You can control how many voices each layer uses, so something like 3 voice unison for a bass patch with 5 voices remaining for plucks or pads is pretty easy to do.
If you want 8 voice unison that’s a different story.
Word is the case is pretty well full at 8 voices.
I don’t really feel any heat on the panel face. the vents on the right (above the filter/env/VCA/delay) get a bit wam, but not really HOT. the Syntakt, RYTM and Heat all got hotter, in fact. there’s a vent right above the PSU and that doesn’t seem to get hot at all.
by the way, one of the features I’m loving that I didn’t even realize was there when I bought it are the per-voice/per key-press random voltage generators. just a little bit of this really gives a lot of life to patches and is a really cool alternative to the “vintage mode” on Sequential/Oberheim synths. you can dial in as much “slop” as you want for any given parameter, instead of just having one knob to control whatever the Sequential/OB vintage algorithm controls (though I do love their vintage mode).
Very nice! That is an excellent feature!
Yeah, if the panel isn’t getting hot to the touch, I doubt heat has anything to do with the overlay issue in that video. I’m guessing the adhesive wasn’t applied uniformly, or the overlay wasn’t applied perfectly.
The 3rd Wave uses that sort of overlay, and gets a little warm, but it didn’t have any issues during my time with it.
I would guess that this is more of an occasional issue with individual units, and not a wide-spread engineering issue.
Still just a guess on my part, but I doubt there’s anything to worry about. If the overlay looks good when you get it, I would doubt it’s going to peel up later.
Mine hasn’t ever been warm to the touch.
I think if I had bubbling like that though I’d call me vendor ASAP and they’d handle it.
Mine gets warm for sure. I have seen the voice cards at 46c in the tuning page.
I guess I should say it never gets hot - if anything my Take5 front panel has been warmer. I’ve also only seen 40c in the tuning menu, though. Perhaps because it is in a cool room.
Right now at 40c there’s some slight warmth if I touch the vents (this is well below what I’d accept for drinkable coffee), and the front panel is only barely warmer than room temperature.
It’s on a stand, not a desk, so maybe airflow to the buttom vents is bettter.
Inexplicable that this doesn’t have Poly AT 
It has impact on the board design because for polyAT to be usable you need to ensure a solid base (-> eg hydrasynth) and of course this can increase the retail price by 500usd. @Jukka can probably provide more details.
PolyAT is still a niche these days: I’ve got an Osmose and the only real use can be made with the on-board sounds, which benefit from an amazing (!!) sound design done by its developers. With my Prophet and X8, which both respond to polyAT, the relevance of this feature, which mainly targets cut-off frequency, is by far more limited.
I think this could have had polyAT, but I don’t see Fatar selling them as a regular product yet.
Frankly, I’d rather have something with more control than just PolyAT - something like Arturia’s fulltouch or something with X and Y controls of some sort (wiggle sideways for vibrato, position up and down key for Y control).
Per-key controls are a good idea, but PolyAT alone is a rather basic implementation; if I’m going to pay $4-500 more for it, I want more than that.
We’re going off topic.
If Moog wants to do advanced aftertouch keyboards, they ought to revive the Moog-Rothenberg, or the Moog-Eaton designs. Bob Moog was an advanced keybed innovator besides everything else he did.
BTW : Poly-aftertouch is a regular thing from Fatar.
There are several threads where this discussion does fit.
Even though it’s becoming more accessible and prevalent in the last 5 years or so, if you look at the synth industry as a whole, and the time frames involved with adoption of new tech, (and when the original patents for Poly AT (Yamaha and Ensoniq) ran out, Poly AT is in its relative infancy.
I’m right with you in that I think it should be standard on all new polysynths (even budget minded ones since the Medeli action is seemingly inexpensive).
I think we’ll be moving more toward that as these things pan out more, and everyone determines which are the most popular means of implementing it. I think the Fatar Poly AT action goes a long way toward this now.
Once you start using it, it is actually really hard to go back to Channel AT.
I agree that the Muse should have it. It would basically be perfect if it did.
This is just my opinion on why I think it doesn’t. Who knows, maybe they can offer it later like UDO and potentially Groove.
iridium poly at is pretty good, that and moog one basically stopped my interest in any more keyboards (famous last words)
still kinda want to try the muse in person, i am in no rush i’ll give it a whirl at the local shop when they eventually get back in stock
just a little side note: The iridum keyboard is absolutely my favourite keyboard feel i’ve ever experienced. If you’re thirsting for polyphonic aftertouch… this is the unit to buy IMO
I’ve definitely been spoiled by my Osmose and the Native Instruments Kontrol mk3.
When I go and play my Summit these days, the channel AT sounds so damn stale.
Especially when just wanting to solo with my right hand over some chords on the left. It throws off the whole sound of the patch and if you want something to simulate tremelo, it can have a large impact over the volume of your patch.
The Yamaha CS80 was very ahead of its time but it was built sometime in the 70’s (if I remember correctly).
That’s a long stretch to not have it be standard.
I should clarify, I’ll probably end up buying this thing as I’ve always loved Moog stuff and have dreamed of a poly moog for virtually my whole musical life.
But I would’ve been willing to fork out a bit more if necessary to get poly AT.
Moog has released keyboard and desktop versions of the same synth (Voyager RME) but it does seem rare.
I would much rather have a full keyboard version as the look and feel is probably stellar but I may wait a while in hopes of a desktop module.
Yeah, the Ensoniq and Yamaha patents ran out by the early 2000s, but the Ensoniq version wasn’t the greatest implementation, and not sure about they Yamaha approach. It took quite a while before anyone started working on new ones after that, and one of the companies that was working on one for a while actually went out of business or something like that (disappeared anyway). Seems like it took nearly ten years before companies came up with some serious designs, and it’s taken 5ish more before they started showing up. That seems like a long time, but I’m guessing that it really wasn’t a highly requested feature for a long time, so it took a while for everyone to realize how much it was needed. Maybe the huge influx of alternative controllers, MPE, etc. spurred it on a bit too.
think that was pretty easy to figure out: remove the touchpad, move the knobs closer together, and you’re done. plus it’s monophonic so less to cram in there and less heat concerns.
yeah, good point.
InMusic seems to be all about the options with the MPC line… so maybe there is a little hope
here’s an idea of what’s inside of it:
https://maffez.com/?page_id=4776
should be eight of those voice cards inside. so that’s a decent bit of space to occupy, before you factor in the other stuff, plus panel board, etc. unless they maybe made it like 5 spaces high and super deep like old school rack synths, ala Super Jupiter, etc. which would be rad! 
Tried it at perfect circuit today.
Kinda disappointing tbh, had been waiting for this for so long. Build of the case is solid, but all the other functional parts felt and looked like cheap plastic. Even the classic looking knobs felt cheaper than usual.
Interface and anything related to the digital screen felt awful. So much menu diving. So messy. And so slow.
Sound was pretty basic. To my ears the matriarch is so much better in terms of sound and character.
Instantly plugged the headphones after to the prophet 6, what a difference. Different synth but so much better in every way. Clean, built like a tank and incredible sound as always.
Just my experience. Will not be buying this one.
I respectfully disagree on the interface: In my opinion it is well done and the biggest strength of this synth. Yes, there are many functions in the additional menus, but this is a complex synth, so there’s just no way to make it knob per function without approaching the price range of the Moog One.
I completely agree on the sound. I had a Muse for about one week and sent it back. To me it sounds pretty generic and it’s lacking character. The upper frequency range sounds harsh to me (even when keeping an eye on gain staging and not using Overdrive at all). Yes, you can make complex sounds with the Muse because of the deep modulation capabilities, but to me the core sound is not convincing – and that’s the most important property of a synth, at least for me.
