Test: Moonwalker
While many a module comes across as quite self-explanatory, the Moonwalker is a bigger deal. According to Schneidersladen, it is „an Attack/Decay generator that can act as a VCO, LFO or AD envelope“, which gets to the heart of the matter from a purely technical point of view. But what does that mean musically? Who needs it and what is it best used for?
First of all: The Moonwalker is not a no-brainer that you can understand in a few minutes; therefore, we have structured this test in two parts. The first section explains the module and its technology and is, therefore, intended for diehard nerds. If you‘d rather skip that and, instead, want to know what‘s in or coming out musically, jump straight to the „From Reese Riffs to Soundtrack Textures“section.
The technique of Moonwalker
The basis of the Moonwalker is the Attack and Decay controls, because these determine the waveform with which all function modes are ultimately operated. Attack controls the slope and Decay the fall; so far it’s pretty logical. Since both parameters are linear, no soft sine waveforms are possible, only triangle and sawtooth. However, the Attack and the Decay can both be modulated, as well as the Phase Offset (starting point of the waveform), which can then also create unusual and wacky waveforms.
In addition to the output of this main waveform, the module also provides a reference waveform that „unipolar mirrors“the main waveform and, therefore, generates additional waveforms outside what’s typical. In addition, a „Not Decay“output provides a pulse signal for the period in which neither attack nor decay are active. Whew! You have to digest this information first, but the manual offers a practical graphic to help you understand it.
Three operating modes
As mentioned in the introduction, this module can function as an envelope. For this purpose, the waveform is simply played back via one-shot. If you activate the loop, the waveform is repeated permanently and can work as an LFO or VCO by means of a three-step tempo. In principle, this is the same as for other modules. But the biggest feature is added here: the Phase Offset. With this, the start point of the waveform can be shifted in real time, either manually or via CV and, thus, the waveform can literally be completely bent (keyword: skew). On top of that, there is a reverse and a retrigger function, which determines whether the envelope restarts at the next incoming gate or first runs to the end.
Those who can‘t follow the story can take comfort in the fact that we didn‘t feel any different during testing. Understanding the Moonwalker‘s working methods takes time. On the other hand, you don‘t have to get into the details right away, and we‘re actually much more interested in what all this brings to music making. After all, what good is the most sophisticated technology if the output is not right? We have summarized the most important features and their effects further down the page, as simply and understandably as possible.
From reese riffs to soundtrack textures
The Moonwalker gets really exciting when you not only use the main waveform to control parameters, but combine it with the reference waveform or the „Not Decay“out. In VCO Mode, for example, incredibly wide lead sounds can be created by controlling the main and reference waveforms to the left and right. Optionally, turn the Phase Offset or change the basic waveform by modulating Attack and Decay and deep, wobbling Reese Riffs come out of the box, which, in places, remind us of nasty Neuro Basses and are more aggressive than Hulk in puberty. Alternatively, you can use the same configuration in slow LFO
mode to create endlessly long and ever-changing textures and spherical sounds that can soundtrack a Chillout floor on autopilot all night long.
But Moonwalker also offers a good basis for rhythmic experiments, especially with combinations of „Not Decay“out and retrigger options of the gate input. In this configuration, for example, the module can briefly open the filter of the bass sound as an envelope and then trigger another sound via „Not Decay“, such as a second bass, a pad or a hi-hat.
More LFO than VCO
On the downside of the VCO mode (that is, looped waveform on high speed) is the fact that the pitch is affected by each of the knobs and, otherwise, there are no options for changing the sound. Although there are a lot of different sounds, if you want to play melodies, you have to correct the pitch every time you change the sound.
As an LFO, on the other hand, super fast happy accidents can be created like one could only wish for. If, for example, the Phase Offset is modulated by an external LFO and, at the same time, the „Not Decay“output is sent to the CV input of attack, very entertaining patterns are created when the Moonwalker controls the pitch of another VCO.
And depending on the LFO tempo and modulation intensity, this pattern changes at the same time. To get the best out of the module, you have to tinker, and it offers plenty of options and connections for that.