Moog® Minimoog Manual

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May 17, 2023 17:57
Moog® Minimoog Manual

This article includes:
• About the original hardware

• Universal Audio's approach to Minimoog
• The original hardware and the UAD instrument
• Quick Start
• Overview
• Main Panel
• Modi�cations Panel
• Performance Tips & Techniques
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• Automation
Developed in partnership with Moog Music, the Minimoog UAD Instrument is an

incredibly accurate and inspiring emulation of Bob Moog's pioneering synthesizer.
By perfectly capturing every nuance of the classic Moog oscillators and ladder �lters and
harnessing discrete transistor VCA modeling, the Minimoog UAD Instrument faithfully
captures every detail of this classic instrument used by everyone from Parliament-
Funkadelic, to Kraftwerk, Dr. Dre, and more.
About the original hardware

Produced by Moog Music from 1970 through 1981, the Minimoog Model D was the �rst
synthesizer designed speci�cally for popular music. Before the introduction of the
Minimoog, synthesizers were primarily modular systems that were very large and
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extraordinarily expensive. This meant that synthesizers were usually con�ned to

academic environments like universities or in the studios of record labels and advertising
agencies. They were beyond the reach of average musicians.
The Minimoog was a radically new type of instrument that changed the way the world
viewed synthesizers. It was portable (at "only" 32 lbs. / 14.5 kg it was considered
lightweight for its time), it was non-modular and did not include a patchbay, and it cost
only a fraction of existing large modular systems. This made it a viable, exciting option
for gigging musicians with limited budgets.
Beyond these primary factors, the Minimoog also became a commercial success because
of its expressiveness in live performance. It was the �rst keyboard to feature the now-
familiar pitch and modulation wheels, giving players the ability to play the pitch bends
and vibrato commonly heard in guitar and saxophone solos. Furthermore, its sounds
could be changed quickly letting players easily recall di�erent sounds in the age before
stored presets.
Finally, it is impossible to discuss the Minimoog without mentioning its wonderfully "fat"
sound. This was the result of the patented Moog ladder �lter with three oscillators,
various nonlinearities in the signal and control paths, and a tuning system that wasn't
perfectly stable. While the nonlinearities and instability were not deliberately designed-
in as features by Moog (it can be argued that these were technical shortcomings), they
nevertheless happened to produce highly desirable sonic qualities including the fat
sound and the fantastic self-oscillating �lter sweep.
This combination of features gave the Minimoog an unbeatable edge over virtually all
competing synthesizers during its decade-long production run. Even now, vintage
Minimoogs continue to fetch incredible prices on the used market — a testament to the
desirability of the instrument.
Fun fact: Although it was called the Minimoog Model D, this was the only instrument that
was actually put into production. Model A, Model B and Model C were prototypes
created by Moog Music and were not produced in quantity.
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Universal Audio's approach to Minimoog

No expense was spared in the creation of the Universal Audio Minimoog. Two years of
painstaking research and craftsmanship went into understanding every detail of the
signal path, pitch tracking and control sources of the original hardware.
Vintage analog synthesizers — particularly units that are approaching 50 years old —
can sound di�erent from unit to unit. This is because the circuits will have aged under
di�erent environmental conditions. As a result, it is impossible to select one "golden" unit
that de�nitively represents the entire line of instruments. To ensure that nothing was
missed during development, the Universal Audio team sourced and studied not one but
three vintage Minimoog synthesizers. Each of these units was carefully measured and
analyzed to ensure the entire range of the original hardware is present in the virtual
instrument.
Note that we were not content to simply make a perfect replica of the original hardware
and consider it done. Once sonic �delity was achieved, the Universal Audio team pushed
on and added a small number of useful extras such as an extra LFO/Sample & Hold
circuit, switchable note priority and legato, velocity sensitivity, and more. Great care was
taken to do this tastefully and all these features are "period correct" (i.e., original
Minimoog units were sometimes modi�ed to include these modi�cations). These new
features are included for modern music makers that may �nd them useful, but can easily
be bypassed by players wanting a 100% vintage playing experience.
In the end, we feel our Minimoog delivers on its promise to give you the authentic sound
and experience of playing the glorious original instrument. If you need a classic synth
that is found on countless hit records, but is versatile enough to sound brand new, there
is no better choice.
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The original hardware and the UAD

instrument
You may notice small visual di�erences between the hardware Minimoog and the
software instrument. Some of these changes are purely functional (for example, there is
no need for the headphone jack and volume in the plug-in since this is handled by your
DAW and/or your audio interface). Other changes are included because they greatly
expand the functionality of the original hardware. These additions are primarily found in
the Modi�cations panel below the main set of controls.
The following features, in the Modi�cations panel at the bottom of the window, are the
di�erences between the original hardware instrument and our software instrument:
• Extra LFO/Sample & Hold with tempo sync

• Switchable note priority (lowest or last played)
• Switchable legato or re-trigger option
• Modulation Source Selection
• Modulation Amount Knob
• Pitch Bend Range
• Velocity sensitivity for volume, �lter cuto�, and �lter envelope amount
Quick Start
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Before we dive into the details, let's take Minimoog for a quick test drive. First, load the
instrument in your DAW and input-enable the track (see the DAW's documentation for
these instructions), then play with some features in the steps below.
1. Explore the presets. In LUNA, click the Presets button at the top of the instrument,
where you can select presets with LUNA's contextual browser. In other DAWs, a
browser pane appears to the left of Minimoog.
2. Click any of the available presets while playing your MIDI controller. You'll hear the
sound of each preset as you step through the names.
3. When you have found a preset that you like, keep playing while rotating the CUTOFF
FREQUENCY and EMPHASIS knobs (in the FILTER section) to hear the e�ect of the
�lter on your sound.
4. Next, try rotating the RANGE and WAVEFORM knobs in the OSCILLATOR BANK
section to hear the various kinds of sounds the oscillators are capable of producing.
5. You can re-balance the mix of the oscillators by rotating the VOLUME knobs and
�ipping the ON/OFF rocker switches in the MIXER section.
6. Play a repeating pattern of notes while changing the GLIDE knob to hear the
portamento between the notes (make sure the switch below the knob is set to ON).
7. Finally, try adjusting the ATTACK TIME, DECAY TIME and SUSTAIN LEVEL knobs in the
LOUDNESS CONTOUR section while you play. You should hear changes in the volume
envelope of the sound.
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This barely scratches the surface of what Minimoog can do, but we hope it gives you an
idea of the capabilities of this amazing instrument! Read on to learn about all the
sections of this synthesizer and how they work together.
Overview
Like the original Minimoog Model D hardware, all of the controls of the software are
visible at a glance and the software instrument does not feature any tabs or sub-menus.
The �ow of audio and control signals is generally (but not always) from left-to-right.
White vertical lines, color-coded switches and clear labeling help break down the
controls into logical groups.
Minimoog is a self-contained monophonic analog synthesizer, and the direct descendant

of the Moog modular synthesizers that preceded it. The main synthesizer components
include:
• Oscillator 1
• Oscillator 2
• Oscillator 3
• Noise Generator
• Audio Mixer
• Moog Ladder Filter
• Loudness Contour (Envelope Generator)
• Filter Contour (Envelope Generator)
• Glide (Portamento)
• Modi�cations (software only):
• Velocity Sensitivity
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• LFO Modulation Oscillator

• Sample & Hold
• Modulation Mixer
The front panel groups these elements and controls together by type: CONTROLLERS,
OSCILLATOR BANK, MIXER, MODIFIERS, OUTPUT, and MODIFICATIONS in an intuitive
and e�icient design. All of these elements are controlled via single-function knobs and
switches. In place of patch cables, the Minimoog uses color-coded switches to establish
connections between the various circuits contained in the synthesizer.
• Orange: Connect modulation sources to their destinations.

• Blue: Switch audio sources On and O�.
• Grey: Switches performance features On and O�.
• Small 2 or 3-position silver bat-handle switches for adjusting various settings
(Modi�cations panel)
Main Panel
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Like the original Minimoog, all of the controls of the software are visible at a glance and
this plug-in does not feature any tabs or sub-menus. The �ow of audio and control
signals is generally (but not always) from left-to-right. White vertical lines and clear
labeling help break down the controls into logical groups.
Oscillator Bank
Oscillators are the primary source of sound in an analog synthesizer. The OSCILLATOR
BANK contains three nearly identical Oscillators. This arrangement means each key can
sound up to three oscillators — each with its own Waveform, Octave, and Pitch setting
— creating a deep or complex sound. The Mixer then controls the balance between the
Oscillators.
Range (Oscillator 1, 2, and 3)
This knob selects the fundamental octave for each oscillator over a �ve octave range. A
sixth LO setting brings the pitch down even further, allowing the Oscillator to be used for
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other purposes, such as a modulation source.
Frequency (Oscillator 2 and 3)
Oscillator 2 and Oscillator 3 are each equipped with a FREQUENCY knob that can be
used to detune the Oscillator. Slight amounts of detuning can create a rich, chorusing
e�ect. Tuning the Oscillators to an interval (Perfect Fifth above, Perfect Fourth below,
etc.) provides a powerful voice for playing lead passages or creating chords.
Waveform (Oscillator 1, 2 and 3)
Each of the three Oscillators provides six distinct Waveform shapes. Each waveform has a
unique harmonic content that is based on the number and strength of harmonic
overtones that it contains. These overtones are what impart a particular timbre to the
Oscillator and are described in the next section of this guide.
Osc. 3 Control (Oscillator 3 only)
Oscillator 3 is unique. Normally, all Oscillators are controlled directly from your keyboard
and/or its Pitch wheel. Setting the orange rocker switch to OFF releases OSCILLATOR 3
from MIDI control allowing it to run free as a �xed pitch or modulation source.
Oscillator Modulation
When this switch is set to ON, the Oscillators can be modulated by Oscillator 3, Filter
Contour, Noise source, LFO (Low Frequency Oscillator), and Sample & Hold module. The
source of the modulation signal is de�ned by the MODULATION MIX SOURCES switches,
the blend of the modulation sources is set by the MODULATION MIX knob, and/or the
amount is set by the Modulation Wheel of your MIDI controller.
About the Oscillator Waveforms

One of the reasons why the Minimoog can produce such a rich variety of sounds is its
selection of available waveforms:
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TRIANGLE
The Triangle wave has an extremely strong fundamental, yet contains only odd-
numbered harmonics at very low levels. This makes the Triangle wave an ideal choice for
creating soft, �ute-like sounds that have a pure tone with little overtone activity.
TRIANGLE/SAWTOOTH (OSCILLATOR 1 AND OSCILLATOR 2

ONLY)
This waveform is a hybrid of the Triangle and the Sawtooth waveforms. It contains more
harmonic energy than the Triangle wave and adds in some of the even-numbered
harmonics, but it is not nearly as brash as the Sawtooth wave. This hybrid waveform can
add a little more edge than the Triangle wave alone, allowing it to cut through the mix
with a bit more clarity.
REVERSE SAWTOOTH (OSCILLATOR 3 ONLY)
The Reverse Sawtooth has a sound similar to the regular Sawtooth wave; it is included
here primarily as a waveform choice when using Oscillator 3 as a modulation source.
SAWTOOTH
The Sawtooth waveform is the most harmonically dense of the waveforms, containing all
of the natural harmonics in relatively strong levels. In addition to creating thick, brassy
sounds, the Sawtooth waveform lends itself to powerful lead and bass sounds as well.
PULSE 1 / SQUARE
The harmonic content of a Pulse wave is based on the width of the top half of the wave in
relation to the bottom half of the wave, also known as the duty-cycle. In the Square wave,
the width of these two portions of the wave are equal. As with the Triangle wave, the
Pulse 1 / Square waveform contains only odd-numbered harmonics, but with greater
energy. A Square wave provides a rich starting point for string-like sounds, or clarinet-like
timbres.
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PULSE 2 / WIDE RECTANGLE
As the Pulse wave changes from Square to Rectangular, even numbered harmonics are
introduced, but the overall harmonic mix is changed. The wide rectangle forms the basis
for hollow, reedy sounds.
PULSE 3 / NARROW RECTANGLE
As the Pulse wave continues to get narrower, lower numbered harmonics—both odd and
even—are emphasized. The resulting timbre takes on a more nasal tone.
Tip: Mixing a Triangle wave from one Oscillator with the more complex wave of another
Oscillator allows you to emphasize one particular harmonic without adding unwanted
overtones. Changing the relative tuning of the Triangle wave Oscillator can enhance this
e�ect.
Controllers
This section contains controls relating to tuning and how the note and modulation wheel
inputs from your MIDI controller are handled within Minimoog.
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Tune
The overall tuning of all oscillators is determined by the master TUNE knob, located at
the top of the CONTROLLERS panel.
Tip: For greater precision when tuning oscillators, hold the Shift key while dragging the
Tune (all Oscillators) or Frequency (Oscillator 2 and 3) knobs. If you �nd it di�icult to hold
the Shift key while playing a note, consider using the ARP plug-in while with its LATCH
mode engaged or playing back existing MIDI notes from within your DAW.
Glide Knob
Minimoog's Glide function controls portamento and allows the pitch to change in a
smooth, continuous manner as you transition from note to note, rather than instantly
stepping to the new pitch. Low settings will transition quickly whereas high settings will
transition more slowly.
Note: Like the original hardware, the glide functionality is proportional and is not time-
constant. This means that the knob sets the rate at which transition takes place but not
the length of time. In other words, an octave interval will take 12 times longer to
complete than a smaller interval.
Glide Switch
This switch engages and disengages the Glide e�ect described above. This can be handy
when you want to switch the glide function on and o� without changing a glide knob
setting that you have carefully dialed in.
Modulation Mix
This knob sets the balance between the modulation sources A and B. These sources are
set using the MODULATION MIX SOURCES switches in the Modi�cations Panel.
• With the MODULATION MIX knob rotated fully counterclockwise, only the modulation
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source selected by the OSC 3 / ENV. 2 switch is applied.
• With the MODULATION MIX knob rotated fully clockwise, only the modulation source
selected by the NOISE/S&H/LFO switch is applied.
• In the center position, modulation sources A and B are mixed together and applied
equally.
Note: The Modulation Mix knob varies from the original hardware in that you can select
the source of the incoming control signals. The original instrument had hardwired
sources that could not be changed (OSC 3 to Source A and Noise to Source B).
Mixer
The MIXER combines the output of the three oscillators, an external input (or Minimoog's
own output), and a noise source before passing it on to the Filter.
Volume Knobs and On/O� Switches
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These �ve knobs set the loudness level for each input of the mixer (Oscillators 1-3, the
External Input and the Noise source). Each mixer source has its own dedicated Volume
knob and an On/O� switch. These blue rocker switches allow any source to be quickly
removed from the mix while preserving its VOLUME knob position.
Tip: The On/O� switches can be useful when setting the tuning of each Oscillator.
External Input Volume Knob & Switch
When the INPUT switch is set to FEEDBACK (the default setting) and the EXTERNAL
INPUT VOLUME switch is set to ON, you can route the output of the Minimoog back into
its mixer using this knob to create a thicker, more overdriven (or heavily distorted) sound.
Note: The INPUT switch (in Modi�cations panel) must be set to FEEDBACK (its default
Down position), and the External Input Switch (to the left of its knob) must be ON to hear
the e�ect.
Caution: If the INPUT switch (on the Modi�cations panel) is set to FEEDBACK and both
the EXTERNAL INPUT VOLUME and MAIN OUTPUT VOLUME knobs are turned all the way
up, it is possible to overload the mixer to the point that only one sound is heard and
playing di�erent pitches does not alter the sound at all. This will not damage your audio
interface, but please take steps to protect your hearing and also your speakers from
these potentially loud sounds.
Overload Indicator
It is possible to push the mixer into varying levels of overdrive and distortion by turning
up the EXTERNAL INPUT VOLUME knob. When this occurs, the Overload indicator lamp
will light.
Note: The External Input is sourced after the Main Output knob in the signal �ow. This
means that the MAIN OUTPUT VOLUME knob will a�ect the amount of overload in
addition to the EXTERNAL INPUT VOLUME knob.
White / Pink Switch (Noise Type)
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Noise can be a very desirable sound source. It can be used alone, or mixed in with other
sources to create anything from a rocket launch to the subtle breath of a �ute sound. This
switch works in conjunction with the NOISE VOLUME knob and selects either WHITE or
PINK noise.
ABOUT WHITE AND PINK NOISE
White Noise contains all audible frequencies at equal amplitude levels, much like white
light. Pink Noise contains equal energy in each band of the audio spectrum, and is
perceived as having more low-frequency components.
Modi�ers
The MODIFIERS Panel contains three separate sections: FILTER, FILTER CONTOUR, and
LOUDNESS CONTOUR.
The Filter selectively modi�es the harmonic content of the sound. The Contour controls
(also known as Envelope Generators), provide a control signal that changes over time.
The FILTER CONTOUR controls the �lter's Cuto� Frequency over time. The LOUDNESS
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CONTOUR controls the output volume level (amplitude) over time.
About Contour Controls
Contour controls (sometimes known as Envelope Generators) provide a way to add

shape and articulation to the sound of the synthesizer. Minimoog features two sets of
Contour controls. One set provides a signal to change the Filter Cuto� Frequency over
time. The second set provides a signal to change the Loudness (amplitude) over time. In
both cases, the Contour contains three main controls: ATTACK TIME, DECAY TIME, and
SUSTAIN LEVEL. These controls are detailed below.
Filter Controls
Cuto� Frequency
Minimoog has the traditional Moog Ladder Filter with 10 Hz – 32 kHz frequency response.
This is a critical component of its thick, punchy, and powerful sound. When a note is
played, harmonic content above the �lter Cuto� Frequency is attenuated by the �lter at
24 dB/Octave. Harmonic content, or sound, below the �lter Cuto� Frequency will freely
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pass una�ected. When "closing" the �lter by lowering the CUTOFF FREQUENCY, the
sound will be perceived as being darker, while increasing the Filter's CUTOFF
FREQUENCY will create a progressively brighter sound.
While the Cuto� Frequency can be set manually using the CUTOFF FREQUENCY knob, the
value is also a�ected by the KEYBOARD CONTROL switches, FILTER MODULATION
switch, FILTER CONTOUR controls, and the AMOUNT OF CONTOUR knob, which are
discussed below.
Emphasis
Often referred to as resonance, the EMPHASIS knob creates a resonant peak that occurs
at the �lter's Cuto� Frequency. By turning the EMPHASIS control up and lowering the
Filter CUTOFF FREQUENCY, the Filter can be coaxed into a self-oscillating state, acting as
a sine-wave oscillator whose pitch can be controlled or played via the keyboard by using
the KEYBOARD CONTROL switches de�ned below.
Amount of Contour
The AMOUNT OF CONTOUR knob determines how much of the control signal created by
the FILTER CONTOUR envelope generator will be applied to change the FILTER CUTOFF
over time.
Attack Time
The ATTACK TIME knob sets the time required for the Filter Contour Generator to raise
the Filter's Cuto� Frequency from its manual setting to its maximum level (determined by
the AMOUNT OF CONTOUR knob) once a key is pressed or after a gate is received.
Decay Time
The DECAY TIME knob sets the time required for the Filter envelope to lower the Filter's
Cuto� Frequency achieved by the Attack stage to the Sustain Level. This knob can also
control the amount of time required for the note to completely fade out after a key is
released (or after an external gate signal ends). This second function of the DECAY TIME
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knob is activated by the DECAY switch.
Sustain Level
After the Attack and Decay stages have been completed, the Filter Contour Generator
will hold the Filter's Cuto� Frequency at the level determined by the SUSTAIN LEVEL
knob for as long as a note is held.
Filter Modulation Switch
When this switch is set to ON, the Filter Cuto� Frequency can be modulated by the mod
wheel of your MIDI Controller. The modulation source is de�ned by the MODULATION
MIX SOURCES switches in the Modi�cations panel and the MODULATION MIX knob in
the Controllers panel.
Keyboard Control Switches (1 & 2)
These two switches allow incoming notes to a�ect the Filter Cuto� Frequency, a function
also known as key tracking. This allows notes played higher on the keyboard to have a
brighter sound; as the keyboard pitch increases, the �lter is opened by the control signal
from the keyboard pitch by the �xed proportion allowed by the switch. Note that if you
don't use keyboard tracking, your timbre will get duller as the pitch frequency played
rises, as the �lter's cut-o� frequency won't alter with the pitch. The upper switch provides
1/3 of the total amount of available key tracking. The lower switch provides 2/3 of the
total amount of available key tracking. By using both switches together, the full amount
of available key tracking (1/3 + 2/3 = 1) is applied, and the timbre of played notes remains
consistent throughout the keyboard range.
Attack Time
The ATTACK TIME knob sets the time required for the Loudness Contour Generator to
raise the Volume from zero to its maximum level once a key is pressed or after a gate is
received.
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Decay Time
The DECAY TIME knob sets the time required for the Loudness Contour Generator to
lower the Volume from its maximum level achieved by the Attack stage to the Sustain
Level. The DECAY TIME knob can also control the amount of time required for the note to
completely fade out after a key is released (or after an external gate signal ends). This
second function of the DECAY TIME knob is activated by the DECAY switch.
Sustain Level
After the Attack and Decay stages have been completed, the Loudness Contour
Generator will maintain the Volume level determined by the SUSTAIN LEVEL knob for as
long as a note is held.
Decay Switch
When the DECAY switch is OFF, the release stage is extremely short when a key is
released. However, when the DECAY switch is ON and a key is released, the last note
played will continue to sound, and both its �lter and loudness contours decay at the rate
set with the DECAY TIME knob.
Note: This switch applies to both contour envelopes (loudness and �lter).
Output Section
Volume
This knob sets the master output volume of Minimoog.
Power
This switch powers Minimoog on and o�. The indicator lamp directly above the switch is
lit when Minimoog is ON.
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Modi�cations Panel
The Modi�cations panel contains a number of features that greatly expand the sound
design functionality and expressivity of the Minimoog.
Bend Range
Adjusts the range of the pitch wheel from ±1 to ±12 semitones. The markings indicate each
semitone and some of the popular ranges (1, 2, 7, 12) are indicated numerically for rapid
adjustment.
Tip: A setting of 7 provides the authentic pitch bend range of the original Minimoog
Model D hardware.
Modulation Amount
This knob provides a convenient way to store mod wheel values in a preset. If a MIDI
controller is not connected, you can use this knob as the mod wheel instead. You can use
this knob and your MIDI controller's mod wheel at the same time as they are both active.
Note: The MODULATION AMOUNT knob cannot exceed the Minimoog's maximum
modulation amount.
Modulation Mix Sources

These switches determine the source of Modulation A (left) and Modulation B (right).
Modulation A can be sourced from either OSCILLATOR 3 or ENVELOPE 2. Modulation B
can be sourced from NOISE, SAMPLE & HOLD, or LFO. Your selection here determines
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what modulation is presented at the MODULATION MIX knob in the CONTROLLERS

section.
LFO
A highly desired modi�cation on the original Minimoog Model D hardware was the
addition of a dedicated LFO. This allowed players to use OSCILLATOR 3 for sound
generation while still having an LFO to aid with sound design or expression (especially
vibrato). The Modi�cations panel includes this "extra" LFO.
The LFO waveshape switch lets you select from TRIANGLE and SQUARE. The SYNC
switch lets you synchronize the LFO to the tempo of your session. The FREQUENCY knob
sets the speed of the LFO. Note that when SYNC is set to OFF, the range is from 0.05 Hz –
200 Hz. When Tempo Sync is switched ON the FREQ. knob ranges from 1/64 Note
(minimum setting) to Whole Note (maximum setting).
Key Mode
Minimoog is a monophonic instrument and plays one note at a time. There are 2 options
for behaviors having to do with note triggering.
LOWEST/LAST Switch – Determines which note has priority when multiple MIDI notes
are received. The LOWEST setting gives priority to the lowest note being received (this is
how the Minimoog Model D hardware operated). The LAST setting gives priority to the
last note played.
LEGATO/RETRIG Switch – Determines whether the �lter envelope will be retriggered

when playing legato, which in the case of the Minimoog, refers to holding down one note
while playing another. The original hardware default is LEGATO.
Input
This switch selects the input source of the EXTERNAL INPUT VOLUME in the MIXER
module. When set to FEEDBACK, the master output of Minimoog (after the VOLUME
knob) is brought back into the instrument at the mixer. When set to "EXTERNAL",
Minimoog can process audio received from an Apollo input. The EXTERNAL input feature
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is not fully functional.
About the feedback loop
Users of the original Minimoog Model D hardware discovered that connecting one of the
outputs (the hardware had two outputs) to the external input with a short audio cable
would often result in very interesting tones due to the feedback loop that was created.
This became a popular "hack" to the original hardware and many users had switches
installed to let them create the feedback loop whenever desired without requiring a
cable.
Velocity
The Minimoog UAD Instrument features something that the original Minimoog Model D
hardware was never able to do: allow MIDI velocity to be used as a control signal. Note
velocity data can be mapped to FREQUENCY CUTOFF, FILTER CONTOUR, or LOUDNESS
parameters using the corresponding knobs in the MODIFICATIONS panel. Setting these
knobs to 0 means that velocity sensitivity is ignored (like the original hardware). Rotating
the knobs clockwise increases the e�ect of velocity on each knob's associated
destination.
Tip: Keep in mind that these controls are also interactive with whatever they're
controlling, and that the settings of other control signals can a�ect the result. A good
example is �lter cut-o�. When using velocity to control �lter cut-o� when you may have
the �lter envelope in play, you may want to adjust the �lter to be more closed when
starting (or temporarily lower your �lter envelope level), �nd the appropriate level of
velocity control for the �lter, and then move the �lter cut-o� or other controls to their
�nal desired positions.
Performance Tips & Techniques

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Even with its simple control panel, Minimoog remains a deep and versatile instrument for
audio synthesis. Here are just a few examples of how the Minimoog can be used in
interesting and perhaps unexpected ways.
Creating FM e�ects
When we think of Modulation, we are often thinking about slow cyclic change in pitch,
�lter brightness, etc. but these changes do not need to happen slowly. Minimoog allows
one audio oscillator to modulate another at audio rates, creating interesting Frequency
Modulation e�ects.
1. Set OSCILLATOR 1 to the 16' or 8' Range.

2. Set OSCILLATOR 3 to the 16' or 8' Range.
3. Isolate OSCILLATOR 3 from keyboard control by setting the orange OSC.3 CONTROL
switch to OFF.
4. In the Modi�cations panel, set the OSC. 3/ENV. 2. switch to OSC.3
5. In the Controls panel, rotate the MODULATION MIX section fully counterclockwise.
6. In the Mixer panel, switch all audio inputs OFF except for OSCILLATOR 1. Ensure that
the VOLUME knob for the �rst oscillator is turned up.
7. Hold any note on your MIDI controller and use the MODULATION wheel to apply
Frequency Modulation! The FM e�ect can be controlled by the position of the
Modulation Wheel, as well as the Range, Frequency, and Waveform settings of
OSCILLATOR 3.
Creative Switching
With a little forethought, the blue and orange rocker switches on the Minimoog can be
used to quickly introduce new elements to your performance. For example, by tuning
OSCILLATOR 2 and OSCILLATOR 3 to speci�c intervals in regards to OSCILLATOR 1, extra
harmonies or chords can be added to your performance as you play.
1. Tune OSCILLATOR 2 to a Fifth (5) above OSCILLATOR 1.

2. Tune OSCILLATOR 3 to a Fourth (-4) below OSCILLATOR 1 (be sure that the orange
OSC. CONTROL rocker switch is ON).
3. In the MIXER panel, use the blue rocker switches to switch OSCILLATOR 1 ON, and
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OSCILLATOR 2 and OSCILLATOR 3 OFF.

4. Now, as you play a lead, you can use the blue OSCILLATOR 2 and OSCILLATOR 3
rocker switches to instantly add a parallel harmony voice.
Tip: Many of the Minimoog controls can be automated through your DAW and/or MIDI
CC messages.
Automation
Minimoog has powerful automation features that can be used with your DAW. Having
access to automation, MIDI CC control can make life easier when composing or
performing (for example, changing parameters "on the �y" from your MIDI controller
without having to use a mouse). It can also open up creative sound design possibilities
during a mix.
Controllers Section
Parameter MIDI CC Number
Tune N/A
Glide 5
Glide On/O� 65
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Modulation Mix N/A
Oscillator Bank Section
OSC 1 Range 33
OSC 1 Waveform 26
OSC 2 Range 34
OSC 2 Tune 39
OSC 2 Waveform 27
OSC 3 Range 35
OSC 3 Tune 40
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OSC 3 Waveform 28
OSC 3 Control On N/A
Mixer Section
MIDI CC
Parameter
Number
OSC 1 Volume 85
OSC 1 On/O� N/A
OSC 2 Volume 86
OSC 2 On/O� N/A
OSC 3 Volume 87
OSC 3 On/O� N/A
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External Input
70
Volume
External Input
N/A
On/O�
Noise Volume 89
Noise On/O� N/A
Noise Pink/White 29
Modi�ers Section
MIDI CC
Parameter
Number
Filter Modulation On/O� N/A
Filter Cuto� Frequency 74
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Filter Emphasis 71
Filter Contour 25
Filter Keyboard 1/3 Switch N/A
Filter Keyboard 2/3 Switch N/A
Filter Attack Time 22
Filter Decay Time 23
Filter Sustain Level N/A
Loudness Contour Attack Time 73
Loudness Contour Decay Time 75
Loudness Contour Sustain

N/A
Level
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Decay On/O� 72
Output Section
Volume N/A
Modi�cations Panel
Modulation Amount N/A
Tempo Sync N/A
LFO Rate 76
LFO Waveform (Square / Triangle) N/A
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ABOUT FIND A DEALER SEARCH SUPPORT MY ACCOUNT

How can we help?

May 17, 2023 17:57

• About the original hardware

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Developed in partnership with Moog Music, the Minimoog UAD Instrument is an

About the original hardware

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extraordinarily expensive. This meant that synthesizers were usually con�ned to

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Universal Audio's approach to Minimoog

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The original hardware and the UAD

• Extra LFO/Sample & Hold with tempo sync

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Minimoog is a self-contained monophonic analog synthesizer, and the direct descendant

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• LFO Modulation Oscillator

• Orange: Connect modulation sources to their destinations.

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Range (Oscillator 1, 2, and 3)

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other purposes, such as a modulation source.

Frequency (Oscillator 2 and 3)

Waveform (Oscillator 1, 2 and 3)

Osc. 3 Control (Oscillator 3 only)

About the Oscillator Waveforms

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TRIANGLE/SAWTOOTH (OSCILLATOR 1 AND OSCILLATOR 2

REVERSE SAWTOOTH (OSCILLATOR 3 ONLY)

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PULSE 2 / WIDE RECTANGLE

PULSE 3 / NARROW RECTANGLE

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source selected by the OSC 3 / ENV. 2 switch is applied.

Volume Knobs and On/O� Switches

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External Input Volume Knob & Switch

White / Pink Switch (Noise Type)

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ABOUT WHITE AND PINK NOISE

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CONTOUR controls the output volume level (amplitude) over time.

About Contour Controls

Contour controls (sometimes known as Envelope Generators) provide a way to add

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knob is activated by the DECAY switch.

Filter Modulation Switch

Keyboard Control Switches (1 & 2)

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This knob sets the master output volume of Minimoog.

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Modulation Mix Sources

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