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In fact, simply letting go of the LFO rate knob was often enough to knock it out of tune and I’d have to back and dial it in again. And the tiny knobs don’t make finding the sweet spots easy. The natural analog drift here definitely lends to the charm, but I did find myself having to retune both every so often. If I have one complaint about the oscillator, and by extension the LFO as a sound source, it’s that they can be difficult to tune. Here you’re able to add more harmonic content and get tones that you simply can’t on almost any other Moog device. What makes this special is that normally, East Coast or subtractive synthesis (as exemplified by Moog) are about starting with a harmonically rich sound source and then shaving away the bits you don’t want.
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Plus you can feed one or both of those sources into the wave folder to add even more harmonic content. You can even control both independently (to a degree) to get counter melodies and dueling arpeggios.
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For one, the LFO can reach audio rates, so you can patch it up and treat it as a second playable oscillator. And there are a host of tools at your disposal on the front panel to fatten up the sound further. It’s also tough to get convincing pad sounds with just a single oscillator, but with some effects it’ll do in a pinch. Without a noise source snares, hats and claps are out of the question. You can get a decent kick out of it, and maybe some pitched tom sounds. The only thing it can’t really handle is drums. You can get everything from 8-bit video game beeps, to towering bass stabs and even koto-esque plucks. Mavis is a little rough around the edges in a good way. It’s not the most versatile or unique synth, but it does what it does very well and it’s just oozing character. If you just stuck with sounds the Mavis made out of the box, you’d probably be happy. This is a synth built with bass in its bones. Its Moog DNA is glaringly obvious in the buzzing saw wave and booming square. Honestly, it’s the sort of accessory that should come with most synths and not a $50 (or more) add on. One last thing worth mentioning is that, while you can stick Mavis in a Eurorack case, it has a case of its own and even a plastic dust cover to make sure your precious Moog stays pristine. Yes, it’s designed in part with Eurorack in mind, and it’s not a big deal to slap an adapter on the cable, but it still seems somewhat out of place considering that every other member of the Moog semi-modular family has ¼-inch outs.
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It’s also slightly odd that Moog went with an ⅛-inch audio out jack, instead of a ¼-inch one. It gets the job done for noodling around and auditioning patches, but I wouldn’t want to use it for an actual performance. And the lack of a sequencer or arpeggiator means you’d have to play it live. The keys on Mavis are tiny and rubbery and require a good amount of force to play. But I highly recommend you get an external keyboard or sequencer with CV controls, like one of Arturia’s KeyStep or BeatStep series. Mavis even has a built-in one-octave keyboard so you can start tapping out basslines immediately.