Moog MiniMoog D User Manual

IMPORTANT SAFETY INSTRUCTIONS

WARNING - WHEN USING ELECTRIC PRODUCTS, THESE BASIC PRECAUTIONS SHOULD ALWAYS BE FOLLOWED.

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3. This product, in combination with an amplier and headphones or speakers, may be capable of producing sound

levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable.

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operate in direct sunlight.

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as marked on the product.

7. The power supply cord of the product should be unplugged from the outlet when left unused for a long period

of time or during lightning storms.

8. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.

There are no user serviceable parts inside. Refer all servicing to qualied personnel only.

NOTE: This equipment has been tested and found to comply with the limits for a class B digital device, pursuant to

part 15 of the FCC rules. These limits are designed to provide reasonable protection against harmful interference in a

residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However,

there is no guarantee that interference will not occur in a particular installation. If this equipment does cause

harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

—Reorient or relocate the receiving antenna. —Increase the separation between the equipment and receiver. —Connect the equipment to an outlet on a circuit different from that to which the receiver is connected. —Consult the dealer or an experienced radio/TV technician for help.

CAUTION: Please note that any changes or modications made to this product not expressly approved

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TABLE OF CONTENTS

INTRODUCTION

A Brief History

New Features Overview

GETTING STARTED

Contents Setup & Connections

Audio Monitoring

CREATING SOUND

FEATURES & CONTROLS

Overview

Oscillator Bank

Controllers

Left-Hand Keyboard Panel

Mixer & Noise

Modiers

Output

Keyboard

Top Patch Panel

PERFORMANCE TIPS & TECHNIQUES

Processing External Audio

Enhancing a Keyboard Performance

Creating FM Effects

Creative Switching

GLOBAL SETTINGS

Power-On Commands

OSCILLATOR TUNING PROCEDURE

SPECIFICATIONS

WARRANTY

INTRODUCTION

A BRIEF HISTORY

Created in 1970, the Minimoog Model D is the instrument that brought the synthesizer out of the university laboratories and recording studios and placed it in the hands of on-stage musicians around the world. Unlike the larger modular synthesizers of the day, the Minimoog Model D could be played instantly, with no cable-patching between modules. Everything the performer needed was right there on the panel. In fact, the true genius of the Minimoog Model D was the front panel design. By grouping together related components—Controllers, Oscillators, Modiers, etc.—the front panel became a owchart that made audio synthesis simple to understand. The Minimoog Model D was quickly embraced by a diverse roster of performers touching nearly every genre of music. In just over a decade, well over 10,000 Minimoog Model D synthesizers were sold worldwide. Today, the Minimoog Model D remains one of the most coveted of all synthesizers.

NEW FEATURES OVERVIEW

Each of these features are discussed in depth at the appropriate place in the manual.

KEYBOARD

A Fatar TP-9 keyboard has been implemented with the ability to transmit both After-Pressure and Velocity control voltages. While these signals are not hard wired to any specic parameter, the expanded Top Patch Panel allows Velocity and After Pressure signals to modify the Filter Cutoff Frequency, Loudness and Oscillator Pitch.

DEDICATED LFO (LOW FREQUENCY OSCILLATOR)

Traditionally, OSCILL ATO R -3 could operate independently of the keyboard and be used as an LFO. Now, a dedicated LFO has been added to the Left-Hand Keyboard panel. In addition, Filter Contour (FILTER EG) is now also available as a modulation source.

EXPANDED PATCH BAY

CONTROL OUTPUTS

• V-TRIGGER/GATE

• PITCH

• VELOCITY

• AFTER-PRESSURE

CONTROL INPUTS

• V-TRIGGER/GATE

• O S C I L L ATO R

• FILTER

• LOUDNESS

• EXTERNAL MODULATION SOURCE

POWER-ON COMMANDS

By holding down specic keys as the Minimoog Model D is turned on, you can select a MIDI Channel, transpose the instrument, choose the note priority, and set other global functions.

MIDI

Five-pin DIN MIDI In, MIDI Out, and MIDI Thru jacks have been added to provide basic MIDI connectivity.

EXTERNAL POWER SUPPLY

The Minimoog Model D now features a universal (100~240 VAC; 50/60 Hz) external power supply, reducing the weight and heat created by the internal power supply, and improving stability of the instrument. This also makes it easier to travel with your Minimoog Model D.

GETTING STARTED

Begin by carefully removing your new Minimoog Model D from its packaging. Moog recommends that you save all original packing material, should you ever need to safely move or ship the instrument.

CONTENTS

In addition to the instrument itself, the Minimoog Model D also includes:

This owner’s manual

Power adapter and connecting power cord

Registration card

SETUP & CONNECTIONS

The front panel of the Minimoog Model D is hinged, so use caution and avoid grasping the top of the

panel when lifting or moving the instrument.

Place the Minimoog Model D on a stable surface such as a table or keyboard stand. Be sure the instrument is placed at a comfortable playing height. The front panel can remain at, or it can be

tilted to a convenient angle for viewing and accessing the controls.

To get started, you will need to supply the Minimoog Model D with power and connect it to an audio monitoring system, or listen using a set of headphones.

RAISING THE PANEL

Grab the front panel by the top wood edge and tilt it forward towards the keyboard.

Flip up the hinged metal kickstand located in the area under the rear panel.

Position the top edge of this kickstand against one of the four

screw heads protruding slightly from the rear of the panel. (Each screw head will support the panel at a different angle.)

To lower the panel, again tilt the panel forward until the hinged kickstand returns to its original position,

then gently lower the panel.

AC POWER

The Minimoog Model D uses a universal power supply that can operate using AC power sources ranging from 100 to 240 volts at either 50 or 60 cycles (Hz). The included power supply features a detachable IEC-style power cable.

Connect the included IEC power cable to the Minimoog Model D power supply.

Connect the power supply cable to the Minimoog Model D locking XLR-4 connector.

Connect the other end of the power cable to a suitable AC wall outlet.

Finally, use the POWER switch to turn on your new Minimoog Model D.

NOTE: The power supply connects to the Minimoog Model D using a locking connector. To release this connector from the instrument, simply press the locking tab at the base of the connector and gently pull up on the connector plug. Do not pull on the cable itself.

AUDIO MONITORING

Connect the Minimoog Model D to an instrument amplier, powered speaker, or other monitoring system. On the top panel, two 1/4” TS outputs are provided. One is a high-level output suitable for connection to the line input of a mixer, recording setup, or other audio system. The other is a high impedance, low-level output that can connect to to an instrument amplier or other high gain, high

impedance input.

Amplifier

Mixer

1. Begin with the monitoring system off and the Minimoog Model D VOLUME knob set to zero.

2. Use the appropriate output to connect the Minimoog Model D to the audio monitoring system.

3. Turn the Minimoog Model D on.

TIP: To test the audio system and set your levels without taking the time to program a sound, at this stage simply ip On the A-440 switch in the output section. This will provide a reference tone controlled by the VOLUME knob.

4. Turn the MAIN OUTPUT switch On and raise the VOLUME knob to about 6.

5. Now turn on the monitoring system, and raise the levels to an appropriate audio level.

NOTE: Because the Minimoog Model D is an analog instrument, please allow it to warm up for 10-20

minutes before use. This will best ensure the most stable performance.

HEADPHONE MONITORING

The Minimoog Model D also features a headphone output jack with an independent Volume control.

Plug your headphones into the PHONES jack and adjust the level using the PHONES Volume knob.

Headphones

CREATING SOUND

In analog synthesizers, each set of circuits performs a particular job; each oscillator, lter, and contour generator is a self-contained module. The Minimoog Model D connects these modules together internally using both audio signals and control signals. Audio signals are the sounds you hear emanating from the sound creation circuits of the instrument. Control signals modify the settings of these circuits by providing a continuously variable control voltage—the foundation of the voltage controlled synthesizer. An additional type of control signal is known as a Gate or V-Trigger, which is simply used to initiate an event. For example, playing a note on the keyboard sends a control voltage to the Oscillators

to change the pitch, and also sends a gate signal to trigger the Loudness Contour and Filter Contour

generators. Additional patch points are provided on the Top Patch Panel to expand the functionality of the Minimoog Model D, and to allow it to interface with other voltage-controlled equipment.

SOUND EXPERIMENTS

If you are not familiar with analog subtractive synthesis or with the Minimoog Model D, here are some quick experiments to introduce you to the main sound-creation components and their functions. Begin by setting the Minimoog Model D front panel controls as shown below. Ignore any knobs or switches

that have no value indicated in the diagram.

0 5

? ? 0

0 0 8

0 0

1. These settings isolate OSCI L L AT O R –1 and route it through the FILTE R. You can use the OSCILLATOR–1/RANGE knob to select different octave settings, and the WAV E FORM knob

to listen to the distinct harmonic content of each waveform.

2. In the FI LTE R section, experiment with the CUTOFF FREQUENCY and EMPHASIS knob settings to see how the F I LT E R affects each of the different Oscillator Waveforms.

3. To make the sound less organ-like, rst turn On the DECAY switch located above the PITCH and MOD wheels at the left end of the keyboard. Then play with the position of the ATTAC K TIME and DECAY T I M E knobs in the LOUDNESS CONTOUR.

4. The F I LT E R has its own ATTAC K TIME and DECAY TI M E knobs. As you adjust these values, you will also need to raise the AMOUNT OF CONTOUR value to hear the effect. Continue to explore the FILTER CUTOFF and EMPHASIS knobs as you change these settings.

NOTE: Each of the knobs, switches, and other controls are explained in more detail in the following sections of the manual.

FEATURES & CONTROLS

EXT

GATE

SUS TAIN

ATTAC K

DEC AY

SUS TAIN

ATTAC K

DEC AY

MIDI

KEYBOA RD

EXTERNAL

PITCH

WHEEL

GLIDE

PITCH

S&H

OFF

TUNE

PITCH OUT

GATE

AFTER TOUCH

VELOCITY

OSC

MODULATION

GATE

EXT IN

WAVEF ORM

RANGE

WAVEF ORM

RANGE

FREQUENCY

WAVEF ORM

RANGE

FREQUENCY

OSC3 CONTROL

WHITE

PINK

RED

RAT E

SHAPE

INPUT

OSC1

OSC2

OSC3

NOISE

SELECT

LFO

ADS

AMOUNT

CONTOUR

GENERATOR

LADDER

FILT ER

1/3

2/3

FILT

MODULATION

RELEASE

LOUDNESS

MOD

WHEEL

DE CAY/

EXT

DE CAY/

RELEASE

EXT

CUTOFF

FREQUENCY

EMPHASIS

RESONANCE

EXT

FREQ

MIXER

KB TRACKING

TRS INSERT

MOD

SOURCE

ADS

CONTOUR

GENERATOR

VCA

A 440 OSC

MAIN OUT

HIGH & LOW

HP OUT

OVERVIEW

The Minimoog Model D 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

• LFO Modulation Oscillator

• Audio Mixer

• Filter

• Filter Contour (Envelope Generator)

• Loudness Contour (Envelope Generator)

• 44 full-size keys with Velocity and After Pressure

• Pitch Bend and Modulation Wheels and Glide

•Enhanced Patch Panel

The front panel groups these elements and controls together by type: CONTROLLERS, OSCILLATOR

BANK, MIXER, MODIFIERS, OUTPUT in an intuitive and efcient design. All of these elements are

controlled via single-function knobs and switches. And like its modular ancestors, the Minimoog

Model D is constructed of independent synthesizer circuits connected by audio pathways and

control lines. In place of patch cables, the Minimoog Model D uses color-coded rocker switches

to establish connections between these circuit elements, or modules.

• Orange Switches: Connect modulation sources to their destinations.

• Blue Switches: Turn audio sources On and Off.

• White Switches: Turn performance features On and Off.

• Black Switches: Select between modulation sources.

OSCILLATOR BANK

Oscillators are the primary source of sound in an analog synthesizer. The Minimoog Model D OS C I LL ATOR BA N K 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.

TUNE

The tuning of Oscillator–1 is determined by the

master TUNE knob, located at the top of the CONTROLLERS panel.

RANGE

The RANGE 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 other purposes, such as a modulation source.

FREQUENCY

Oscillator–2 and Oscillator–3 are each equipped with a FREQUENCY knob that can be used to detune the Oscillator from the pitch of Oscillator–1. Slight amounts of detuning can create a rich, chorusing

effect. Tuning the Oscillators to an interval (Perfect Fifth above, Perfect Fourth below, etc.) provides a powerful voice for playing lead passages or creating chords.

WAVEFO R M

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.

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.

SAW TOOTH

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.

WAVEFO R M (Continued)

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.

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 effect.

OSC. 3 CONTROL

Oscillator–3 is unique. Normally, all Oscillators are controlled directly from the keyboard and Pitch

wheel. Turning the orange rocker switch to OFF releases OSC I L L ATOR–3 from keyboard control, providing a greater range of frequency control and allowing it to run free as a modulation source.

OSCILLATOR MODULATION

When this switch is set to ON, the Oscillators can be modulated by Oscillator 3, Noise, Filter Contour,

an External Mod Source, and the LFO (Low Frequency Oscillator) as dened by the CONTROLLERS

settings and the Modulation Wheel position.

CONTROLLERS

The Minimoog Model D contains a number of modulation sources that can affect the pitch of

the Oscillators or the Cutoff Frequency of the Filter. In this regard, the Minimoog Model D has

been modied from its original design, and two black rocker switches have been added to the

CONTROLLERS section. Each switch selects between two modulation sources, while the Modulation

Mix knob controls the balance between them. In the end, the Modulation Wheel (located on the

Left-Hand Keyboard panel) controls the amount of modulation applied to the Oscillators and or Filter.

OSC. 3/FILTER EG SWITCH

This switch to the bottom left side of the CONTROLLERS panel is used to choose the modulation source that will be assigned to the counterclockwise position of the MODULATION MIX knob. Normally, this switch would be set to OSC. 3, allowing Oscillator–3 to be assigned as a modulation source. In the FILTER EG position, the shape dened by the ATTAC K TIME, DECAY T I M E , and SUSTAIN LE VE L knobs of the Filter Contour are used as a modulation source. Filter EG is an ideal modulation source for creating analog brass and percussion sounds.

CONTROLLERS (Continued)

NOISE/LFO SWITCH

This switch to the bottom right side of the CONTROLLERS panel is used to choose the modulation source that will be assigned to the clockwise position of the MODULATION MIX knob. Normally, this switch would be set to NOISE, allowing the Noise Generator to be assigned as a modulation source. The NOISE switch located in the mixer selection determines what type of noise is used for modulation.

When WHITE NOISE is selected, Pink Noise is actually the modulation source. When PINK NOISE is selected, Red Noise is actually the modulation source. In the LFO position, the additional LFO located on the Left-Hand Keyboard panel is used as a modulation source. This is ideal for pitch vibrato and

trills when all three oscillators are in use.

TIP: The Noise position can also be used to introduce an external modulation source via the MOD . SRC . (Modulation Source) jack on the Top Patch Panel. Inserting a standard 1/4” TS cable into this jack breaks the normalled connection, and any external control voltage can be used as a modulation source. Additionally, if a TRS to TS insert cable is used, the Modulation Noise signal output is made available on the ring/send portion of the cable.

MODULATION MIX

This knob sets the balance between the modulation sources selected using the OSC.3/FILTER EG and NOISE/LFO switches. With the MODULATION MIX knob rotated fully counterclockwise, only the

modulation source selected by the OSC.3/FILTER EG switch is applied. With the MODULATION MIX knob rotated fully clockwise, only the modulation source selected by the NOISE/LFO switch is applied. In the center position, both selected modulation sources are applied equally.

LEFT-HAND KEYBOARD PANEL

LFO R ATE

Located on the Left-Hand Keyboard panel, the LFO R AT E knob sets the speed for the dedicated LFO (Low Frequency Oscillator) modulation source that has been added to the Minimoog Model D. Normally, the LFO uses a Triangle wave; pulling up slightly on the LFO R ATE knob will switch the LFO to a Square wave.

MOD WHEEL

The MODULATION Wheel provides a real-time performance controller that can apply the modulation sources selected using the OSC.3/FILTER EG and NOISE/LFO switches, using the mix determined by the MODULATION MIX knob. The Oscillator Modulation switch between the CONTROLLERS panel

and the O SCILLATOR BANK must be in the ON position to apply modulation to the Oscillator pitch. The FILTER MODULATION switch connecting the CONTROLLER panel and the Filter must be in the ON position to apply modulation to the Filter Cutoff Frequency. The zero position

for the Mod Wheel is all the way down, with the indent in the wheel closest to you.

NOTE: The MODULATION Wheel does not transmit or receive MIDI data due to its traditional passive attenuator design.

PITCH WHEEL

Located next to the MODULATION Wheel, the PITCH Wheel provides a real-time performance controller for bending the pitch of the Oscillators, in the way that a guitarist may bend a string or a sax player may bend the reed to alter the pitch of a note. The zero position for the PITCH Wheel is in the center, allowing the pitch to be bent either sharp or at.

NOTE: The PITCH Wheel on the Minimoog Model D does not have a spring-loaded return, but does have

a center-detent.

LEFT-HAND KEYBOARD PANEL (Continued)

GLIDE

Glide 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.

GLIDE SWITCH

Located on the Left-Hand Keyboard panel, this switch turns the Glide effect on and off.

GLIDE KNOB

Located on the CONTROLLERS panel, the GLIDE knob determines the amount of time needed to

transition from one note to the next.

DECAY SWITCH

When the D E C AY switch is ON, the last note played will continue to sound as it fades and the Filter Cutoff Frequency will lower at the rate set using the DECAY T I M E knobs in the MODIFIERS section. (Page 16).

MIXER & NOISE

The MIXER sets the levels of all ve of the Minimoog Model D audio sources—3 Oscillators, Noise Generator, and External Audio Input. The combined output of the Mixer next passes through the Filter and nally arrives at the audio output. In addition to a dedicated Volume knob, each audio source also includes an On/Off switch. These switches allow any source to be quickly removed from the mix while

preserving their VOLUME knob position, and can also be useful when setting the tuning of each Oscillator.

The Oscillators are somewhat self-explanatory in regard to the Mixer. The External Input Volume and the

Noise Generator require some extra explanation.

EXTERNAL INPUT VOLUME

An external audio source can be introduced to the Minimoog Model

D using the EXT. INPUT SIGNAL jack located on the Top Patch Panel. The Volume of the external signal is controlled using this knob.

If no cable is connected to the EXT. INPUT SIGNAL jack, the

main audio output of the Minimoog Model D is attenuated slightly

and then normalled to the External Input signal path. In this case,

the Main Output signal is sent back to the input of the mixer. By increasing the External Input volume far enough, the Mixer can overload, introducing varying levels of overdrive or distortion. When

this occurs, the Overload indicator lamp will light. In this case, the

External Input Volume control is POST Main Output volume. This

means that the MAIN OUTPUT VOLUME knob will affect the amount of overload in addition to the EXTERNAL INPUT VOLUME knob.

CRITICAL NOTE: With no cable connected to the EXT. INPUT SIGNAL jack, and the EXTERNAL INPUT VOLUME and MAIN OUTPUT VOLUME controls turned all the way up, it is possible to overload the mixer to

the point that only one sound is heard and different pitches do not sound. This will not damage the instrument.

NOISE

Noise can be a very desirable sound source—either alone, or mixed in with other sources. It can be used to create anything from a rocket launch to the subtle breath of a ute sound. In addition to the NOISE VOLUME knob, there is a switch for selecting either WHITE or 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. If you think of White Noise as TV static, consider Pink Noise more as a waterfall pounding the rocks below.

MODIFIERS

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 F I LT E R CONTOUR controls the lter’s Cutoff Frequency over time. The LOUDNESS CONTOUR controls the

output volume level over time.

FILTER CONTROLS

CUTOFF FREQUENCY KNOB

The Minimoog Model D is equipped with a traditional Moog Ladder Filter with 10Hz-32kHz frequency response. This is a critical component to the thick, punchy and powerful Minimoog Model D sound. When a note is played, harmonic content occurring above the lter Cutoff Frequency is reduced by the lter at a rate of 24dB/Octave. Harmonic content, or sound, below the lter Cutoff Frequency will freely pass unaffected. This is the foundation of subtractive analog synthesis. While the Cutoff Frequency can be set manually using the CUTOFF FREQUENCY knob, the value is also affected by the KEYBOARD CONTROL switches,

FILTER MODULATION switch, FILTER CONTOUR controls and the AMOUNT OF CONTOUR knob, which are discussed below. When closing the lter by lowering the CUTOFF FREQUENCY, the sound will be perceived as growing darker, while increasing

the Filter’s CUTOFF FREQUENCY will create a progressively brighter sound.

EMPHASIS KNOB

Often referred to as resonance, the EMPHASIS knob takes a portion of the output of the Filter and

sends it back to the input of the Filter, creating a resonance peak that occurs at the lter’s Cutoff 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.

FILTER MODULATION SWITCH

When this switch is On, the Filter Cutoff Frequency can be modulated by the Noise Generator, Filter Contour, Oscillator 3, and the LFO (Low Frequency Oscillator). The modulation source and amount are dened by the CONTROLLERS settings and the MODULATION WHEEL position.

KEYBOARD CONTROL (1 & 2) SWITCHES

The KEYBOARD CONTROL switches allow the note played on the keyboard of the Minimoog Model D to affect the Filter Cutoff Frequency, a process also known as key tracking. This allows notes played higher on the keyboard to have brighter sound. KEYBOARD CONTROL 1 provides 1/3 of the total amount of available key tracking. KEYBOARD CONTROL 2 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.

MODIFIERS (Continued)

Time

Decay

COUNTOUR CONTROLS

Contour controls provide a way to add articulation to the sound of the synthesizer. The Minimoog Model D features two Contour, or Envelope Generators. One provides a signal to change the Filter Cutoff Frequency over time. The second provides a signal to change the Loudness over time. In both cases, the Contour contains three main controls: AT TACK TI M E , D E C AY TIME, and S U S TA I N LEVEL.

FILTER CONTOUR

ATTAC K T I M E K N OB

Attack

Time

(Initial)

Decay

Time

Switch On

Decay

Time

The AT TACK TIME knob sets the

Sustain

Level

time required for the Filter Contour

Generator to raise the Filter’s Cutoff Frequency from its manual setting to its maximum level (determined by the AMOUNT OF CONTOUR knob) once

Decay

a key is pressed or after a gate

is received.

DECAY TIME KNOB

The DECAY TI M E knob sets the time required for the Filter Contour Generator to lower the Filter’s Cutoff Frequency from the level achieved by the Attack stage to the Sustain Level. The DECAY T I M E

knob can also control the amount of time required for the Filter to return to its manual setting after the

key is released (or after an external gate signal ends). This second function of the D ECAY TIME knob is

activated by the D E C AY switch, located on the Left-Hand Keyboard panel.

SUSTAIN LEVEL KNOB

After the Attack and Decay stages have been completed, the Filter Contour Generator will hold the Filter’s Cutoff Frequency at the level determined by the SUS TA I N LEVEL knob for as long as a note is held.

AMOUNT OF CONTOUR KNOB

The AMOUNT OF CONTOUR knob determines how much of the control signal created by the Filter Contour will be applied to change the Filter Cutoff Frequency over time.

LOUDNESS CONTOUR

ATTAC K T I M E K N OB

The AT TACK 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.

DECAY TIME KNOB

The DECAY TI M E 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 D E C AY 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 D E C AY TIME knob is activated by the D E C AY switch, located on the Left-Hand Keyboard Panel.

SUSTAIN LEVEL KNOB

After the Attack and Decay stages have been completed, the Loudness Contour Generator will maintain the Volume level determined by the SUSTAIN L E V E L knob for as long as a note is held.

OUTPUT

The OUTPUT section is divided into three functions—MAIN OUTPUT, PHONES OUTPUT, and the A-440 Reference Tuner. The MAIN OUTPUT and the PHONES OUTPUT feature independent Volume controls.

The Main Output also offers an On/Off switch.

MAIN OUTPUT VOLUME KNOB

The MAIN OUTPUT VOLUME knob determines the signal level being sent to the HIGH and LOW audio outputs on the Top Patch Panel.

NOTE: The Low output signal is 30 dB lower than the High level output.

MAIN OUTPUT SWITCH

This switch can quickly mute the Main Output of the instrument without having to dial the Volume down to zero and then reset it to a nominal level. Muting the Main Output allows a performer to use the Phones Output as a cue/monitor for privately tweaking settings during a live performance.

A-440 TUNER SWITCH

A reference tuner pitched at A=440 Hz is built into the Minimoog Model D. The reference tone is sent to both the Main Output and the Phones Output. The Tuner provides a convenient way to keep all of

the oscillators in tune, at all times.

PHONES VOLUME KNOB

The PHONES VOLUME knob determines the signal level being sent to the PHONES jack. This knob operates independent of the MAIN OUTPUT VOLUME knob.

PHONES JACK

Even though the Minimoog Model D is monophonic, the PHONES jack is a 1/4” TRS Stereo jack,

delivering the same signal to both ears.

TIP: Mute the Main Output and use a pair of headphones to monitor the Minimoog Model D in order to prepare the next sound or to check the tuning.

KEYBOARD

The keyboard of the Minimoog Model D features 44 keys, or three and a half octaves, from F to C. Playing a note will transmit control voltage information to the Oscillators, Keyboard Tracking information to the Filter, and will trigger both of the Contour Generators. The original keyboards used on the Minimoog Model D in the 1970s have long since vanished, so a new Fatar TP-9 keyboard is used. This new keybed introduces features that have long been desired by Minimoog Model D owners, without compromising the integrity of the instrument. The keyboard can now transmit MIDI information, generate a Velocity control voltage signal and also an After-Pressure control

voltage signal. These additional control signals are available as CV outputs on the Top Patch Panel in addition to analog Pitch CV and Gate outputs.

TIP: Using Power-On Commands, the performance of the keyboard can be customized. For example, traditionally the Minimoog Model D used Low-Note Priority; this can now be set to Last-Note priority. To learn more about Power-On commands, go to page 22 of this manual.

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