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Moog Minimoog Model D Mahogany Cabinet Analog Synthesizer

Item: SYN0009514-000

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Moog Minimoog Model D Mahogany Cabinet, analog, synthesizer, bass, lead, oscillator, lowpass filter, ladder, VCF, legend All product info

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Moog Minimoog Model D Bob Moog Tribute Edition Product Image

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Moog Minimoog Model D Mahogany Cabinet

Monophonic analog synthesizer

Extremely limited special edition
Mahogany case
handmade by Moog Music in North Carolina, USA
extended reissue of the Minimoog synthesizer (1970-1982)
3 oscillators with 6 waveforms each
Noise generator (white & pink)
Mixer with 5 inputs
Audio input for external signals
24dB Lowpass filter (Moog Ladder VCF)
2 ADS envelopes
1 LFO (triangle & square)
switchable keyboard tracking
monophonic
keyboard glide
modulation bus
440 Hz test tone generator
Separately adjustable headphone amplifier
Foldable panel
44 keys
MIDI In/Out/Thru
Audio input
CV outputs for pitch, velocity, Aftertouch & V-Trig (gate)
CV inputs for pitch, VCA, cutoff, Mod source & V-Trig (gate)

It could hardly be more original: the Minimoog Model D from Moog is a subtly expanded and modernized reissue of the only true Minimoog synthesizer alias Model D, which was once built from 1970 to 1982. At the time, the Minimoog was a compact and therefore stage-ready compilation of the most important modules from the famous Moog modular system including keyboard and is the blueprint for most analog and later digital synthesizers that have appeared since the Minimoog, not only because of its logical structure. The powerful and voluminous sound of the Model D has been inspiring musicians of various genres and listeners alike for over 50 years. Anyone who knows music by Klaus Schulze, Tangerine Dream, Keith Emerson, Herbie Hancock or Rick Wakeman (YES) has already heard the Minimoog.

Proven in the long-term perspective

As all parameters are extremely well scaled, it is easy to create sounds with the controls that are spot on. The control panel of this Model D can also be folded in several stages, so you can quickly set up the optimum working angle on the device. The fact that the Minimoog is an instrument for players and performers is underlined not only by the high-quality workmanship, the large control elements, the tiltable panel and the short 44-key keyboard, but also by the hand wheels for Pitchbend and modulation, which were new at the time and are taken for granted today, as well as the absence of memory locations, as these did not exist in the late 1960s when the Minimoog was developed. The instrument really comes to life through the constant interaction with the knobs and wants to be played.

Analog power in its original form

The Model D can be played monophonically and still scores with a fully analog signal path. Each of the three oscillators has six waveforms (triangle, sharktooth, sawtooth, square, two pulse variants) and a wide frequency range of five octaves plus low. Oscillators 2 and 3 are additionally equipped with fine controls to set smaller frequency intervals. Characteristic of Moog oscillators are a certain impact and radiance, which have significantly shaped the distinctive sound.
The following mixer offers a total of five inputs with level control and mute switch, three of which are intended for the oscillators, the other two for the noise generator, which generates either white or pink noise, and the audio input.
The elaborately generated sound spectrum leads to a resonant 24dB Lowpass filter, which most people will recognize as the Moog filter. The Cutoff goes down really low and only lets the very lowest basses through if necessary. The resonance feels like it reaches into the stratosphere and tends to color the sound strongly at higher values, which in the case of the Minimoog is definitely intended and, in retrospect, desired.
The last element in the signal path of the Model D is a VCA whose level behavior is controlled by an attack/decay/sustain envelope. The output section also contains a test tone generator that produces a 440 Hertz concert pitch, an important tool for tuning these oscillators accurately.

Modulation means life

Modulation in the Minimoog is subject to a certain purism, so there are two ADS envelopes that are permanently assigned to the filter and the VCA. The cutoff parameter can follow the notes played, and a switchable four-stage keyboard tracking (off - 1/3 & 2/3 - 3/3) is integrated. On the left-hand side of the control panel is the controller area, where you can set which modulation source may affect the oscillators and/or the filter in addition to Glide. Oscillator 3 respectively the filter envelope and noise respectively the LFO are available for selection. Mixtures from two different sources are also possible. As oscillator 3 can be decoupled from the pitch control, it can be used as a second LFO or as an FM source. The intensity of the effect of the modulation source(s) on the target is controlled with the modulation wheel to the left of the keyboard.

Connections & special tricks

In terms of connections, the Minimoog Model D is very close to its ancestor. The MIDI trio is the most modern interface in this instrument in terms of control technology. In addition to Pitch and Gate, the keyboard and the MIDI interface also generate Aftertouch and Velocity; however, the latter two are not processed by the internal sound generation. On the input side, gate, pitch, filter, loudness (VCA) and mod source are available for processing control voltages. This means that Aftertouch and Velocity can be routed to these destinations using patch cables. As this Model D generates and accepts V-Trig (gate) instead of the outdated S-Trig (Schmitt trigger), the synthesizer is compatible with Eurorack modules, among others. Audio is output at higher and lower levels in mono, directly next to it is the audio input, which has its own level control in the mixer section. This is where one of the best-known tricks for giving the Minimoog more sound variation is "hidden": simply patch one of the two outputs to the input, level it in the mixer and turn up the resonance and the adjustable filter feedback will show its effect. The sound is punchier, much more resonant, clippier and a little less predictable; but still a hot tip - elsewhere this effect is called the "brute factor".