From the starship funk lead lines of the 70’s, to the gangster whine of mid 90’s hip-hop, the ever present Minimoog has been making its phat presence felt for over 3 decades. In partnership with Bob Moog, Arturia decided to reproduce the legendary interface with the same look and feel as the original because of its particular "mood", and because many musicians wish to use the same interface they used in the past. But the reproduction of this synthesizer does not stop at the look and feel – Arturia also recreated its inside characteristics.
MAIN FEATURES
- All the parameters of the original minimoog V
- Advanced automation mode ( Minimoog V 2.0 Only )
- Revolutionary preset navigation system called the SoundMap (Minimoog V 2.0 Only ).
- Formant-based FX called the Vocal Filter (Minimoog V 2.0 Only )
- Modulation matrix with up to 6 connections (12 sources and 32 destinations)
- Arpeggiator
- LFO
- Chorus and Stereo Delay Effect section
- More than 1000 presets created by talented artists and sound designers
- Up to 32 voices of polyphony, and a Unison mode
- 3 voltage controlled oscillators with 5 waveforms
- 1 amazing sounding 24 dB/octave filter
- 1 VCA
- 1 Mixer
- 1 Noise Generator
- 2 ADSR envelopes
- 1 external audio input and 1 external oscillator and filter modulation input
- Soft clipping function
- No aliasing from 0.1 Hz to 20 kHz
- 32-bit floating point precision
- Sampling rate: up to 96 kHz
A LITTLE BIT OF HISTORY...
Here it is! A compact, moderately priced electronic music synthesizer designed for live performance. This is the way the Minimoog was introduced on the very first promotional brochure, in the midst of 1971.
The Minimoog synthesizer required several months of research and development and 4 prototypes, before leading to the commercial model. More than 12,000 units were sold until 1981. They were quite far from the 10 modular units per month that Moog Music produced in the late 60’s.
The very first Minimoog prototype was called Model A. Three other versions, B, C and D, followed. This last model is the final and most common incarnation of the Minimoog synthesizer and the only one that was put into production in large numbers. The choice of wood rather than plastic for the cabinet prevailed from the beginning, simply because Robert Moog preferred to follow the advice of musician friends, rather than drawings coming from Moog’s industrial engineers. The Model D was first introduced at the NAMM convention in June 1971. It was Moog’s first exposure to the music instruments industry - and the industry's first exposure to synthesizers. The reception is rather cold as, according Robert Moog himself, “Most dealers didn't know what to make of a musical instrument with words like Oscillator Bank and Filter printed on the front panel.”
The Minimoog knew an unparalleled success during the 1970’s. Artists and bands like Tangerine Dream, Kraftwerk, Depeche Mode, Keith Emerson, Jean-Michel Jarre, Klaus Schulze, and Rick Wakeman used the synthesizer, notably for the typical sound and its very warm quality, which is excellent for basses and lead sounds.
A FAITHFUL REPRODUCTION
The original Minimoog has particular characteristics for which it was loved by many musicians, to this day. Arturia’s Minimoog V brings back the sound and special characteristics, in a virtual instrument.
Arturia decided to reproduce the legendary interface with the same look and feel of the original, because of its particular "mood", and because many musicians wish to use the same interface they used in the past.
But the reproduction of this synthesizer does not stop to the look and feel – Arturia also recreated its inside characteristics.
So what makes the sound of the Minimoog?
First, the oscillators. Arturia recreated the exact characteristics of each oscillator, with their particular sound. As with any discrete component analog oscillator, the Minimoog V produces "free-running" waveforms that Arturia has captured in their sound.
Secondly, the filter. Many digital filters have some characteristics which are very far from their analog references. The minimoog V filter has the same characteristics as the original Minimoog, i.e. its frequency and emphasis are completely independent. The Minimoog V filter is an true emulation of the renowned typical 24dB moog 4 stages filter. Another feature of the Minimoog filter is that the emphasis decreases when the cutoff frequency is low. This allows a special characteristic of sound that lets the bass pass through the filter when playing lower sounds.
The soft clipping behaviour of the Minimoog amplification stages is also very important in the sound character, adding some pleasant harmonics to the sound, making basses sound more powerful.
NEW IN MINIMOOG V 2.0
Sound MAP
Explore hundreds of sounds using Arturia’s revolutionary Sound MAP. Locate areas you like and pick a sound that will stimulate your creativity. Morph sounds on the MAP by clicking anywhere you like. Add filters to make your search easier, or get back to the traditional list of presets, by sound-designer or by type. Be creative, be funky, be a sound-traveler.
Vocal Filter
Did you ever think about making a Minimoog talk? Well, Arturia thought of it, and came up with a very exciting solution, called the Vocal Filter. Sonic results can be spectacular, similar to those sounds from Kubrick movies.
Circuitry Improvements
While Arturia built around the core Minimoog structure, they also added a few options in the circuits. The Keyboard Follow can now be deactivated on VCO2. In addition, Arturia extended the modulation matrix and added a few sources and destinations. The Pan and Vocal Filter can now be used as destinations. Two random signals based on a Sample&Hold are added as inputs. Arturia also allowed for the use of voice number (from the polyphonic range) as a discreet source, which proved very interesting for controlling different parameters.
Automation
What if a Minimoog offered automation - not as a control option but as a sound-design tool? Pick up to four parameters and record real time changes within the preset. This is an entirely new sound palette that will arise, just by the traditional Minimoog scenery.
WHAT WAS ADDED
Arturia added some very useful enhancements to the original Minimoog – polyphony, and many other simple and powerful features.
Polyphony is what a generation of Minimoog users dreamt of. But today, all soft synthesizers are polyphonic - so Arturia brings this to you in the Minimoog V.
Arturia also added more features, always keeping in mind the original simplicity of the Minimoog.
- Delay & Chorus
Simple parameters, but rich sound. The chorus sound was carefully evaluated and improved to have a "creamy" sound without blurring natural attack and transients of the Minimoog sound.
- Modulation Matrix
It allows you to connect many MIDI controllers to any of the modulable parameters of the instrument, so you can have a live control of your sound.
- LFO
An extra oscillator was added for modulation purposes. You can connect this LFO to any modulable parameter via the modulation matrix, and free up the Minimoog V's third oscillators to add to the sound, or for other modulation possibilities.
- Arpeggiator
It allows the keyboardist to have automatic note sequencing of a chord. With this feature you can simply play and hold notes on your keyboard and obtain many special effects and note patterns.
- PWM
Oscillators can be modulated in pulse width, a unique feature of the Minimoog V, which cannot be found on any other Minimoog emulation on the market. This allows for an added level of tone control of the oscillators, and allows you to make sounds that are otherwise impossible on a Minimoog.
WHAT YOU CAN DO WITH THE MINIMOOG V
You can make a large range of sound with the Minimoog V. This instrument is particularly efficient and simple for bass and leads. Inserting a Minimoog V sound into your mix is fast and easy.
You can pick up one of the 300 provided presets, made by renowned sound designers, and begin to play. All parameters are directly accessible, so you can tweak the sound to easily fit in your song.
But what kind of sound is the Minimoog best for? Every Minimoog owner will say "BASS". In fact, the Minimoog was mainly used for bass and lead sounds, because it was monophonic. But, that is not the only reason; its simple but efficient architecture, the specific shape of the filter, the characteristics of the oscillators, and the soft clipping output stage give the Minimoog a warm and unique sound. The Minimoog V reproduces this unique warm sound, and that's why you can play this kind of powerful, loud basses with this instrument.
The lead sounds are also as clear as with the original Minimoog, with the glide portamento and its very particular envelope response, which makes its sound more playable.
With the Minimoog V’s polyphonic capability, arpeggiator, modulation matrix and effects, you can make an incredible array of sounds, all while keeping the ease of use and true sound of the Minimoog architecture.
True Analog Emulation
TAE is "True Analog Emulation" - Arturia's exclusive technology which accurately reproduces, tone, waveshape, tuning and other detailed characteristics of an analog synthesizer.
What are the main characteristics and advantages of the TAE technology ?
Better reproduction of analog oscillators
TAE recreates the characteristics of analog oscillators in amazing detail. The transparency and clarity of Arturia’s analog synthesizer emulations give the musician a freedom to be inspired by classic sounds or explore new textures with the expectation that previous limitations of digital oscillators will not interrupt the creative flow.
Better reproduction of analog filters
Filters are a major element in substractive sound synthesis. It is important to reproduce the exact characteristics of analog filters in the digital domain, as well as the individual characteristics of classics instruments that give them each their characteristic sound.
Implementation of soft clipping
Soft clipping can give the sound more punch and deeper basses, together with limiting the amplitude of the sound. It is another important point that gives analog synthesis its sound and "attitude".
Better Reproduction of Analog Oscillators
TAE oscillators are very similar to their analog counterparts for several important reasons.
One of the main reasons is that they are "free", i.e. they are not sampled or wavetable based - or generated from a 0-point when a note is played. Each waveform generated dynamically, allowing the waveform to be in constant adaptation regarding sampling "cutting" and quantization, avoiding one of the major "tell-tale" signs of digital waveform generation and provides a certain level of "liveness" found in the classic analog synthesizers of the past.
Standard digital synthesizers produce aliasing in high frequencies, and also when using Pulse Width Modulation or Frequency Modulation. TAE allows the production of oscillators that are totally aliasing-free in all contexts (PWM, FM,…), at no extra CPU cost.
Also, all of Arturia’s oscillators are highly optimized for the particular working frequency. That means that you can play with an instrument exactly as if you played a real analog synthesizer. Again, the waveforms are not presampled and or regenerated with digital perfection, allowing each note to have a life of its own.
In addition, original analog oscillators were unstable. Actually, their wave shape was always slightly different from one period to another. It is also true that due to analog hardware sensitivity, new period trigger times varied with the temperature and other environmental conditions.
TAE allows the simulation of the oscillator's instability, helping to create warmer and fatter sound.
Original analog oscillators used condensers' unloading to produce common wave shapes (saw tooth, triangle, square). This means that wave forms were slightly curved or distorted in other ways that are considered highly desirable in a musical context. TAE allows the reproduction of condenser's unload in order to give you the original analog sound.
Because TAE oscillators are "free" and "alive", when you play a simple chords with raw oscillators, you don't have a digital impression of "fog" or a "blocked" sound, but you have a pleasant feeling of transparency and clarity.
PWM
With TAE, you can even produce complex PWM sounds with unprecedented quality and, of course, free of any aliasing. This is true for all the TAE waveforms (square, triangle, saw…). This produces sounds which are unique on the market, because PWM is very difficult to achieve on certain waveforms like triangle or saw/ramp. Arturia brings you new levels of reality in a virtual analog synthesizer, so that you can achieve new levels of creativity in your music.
Better Reproduction of Analog with Direct Filter Circuit Modeling
TAE® produces the characteristics of the analog filters in the digital domain.
Let’s take the Prophet V for example. Due to advances in computer processing power, the Prophet V can now employ direct filter modeling techniques to achieve unprecedented accuracy in the emulation of the original's analog 4 pole low pass filter. By modeling the operation of the individual hardware components of the filter circuit, the warm nuances synonymous with the original's analog sounds are recreated. The harmonics generated add to the richness and warmth of the sound produced by the filter. As a result of the direct recreation of the analog circuitry in the Prophet V, the same characteristics of the sound are present, thus giving the user a truly analog sound.
Implementation of soft clipping
In analog synthesizers, the resonant filter uses a current limiting function, preventing the signal from being too loud (soft clipping).
TAE allows the reproduction of this current limiting function, making the sound more natural. It also allows filters to enter self-oscillation like original hardware synthesizers do.
Also, soft clipping can be a kind of saturation effect, but with a very particular shape. Common shapes can't give good results compared to analog soft clipping which is very particular to output amplification stages of analog synthetisers, and is a critical component to "the analog sound".
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