Last update:
24 May 1997











The creator of the moog,
Bob Moog himself describe the sound:
"I believe it comes from a balance of several factors: the warm, low-order distortion introduced by the VCF and the VCAs, the rapid attack times of which the contour generators are capable, the small amount of noise in the oscillators that keep them from locking together at very small frequencies, and the frequency response of the instrument as a whole."











minimoog

The ultimate analog synth


In 1970 the minimoog first hit the street and after 12 000 sold minimoogs the production ended in 1981. This is clearly the most influential analog synth ever produced and when you hear the three oscillator fat bass sound, magic. Dick Hyman debuted with the minimoog in a public performance at the Eastman School of Rochester, New York, in the summer of 1970. It was also shown at the same convention as ARP 2600 later that year in New York.

Like the Hammond B-3, the Gibson Les Paul, the Fender Precision bass, and the Rhodes electric piano, the minimoog has become a venerable instrument. Most synthesists agree that the minimoog's sound sets it apart from all other brands.

What's the secret

Surely anything that could be achived 15 years ago can be easily recreated now?
It seems not. Even when Moog themselves analysed the sound of the minimoog and attempted to incorporate its essence into the polyphonic Memorymoog, the result lacked the characteristic warmth of the earlier model. Impressive, perhaps, but cold, distant and featureless by comparison.
How come? Well, early minimoogs (up to serial number 10175) had rather unstable oscillators, which some claimed added to the warmth an colour of the sound as well as being a major problem concerning tuning. After the minimoog gets warn tuning drift away and it could be a real pain re-tuning it all the time. I think that the general imperfections within the old analogue circuitry is to be credited.
Then there's the patented Moog filter to consider. In use, it isn't capable of giving the very bright sound Oberheim Pro One owners will be so familiar with, but instead, it provides an as yet unequaled richness of texture, even using the dual VCOs, single LFO arrangement. The filter can be made to decay over a ten-second period after key release - an arrangement that demonstrates that richness rather well. It has also a very sharp attack, and it's coupled with a relatively short initial decay that helps to give the percussive funk or sequence-style bass sounds that ensure its popularity, even in today's much-changed musical climate.

Oscillator(VCO) design

The first, and best-known, of the synth section's attributes is the presence of no less than three analogue oscillators, all of them simultaneously available. I have heard of models with a fourth modulation oscillator built in, but if they exist they are extremely rare. The third oscillator was normally used for modulation purposes like a LFO (low frequency oscillator). The oscillators are well-endowed with waveform options. Each has triangular, sawtooth, triangular-sawtooth, and three different square waveforms. On oscillator three we find reverse sawtooth instead of triangular-sawtooth in the interests of improving modulation. One waveform can be selected from each oscillator at any one time, but that choice can be made independently of the other two oscillators.
The absence of a pulse width modulated waveform might appear at first to be a serious omission, but it isn't. Remember, PWM was a facility initially introduced as a sound-fattening exercise on synths with only a single oscillator, minimoog has three VCOs, and in any case you have the option to mix the different widths of square waves together.

Filter(VCF) design

The filter is a 24dB/octave low-pass affair, with three different keyboard-tracking rates. Both the filter and the amplifier transients are permanently assigned a separate transient generator laid-out in an attack, decay, sustain configuration. The sustain is the prevailing level whilst the key is held, with the decay taking effect again during the period after key release. It's certainly a little different to what you'll find on most other synths, but it's easy to use, and gives excellent results.

Modulation(LFO/VCO) design

Modulation effects may make use of oscillator three, which can be switched out of the mixer section and keyboard control and into it's "Lo"(sub-audio) state, for conventional vibrato effects and the like. The modulation waveforms cover most eventualities admirably, and some great effects are easily achived.

Ring-Modulation

With oscillator three you can simulate a ring-modulation effect that is very useful for bell-like sounds. Use VCO three within the audio range, whilst arranging for the modulation rate to track the keyboard if the keyboard control is switched back in; thus the higher up the keyboard you play, the faster modulation rate.

Switching design

Switching is provided to allow a choice of routing to either or both of the oscillator and filter sections, and both pink and white noise modulation are provided; either one of these can be used on its own or mixed with any of the above effects to modulate the oscillators and/or filter.

Mixer design

The mixer section allows simultaneous mixing of the VCOs, the noise generator and an external sound source, all of which are provided with a mute switch in addition to a level control. There's also a master mute switch, which allows you to set up sounds on headphones without having to unplug the output to prevent your audience getting advance warning of what you are about to inflict on them.

minimoog statistics

Manufacturer: Moog Music, Buffalo, NY (out of business)
Produced: 1970 to 1981 (Serial no. 1017-13259).
Description: Monophonic analog synth.
Features: Three VCOs, four-pole lowpass VCF, two envelope generators, 44-note (F to C), single-trigger, low-note priority keyboard, pitch and mod wheels.
Original Price: $1,495.

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