD
You can control the Subsequent 37 using control voltages and MIDI commands. When the Subsequent
37 receives either a control signal from the onboard keyboard or a Note On command from an external
MIDI source, it responds by sending a gate signal to trigger the envelopes and a control voltage (CV)
to control oscillator pitch. The envelopes respond by sending control signals to the amplier and lter.
Every knob and button on the Subsequent 37 transmits MIDI data (when in NRPN Mode). This
functionality is useful for recording your knob turns and button presses into a computer-based DAW,
as well as for controlling external devices using the Subsequent 37’s front-panel controls. All the
settings that make up a patch are called its parameters, which is simply another name for settings.
11
BANK & PRESET SELECTION
The Subsequent 37 ships with 256 user-editable preset locations, which are arranged in 16 banks of
16 patches per bank. The following section will show you how recall existing patches, and also how to
edit and save your own patches. (The word patch is a holdover from modular synthesis, which requires
patch cords to connect the various modules.)
SELECT A BANK & PRESET (USING BANK/PRESET BUTTONS)
1. Press the BANK button, which will illuminate.
2. Press one of the PRESET buttons labeled 1 - 16. Your bank is now selected. (The BANK and PRESET
buttons will darken until a new preset is selected).
3. Now select a preset from within your selected bank by pressing the desired PRESET button labeled
1 - 16. The corresponding PRESET button will now remain illuminated.
NOTE: If you press a PRESET 1 - 16 button without rst pressing BANK, you will simply choose presets
from within the current bank.
Take your time, listen to all the presets, and turn some knobs to get a feel for how you can use them
to alter sounds. To return to the original stored preset, just select it again by pressing the currently
illuminated PRESET number button.
NOTE: If your display screen is not in PRESET mode and you wish to see which bank you are currently
in, press the BANK button and one of the buttons from 1 – 16 will illuminate. Press the BANK button
again to return to PRESET selection mode.
SELECT A BANK & PRESET (USING CURSOR AND BUTTONS)
Make sure that the PRESET button in the PROGRAMMING section is lit. The display screen will show
the title of the preset (one or two lines) followed by its bank (BNK) and preset (PRESET) numbers. The
last line shows the category (CAT) for that preset.
You can scroll through individual presets by using the CURSOR button to highlight the PRESET
number eld. Now use the buttons to scroll through all 256 presets. If you press and hold
either button it will scroll rapidly.
As you pass the 16th preset in a bank, the Subsequent 37 will jump to preset 1 in the next bank.
BROWSING ALL PRESETS IN A SPECIFIC CATEGORY
1. Press the CURSOR until you have highlighted the category type (MISC, LEAD, BASS, BRASS, etc.).
2. Now use the buttons to scroll through available category types.
3. Once you have made your selection press the CURSOR button until you have highlighted CAT.
4. The buttons will now allow you to scroll through every patch in your selected category.
NOTE: Category types can be assigned when you are in the SAVE mode.
SAVING AND NAMING PRESETS
Saving presets is a simple maneuver. Just remember that whenever you save a preset to a particular
location, the preset previously stored in that location will be deleted.
12
TO SAVE A PRESET:
1. Press the SAV E button.
2. You will be given an opportunity to name your preset. Use the buttons to select a character,
and use the FINE TUNE knob to scroll through the available characters. Now use the buttons to
select CAT (Category), and the FINE TUNE knob to assign your preset to a sound category. Press SAV E
to accept. (You can also press CURSOR and use the buttons to edit an individual character).
3. Using the BANK/PRESET buttons on the bottom of the front panel, select a save location for your
preset. (If you are already in the bank you want, you can simply choose from PRESET 1-16).
4. Press and hold SAVE for one second to conrm and complete the save process. To cancel saving,
simply press the PRESET button.
NOTE: When you rst press the SAVE button, the current positions of all sound controls are frozen so
that they can be saved with the preset.
PROGRAMMING SECTION
The Subsequent 37 has a wealth of user-selectable features and functions not
found on its panel. The PROGRAMMING section allows you to easily access
and update any of these things expediently.
Dec , Inc , and CURSOR buttons: These buttons are used for selecting
presets, menu navigation, and editing parameters shown on the Subsequent
37’s LCD display panel.
COMPARE
This button allows you to load an existing preset without discarding any
changes you have made to a current sound. To alternate between a stored
preset and a currently modied sound simply press the COMPARE button.
When the COMPARE button is illuminated, you are listening to a stored preset
and no changes can be made to the sound. When in this mode you can,
however, audition different presets without discarding your currently modied
sound. When the COMPARE button is dark, you have exited COMPARE mode
and are listening to your currently edited sound.
NOTE: You can also press PRESET to exit compare mode.
SAVE
This button is used to initiate the saving of a preset.
MIDI / GLOBAL
These buttons allow you to access and edit system settings for your
Subsequent 37 including MIDI channel selection, pot modes, and keyboard note priority. This is also
where you nd useful operations like note calibration and exporting presets. To learn more about MIDI
and GLOBAL settings, go to page 35 (MIDI) and page 43 (GLOBAL).
13
PROGRAMMING SECTION (CONTINUED)
PRESET / PANEL
These buttons select the performance mode of your Subsequent 37. In PRESET mode, the sound
you hear reects the position that the panel knobs and buttons were in when the preset was saved,
regardless of their current position. In PANE L mode, the sound you hear reects the current position
of the front-panel knobs and buttons. Parameters in this mode (other than the knobs) are saved in a
special buffer, so you can pre-set the panel to retain any non-knob settings you choose. Any sequence
data you have created before exiting the PAN EL mode will also be stored to this buffer. To load the
PANEL settings without loading its sequence, hold BANK while pressing PANE L to enter panel mode.
PRESET EDIT
Press and hold the PRESET / EDIT button to enter the PRESET EDIT MENU. This is where additional
preset parameters that would not t on the front panel are located. To learn more about the PRESET
EDIT MENU, go to page 39.
INITIALIZE PANEL
Press and hold the PANEL / INIT button to initialize the Subsequent 37 panel settings to a default
state. This is a great place to start when creating new sounds from scratch.
FINE TUNE
Use this knob to adjust the frequency of both oscillators as much as one semitone up or down from its
center position. Fine-tuning is useful for putting the Subsequent 37 in tune with any other instruments
that deviate slightly from standard pitch.
KEYBOARD OCTAVE BUTTONS
Use the K B OC TAV E buttons to extend the Subsequent
37’s keyboard from its normal three-octave range to a full
seven octaves.
Pressing the button once transposes the Subsequent 37’s pitch down an octave. Pressing it again
transposes it down another octave. Likewise, pressing the button transposes the pitch up an octave,
and pressing it again transposes it up another octave. When neither button is illuminated the Subsequent
37’s keyboard is playing in its standard octave. When a KB O C TAV E button is dimly lit, the keyboard is
transposed a single octave. When a KB OC TAV E button is brightly lit, the keyboard is transposed two
octaves.
NOTE: Since this is an analog synthesizer based on 1 volt-per-octave scaling, the extreme high and low
ranges of the keyboard may play notes that are not perfectly in tune.
The KB OC TAV E buttons also transpose the MIDI Note Numbers that the Subsequent 37 transmits by
corresponding amounts.
DEFAULT KB OCTAVE
Briey pressing both K B OCTAVE buttons together will reset the Subsequent 37 to its standard octave
regardless of current octave selection.
QUICK KEYBOARD TRANSPOSE
While holding both the K B OCTAVE UP and DOWN at the same time, play any single note in the lower
two octaves of keys to transpose the entire Subsequent 37 keyboard from -12 half-steps to +12 halfsteps. Pressing Middle C will set the transposition to +0 (default). Keys to the left of Middle C will
transpose downward, and keys above Middle C will transpose upwards. The KB TRNSPOSE value will
be reected in the PRESET EDIT 1.5 parameter as well. This is stored as part of the preset.
MIDI PANIC
Holding both KB O CTAVE buttons at the same time for about one second will send a MIDI Panic (All
Notes and Controllers Off) message.
14
ARPEGGIATOR SECTION
With the Arpeggiator ON button lit, any note or group of notes you
play will be sequenced according to the settings in the Arpeggiator
section and menu. You can also record and playback a 1 to 64 note step
sequence, which can be stored with each preset.
LATCH
When ON, the Arpeggiator will keep looping in its current state without
the need to hold a physical note. A new note or group of notes will initiate
a new note sequence based on the Arpeggiator Menu settings. If notes
are played and held while L ATCH is ON, playing additional notes will add
to the current list of notes to be arpeggiated. If all notes are released, the
rst new note played will initiate a new note sequence.
RATE
This knob sets the rate of the arpeggiator from 2 BPM (beats-per-minute)
to 280 BPM. When the SYNC button is illuminated the R AT E knob is
used to select clock divisions of the Subsequent 37’s internal clock or an
external MIDI clock. For more information on MIDI clock divisions, go to
page 52.
SYNC
When ON this button synchronizes the arpeggiator to external MIDI
clock messages. MIDI clock messages are 24 ppq (pulses-per-quarternote) messages that can be sent via MIDI computer sequencers, drum
machines, etc... To enable the sending of these messages, consult the user manual for your external
MIDI device. When the arpeggiator is synchronized to a MIDI clock tempo, the arpeggiator can be set
to time divisions of this tempo using the arpeggiator’s RATE knob. (Time divisions range from 4 whole
notes up to a 64th note triplet).
WARNING: When SYNC is ON, and you are not in TAP TEMPO mode, the arp/sequencer will not play
unless MIDI clock is received.
[TAP]
The SYNC button can also be used to set the arpeggiator’s rate to a desired tempo. To initiate Tap
Tempo of the arpeggiator, press and hold the SYNC button for 1 second. You can now tap the SYNC
button switch at the tempo you want (1/4 notes). On the third tap, the Subsequent 37’s internal clock
will change rates to match the timing of the switch presses. If you continue to tap the SYNC switch,
the internal clock will be set by a running average of the time between switch presses. To start over,
wait ve seconds and then tap the SYNC switch three times to set a new tempo. To exit the Tap Tempo
mode press and hold the SYNC button for 1 second.
RANGE
Use the RANGE buttons to choose how many octaves the arpeggiator will play above or below the
actual notes pressed. The LEDs will indicate -2 octaves, -1 octave, 0 octaves, +1 octave, or +2 octaves.
If you press either RANGE button more than two times you will light up both the 0 and the -2 or +2
LEDs. In this mode the arpeggiator will play all the notes in the original octave, the 2nd octave, the 3rd
octave, and then back to the 2nd octave before returning to the original octave.
15
ARPEGGIATOR SECTION (CONTINUED)
BACK / FORTH
When the BACK / FORTH button is illuminated the arpeggiator will play the UP or DWN patterns in a
bi-directional fashion, making UP play up then down, and making DWN play down then up.
For example, if you choose the UP pattern without the BACK / FORTH button and hold C-E-G, you’ll
get C-E-G-C-E-G etc. But, if the BACK / FORTH button is lit you’ll get C-E-G-E-C. If the PATTERN
switch is set to ORDR the arpeggiator will play notes in order and then in reverse order. The
BACK /FORTH setting has no effect on the RND pattern.
NOTE: There is a parameter in the PRESET EDIT MENU (Page 39) called END NOTES that determines if
the beginning and ending notes of the arpeggiation are played once (ONCE) or twice (TWICE) when they
change direction. For example, if you’re arpeggiating C-E-G using the UP Pattern with the BACK / FORTH
button lit, you get C-E-G-E-C etc. if you choose ONCE. If you choose TWICE you’ll get C-E-G-G-E-C-C etc.
INVERT
When the INVERT button is lit the arpeggiator will play each note in two or three successive octaves
before moving to the next note. If the RANGE parameter is set to +1 with INVERT lit, and you hold
C-E-G, you will get C, C up one octave, E, E up one octave, G, and G up one octave. Because this
function is octave based, the INVERT button will have no effect if the arpeggiation RANGE is set to 0.
PAT TE R N
Use the PAT T E R N knob to choose the manner in which notes are played back by the Subsequent 37
arpeggiator. When UP is selected, held notes will play back in order of pitch from lowest to highest.
When DWN is selected, held notes will play back in order of pitch from highest to lowest. When ORDR
is selected, held notes will play back in the order they were held. When RND is selected, held notes
will play back in a completely random order.
You can also use the PATTE R N knob to select the Subsequent 37’s built-in Step Sequencer. If the
arpeggiator is not running, setting the PATTERN knob to REC and playing a new note will clear any
existing sequencer data. This allows you to record a new Step Sequence containing up to 64 notes.
If you turned the PATTERN knob to REC by mistake, that’s okay. Simply turn it back to the desired
position and your original sequence will still be there. Learn more about the step sequencer on page 17.
ON / REST
The ON button is used to engage or disengage the arpeggiator, allowing you to pre-set the arpeggiator and
then turn it on as needed. When in Step Sequence Record mode, the ON button becomes RE ST. Pressing the
REST button will advance to the sequencer to the next step and add a silent REST to your Sequence.
LATCH / TIE
When ON, the L AT CH button allows the Subsequent 37 to continue playing an arpeggio or sequence
even after all the keys have been released. When in Step Sequence Record mode, pressing the
LATC H button becomes TIE, which will connect your previous note to the next note you play without
advancing to the next step in a sequence.
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STEP SEQUENCER BASICS
With the arpeggiator disengaged (ON button is darkened), turn the PATTE R N knob to REC. The next
key you press will erase any existing step sequence data and enter a note for step 1. The LCD display
will also show REC 01 / 01, indicating that you have recorded step 1 of a (so far) 1-step sequence. Each
successive key press (or REST) will advance you to the next step number for up to 64 steps.
After entering a note, pressing the TIE button will tie (connect) your previous note to the next note
you play. If you play a different note from the previous one using a tie, you will hear the new pitch
without triggering the envelopes. If you play the same note as the previous one using a tie, you will
effectively double the length of the note.
NOTE: With Glide set to ON and the LEGATO button illuminated, the glide effect will only occur between
the tied notes.
You can also create a tie between two different notes by pressing a second note before releasing the
previous note. This shortcut will not work if you are in DUO MODE.
After recording your step sequence, turn the PAT TERN knob to SEQ. Then press the Arpeggiator ON
button. Now you can play back your step sequence in any transposition by pressing a key. The key you
press will be the starting note of your step sequence.
NOTE: In the GLOBAL MENU, if you set REF NOTE to be MID C, then pressing Middle C will play back
your step sequence exactly as you recorded it. Playing C# will play back your sequence a half step up.
Playing the Bb below Middle C will play your sequence a whole step lower.
STEP SEQUENCING IN DUO MODE
With DUO MODE engaged, you can choose (per step) whether
to enter one or two notes together. When two notes are played
simultaneously, the sequencer captures two separate pitches.
The KB CONTROL settings determine which oscillator follows
which note.
When you play the sequence back you will hear both notes on steps that were recorded with two
notes, and both oscillators playing together on steps in which only one note was pressed.
During playback, if you hold down two notes, all of the recorded duo notes will play back normally. Any
single recorded notes, however, will follow your two keys as dictated by KB CTRL settings. This allows you
to play real-time pitches along with a step sequence any time there is only one note recorded in a step.
If your step sequence consists only of single notes you can play along with your own melody. If your step
sequence consists only of duo notes, then playing a second key during playback will have no effect.
NOTE: A step sequence can be stored with each preset. This means you can store multiple versions of a
single preset, allowing you to switch between different sequences while continuing with the same sound.
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STEP EDIT MODE
Using the Step Edit mode you can edit everything about every step of a sequence (in real or
non-real time). For each step, this includes the note number of either one or two notes, the velocity
of the step, whether there’s a rest or a tie, and the per-step SEQ MOD value. You can also decide
(non-destructively) which step is the rst step, and which step is the last step of the sequence. You
can ROTATE (shift) the pattern relative to the downbeat, SKIP any desired steps, and add a rapid
note subdivision to any step via R ATCH E T.
ENTER / EXIT STEP EDIT MODE
Set the ARPEG G IATOR PAT T E R N knob to either SEQ or REC. Then hold
the BANK button and press the L AT CH button to enter or exit STEP EDIT
MODE. You can also exit Step Edit mode by moving the PAT TERN
knob away from REC and SEQ (UP, DWN, ORDER, or RND).
In STEP EDIT MODE, the PRESET buttons (1 - 16) are used to show and edit the pattern’s step data.
Steps 1 through 64 are displayed as four pages, with each page representing 16 of the steps at a time. To
change which sequence page is currently displayed, hold the BANK button and press the KB O CTAVE
button to increment the sequence page, and the KB OCTAVE button to decrement the sequence
page. The page number is indicated (P1 - P4) in the bottom right corner of the LCD display.
SEQ PG CHASE (Located in GLOBAL MENU 2)
Toggles the page-chase behavior for the sequence page display. When ON (default) the step buttons
(PRESET 1 - 16) will rst show steps 1 - 16, and then steps 17 - 32, then 33 - 48, etc. When SEQ PG
CHASE is OFF, the step buttons will remain on the sequence page selected by the user.
VISUAL INDICATIONS OF STEP EDIT MODE
When the BANK button is pulsating slowly, it indicates that you are in Step Edit mode. These pulses
also indicate that no specic step has been chosen for editing.
The bottom line of the LCD gives four pieces of information (from left to right):
• Stop , Play , and Pause show the sequence’s play status.
• EDIT indicates that you are in Step Edit mode.
• CURRENT STEP (1/XX) shows which step of a sequence you are on.
• LAST STEP (X/64) shows the last step number; after playing the last step, the sequence will
repeat from the beginning.
The PRESET buttons are lit dimly for active steps, dark for rests, and dark for all steps after the last step.
Ex. For an 8-step sequence with a rest on step 5, steps 1 - 4 and 6 - 8 would be dimly lit. Steps 5 and
steps 9 - 64 would be dark.
During playback, the current step is lit at full brightness. This brightness will chase across the
PRESET 1 - 16 buttons in sync with the sequence playback.
EDITING A STEP
To select a specic step for editing, hold the BANK button and press a step button [PRESET 1 - 16].
The BANK button will go dark, and the selected step button now pulsates. Now that you’ve selected a
step for editing, you can choose any other step to edit by simply pressing that desired step’s button.
To exit this mode (and deselect any step for individual editing), simply press the BANK button. The
BANK button will resume pulsing, and the previously selected step button will return to its specied
state (active, rest, currently playing, etc.) as described above.
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EDITING A STEP (CONTINUED)
While a step is selected for editing:
REST [ON] and TIE [LATCH] buttons show and toggle the rest or tie state for the selected step.
Note entry (via keyboard or MIDI) edits the pitch of the selected step as follows:
• Any non-legato note sets Pitch 1 and clears the Rest, Tie, and Ratchet data.
• Any legato note sets Pitch 2.
NOTE: If the DUO MODE button is held when a note is entered, then the note entry sets Pitch 2 without
modifying Pitch 1.
If, during step editing, the PATTE R N knob is set to REC (instead of SEQ), then the selected step also
determines the step from which step recording will commence. After the release of all notes, the step
is deselected and the sequence is advanced to the next step. The Subsequent 37 is now ready to
record all further notes in the normal fashion for step recording.
TIE GROUPS OF STEPS
Hold a step button and press another step button to Tie these steps and any steps in-between
together. If the last step of this new Tie group was already set with a Tie, then the original Tie will be
cleared. Press the same two step buttons together a second time to un-Tie all the notes in the group.
TOGGLE STEP REST STATE
Press and release a single step button to toggle Rest on/off.
SET FIRST STEP/LAST STEP
To set a certain step as the sequence’s rst step, press and hold the desired step button and press the
KB O C TAVE button. To set a certain step as the sequence’s last step, press and hold the desired
step button, and press the KB OCTAVE button.
NOTE: You can also CURSOR to the last step number displayed on the LCD and dictate a new last step
using the buttons.
ROTAT E PAT T E R N
You can shift the entire sequence’s step data “left” or “right” (relative to the downbeat) by holding
BANK and pressing the ARPEGGIATOR RANGE [<] and [>] buttons.
BANK + RANGE [<] shifts the pattern to the left by one step per press.
BANK + RANGE [>] shifts the pattern to the right by one step per press.
NOTE: When rotating patterns, there are two Sequencer Transpose modes found in the GLOBAL MENU
2.2/SEQ OPTIONS sub menu. The options are FIRST (First Note - default) or MID C (Middle C plays
recorded pitch). If transposition is based on “First Note” and you rotate a pattern, this will affect how
the sequence is transposed when you play a new key on the keyboard. The new rst note becomes the
new root note for transposing from the keyboard. In MID C mode, playing Middle C on the keyboard
(note 48) will cause the sequence to play in its recorded key, regardless of which pitch has been rotated
to be the rst in the sequence. If you plan on Rotating your patterns while playing live, it’s best that you
choose MID C in the GLOBAL MENU 2.2/SEQ OPTIONS sub menu.
SKIP
To toggle SKIP on/off for a step, hold the desired step’s button and then press the ARP ON [REST]
button. Skip allows you to temporarily remove a step from a sequence. The note prior to the Skipped
note will proceed directly to the note after the Skipped note.
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