Important Safety Instructions
WARNING: WHEN USING ELECTRIC
PRODUCTS, THESE BASIC PRECAUTIONS
SHOULD ALWAYS BE FOLLOWED.
1. Read and follow all the instructions before using
the product. Heed all warnings and keep these
instructions for later reference.
2. Do not use apparatus near water—for example,
but not limited to, near a bathtub, washbowl,
or kitchen sink; in a wet basement; or near a
swimming pool.
3. Clean only with a dry cloth.
4. Do not block any ventilation openings. Install in
accordance with the manufacturer’s instructions.
5. Do not install near any heat sources, such as
radiators, stoves, or other apparatus (including
amplifiers) that produce heat. Do not operate
this instrument with the case in direct sunlight.
6. Protect the power cord from being walked on
or pinched particularly at plugs, convenience
receptacles, and the point where they exit from
the apparatus.
7. Use accessories specified by the manufacturer.
Ensure that any external equipment used
in conjunction with this product is installed
according to the safety specifications supplied
with that equipment.
8. Unplug this apparatus during lightning storms
or when unused for a long period of time.
9. This product, in combination with an amplifier
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.
10. The product should only be connected to the
AC adapter supplied with the product. Do not
connect the AC adapter to an AC outlet that is
outside the adapter’s input specifications.
11. Care should be taken so that objects do not fall
and liquids are not spilled into the enclosure
through openings. Do not expose this product
to rain or moisture.
12. Refer all servicing to qualified service personnel.
Servicing is required when the apparatus has
been damaged in any way, such as if the power
supply cord or plug is damaged, liquid has been
spilled or objects have fallen into the apparatus,
or the apparatus has been exposed to rain or
moisture, does not operate normally, or has
been dropped.
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 o 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 into an outlet on
a circuit dierent 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
modifications made to this product not expressly
approved by Moog Music Inc. could void the user’s
authority granted by the FCC to operate the
equipment.
OPERATING CONDITIONS
AND STORAGE
For optimal performance, use your Minimoog Model
D between 50–95 degrees Fahrenheit (10–35
degrees Celsius). Safe operating conditions are
within the range of 50–110 degrees Fahrenheit
(10–43 degrees Celsius).
Minimoog Model D should be stored in temperatures
above 32 degrees Fahrenheit (0 degrees Celsius)
but never greater than 135 degrees Fahrenheit (57
degrees Celsius). Do not leave Minimoog Model D
in a vehicle on a hot day with the windows closed.
Temperatures in a vehicle can exceed 175 degrees
Fahrenheit (80 degrees Celsius).
Table of Contents
6
INTRODUCTION
A Brief History
10
New Features
11
GETTING STARTED
Setup & Connections
AC Power
Raising the Panel
12
Creating Sound
Audio Monitoring
Headphone Monitoring
13
Sound Experiments
14
FEATURES & CONTROLS
16
Oscillator Bank
20
Controllers
22
Left-Hand Keyboard Panel
25
Keyboard
26
Mixer & Noise
28
Modifiers
32
Output
34
TOP PATCH PANEL
35
MIDI Ports
Control Outputs
36
Audio Outputs
Audio Input
37
Control Inputs
38
PERFORMANCE TIPS & TECHNIQUES
39
Processing External Audio
40
Enhancing a Keyboard Performance
41
Creating FM Eects
42
Creative Switching
43
OSCILLATOR TUNING PROCEDURE
46
GLOBAL SETTINGS
52
SIGNAL FLOW
54
PATCH S HEE TS
80
SPECIFICATIONS
82
WARRANTY
Minimoog
Model D
Originally released in 1970, Minimoog Model D was
the world’s first portable synthesizer and served
as the archetype for all electronic keyboards that
followed. The all-analog instrument gained acclaim
for combining the colossal sound of Moog large-
format modular synthesizers with the accessibility
of pre-wired modules; this meant that it could be
played instantly and intuitively with no patch cables
required.
Minimoog Model D was quickly embraced by a
diverse roster of performers spanning nearly every
genre of music. Influential artists like Bernie Worrell,
Trent Reznor, Gary Numan, Dr. Dre, and Kraftwerk
shaped their unique sounds and forged new
musical genres using the instrument. Now, more
than a half-century since its invention, Minimoog
Model D remains one of the most coveted of all
synthesizers, as it makes its return to the hands of
veteran synthesists and serves as inspiration for
the next generation of electronic musicians.
New Features
Though no changes have been made to the original sound engine, your Minimoog
Model D includes a series of modifications that expand the instrument’s sonic
capabilities and performance features.
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 hardwired to any
specific parameter, the expanded Top Patch Panel allows Velocity and After Pressure
signals to modify the Filter Cuto Frequency, Loudness, and Oscillator Pitch.
DEDICATED LFO (LOW FREQUENCY OSCILLATOR)
Traditionally, OSCILLATOR-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, featuring a push/pull LFO RATE knob to switch the LFO waveshape between
triangle and square. 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
POWER-ON COMMANDS
By holding down specific keys as Minimoog Model D is powered 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
Minimoog Model D now features a universal (100~240 VAC, 50/60Hz) 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.
LEFT-HAND CONTROLLER
Mod Wheel now receives and transmits MIDI data. Pitch Wheel is now spring-loaded
and returns to center.
10 | New Features
Getting Started
Begin by carefully removing your new Minimoog Model D from its packaging. It’s
recommended that you save all original packing material, should you ever need to
safely move or ship the instrument. In addition to the instrument itself, Minimoog
Model D also includes this owner’s manual, a power adapter, and the connecting
power cord.
SETUP & CONNECTIONS
The front panel of Minimoog Model D is hinged, so use caution and avoid grasping the
top of the panel when lifting or moving the instrument.
Place 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 flat, or it can be tilted to a convenient angle for accessing the controls.
To get started, you will need to supply Minimoog Model D with power and connect it
to an audio monitoring system, or listen using a set of headphones.
AC POWER
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.
1. Connect the included IEC power cable to the Minimoog Model D power supply.
2. Connect the power supply cable to the Minimoog Model D locking XLR-4 connector.
3. Connect the other end of the power cable to a suitable AC wall outlet.
4. 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.
RAISING THE PANEL
1. Grab the front panel by the top wood edge and tilt it forward toward the keyboard.
2. Flip up the hinged metal kickstand located in the area under the rear panel.
3. 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 dierent angle.)
4. To lower the panel, again tilt the panel forward until the hinged kickstand returns to
its original position, then gently lower it.
11 | Getting Started
Creating Sound
In analog synthesizers, each set of circuits performs a particular job; each oscillator, filter,
and contour generator is a self-contained module. 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 Minimoog Model D and to allow it to
interface with other voltage-controlled equipment.
AUDIO MONITORING
Connect Minimoog Model D to an instrument amplifier, powered speaker, or other
monitoring system. On the top panel, two 1/4” TS outputs are provided. The HIGH
output is a high-level output suitable for connection to the line input of a mixer,
recording setup, or other audio system. The LOW output is a high-impedance, lowlevel output that can connect to an instrument amplifier or other high-gain, highimpedance input.
1. Begin with the monitoring
system o and the Minimoog
Model D VOLUME knob fully
counterclockwise.
2. Use the appropriate output to
connect Minimoog Model D to an
audio monitoring system.
3. Turn 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 flip 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 halfway.
5. Now turn on the monitoring system, and raise the levels to your desired audio level.
NOTE: Because 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
Minimoog Model D features a
headphone output jack with
independent volume control.
Plug your headphones into the
PHONES jack and adjust the level
using the phones VOLUME knob.
12 | Creating Sound
Sound Experiments
If you are not familiar with analog subtractive synthesis or with Minimoog Model D,
here is a quick experiment 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.
1. These settings isolate OSCILLATOR–1 and route it through the FI LT E R . You can
use the OSCILLATOR–1/RANGE knob to select dierent octave settings and the
WAVEFORM knob to listen to the distinct harmonic content of each waveform.
2. In the F I LTE R section, experiment with the CUTOFF FREQUENCY and
EMPHASIS knob settings to see how the FILTE R aects each of the dierent
Oscillator Waveforms.
3. To make the sound less organ-like, first 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 ATTACK TIME and DECAY TIME knobs in the LOUDNESS CONTOUR.
4. The FI LTE R has its own ATTACK TI ME and DECAY TIME knobs. As you adjust
these values, you will also need to raise the AMOUNT OF CONTOUR value to hear
the eect. Continue to explore the FILTE R C U TOFF 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.
13 | Sound Experiments
Features
& Controls
Minimoog Model D is a self-contained monophonic
analog synthesizer and a 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
The front panel groups these elements and controls
together by type—CONTROLLERS, OSCILLATOR
BANK, MIXER, MODIFIERS, OUTPUT —in an
intuitive and ecient design. All of these elements
are controlled via single-function knobs and
switches. And like its modular ancestors, Model D
is constructed of independent synthesizer circuits
connected by audio pathways and control lines. In
place of patch cables, 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 o. White
switches turn performance features on and o.
Black switches select between modulation sources.
15 | Features & Controls
Oscillator Bank
Oscillators are the primary source of sound in
an analog synthesizer. The Minimoog Model D
OSCILLATOR BANK contains three nearly
identical Oscillators. This arrangement means
each key can sound up to three oscillators—
16 | Oscillator Bank
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 five-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 eect. 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
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, flute-like sounds that have a pure tone with
little overtone activity.
17 | Oscillator Bank
Oscillator Bank
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 is 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.
18 | Oscillator Bank
Oscillator Bank
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 eect.
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 OSCILLATOR–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
defined by the CONTROLLERS settings and the Modulation
Wheel position.
19 | Oscillator Bank
Controllers
Minimoog Model D contains a number of
modulation sources that can aect the pitch of
the Oscillators or the Cuto Frequency of the
Filter. In this regard, Minimoog Model D has
been modified from its original design, and
two rocker switches have been added to the
CONTROLLERS section.
20 | Controllers
Each switch selects between two modulation
sources, while the Modulation Mix knob controls
the balance between them. 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. Originally, this modulation source
was fixed to OSC. 3, but this updated reissue allows F I LT E R
EG to be selected as well.
In the FILTER EG position, the shape defined by the AT TACK
TIME, DECAY TIME, and SUSTAIN LEVEL 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.
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. Originally, this modulation source was fixed to NOISE,
but this updated reissue allows LFO to be selected as well.
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.
21 | Controllers
Left-Hand
Keyboard Panel
22 | Left-Hand Keyboard Panel
GLIDE KNOB
Located on the CONTROLLERS panel, the GLIDE knob
determines the amount of time needed to transition from
one note to the next.
GLIDE SWITCH
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. This switch turns the
Glide eect on and o.
LFO R AT E
Located on the Left-Hand Keyboard panel, the LFO R ATE
knob sets the speed for the dedicated LFO (Low Frequency
Oscillator) modulation source that has been added to
Minimoog Model D. Normally, the LFO uses a Triangle wave.
The LFO RATE knob is a push/pull knob allowing you to
switch the LFO waveshape between triangle and square.
Pull up slightly on the LFO R ATE knob (until you hear a click)
to switch the LFO shape to square and push down on the
knob to return to triangle.
DEC AY SWITCH
When the DEC AY switch is ON, the last note played will
continue to sound as it fades and the Filter Cuto Frequency
will lower at the rate set using the DECAY TIME knobs in the
MODIFIERS section (Page 28).
23 | Left-Hand Keyboard Panel
Left-Hand Keyboard Panel
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 OSCILLATOR 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 Cuto Frequency. The zero position
for the Mod Wheel is all the way down, as illustrated.
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 flat. The
PITCH Wheel will go up a fifth in its maximum position and
down a fifth in its minimum position.
NOTE: The PITCH Wheel on Minimoog Model D is now spring-loaded
and will return to center on release.
24 | Left-Hand Keyboard Panel
Keyboard
The keyboard of 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 O scillators, Keyboard Tracking
information to the Filter, and will trigger both of
the Contour Generators. The original keyboards
used on 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 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
46 of this manual (Global Settings).
25 | Keyboard
Mixer & Noise
The Mixer sets the levels of all five 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 finally arrives at
the audio output. In addition to a dedicated
Volume knob, each audio source also includes
an On/O switch. These switches allow any
26 | Mixer & Noise
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 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 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 aect 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
dierent 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 flute sound.
In addition to the NOISE VOLUME knob, there is a switch for
selecting either WHITE or PINK noise. White Noise contains
equal energy per frequency. Pink Noise contains equal
energy per octave 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.
27 | Mixer & Noise
Modifiers
The MODIFIERS Panel contains three separate
sections: FILTER, FILTER CONTOUR, and
LOUDNESS CONTOUR. The Filter selectively
modifies the harmonic content of the sound.
The Contour controls, also known as Envelope
28 | Modifiers
Generators, provide a control signal that
changes over time. The FILTER CONTOUR
controls the Filter’s Cuto Frequency over time.
The LOUDNESS CONTOUR controls the output
volume level over time.
FILTER CONTROLS
CUTOFF FREQUENCY KNOB
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 filter Cuto Frequency is
reduced by the filter at a rate of 24dB/Octave. Harmonic
content, or sound, below the filter Cuto Frequency will
freely pass unaected.
This is the foundation of subtractive analog synthesis.
While the Cuto Frequency can be set manually using the
Cuto Frequency knob, the value is also aected by the
Keyboard Control switches, Filter Modulation switch, Filter
Contour controls, and the Amount of Contour knob, which
are discussed below. When closing the filter by lowering the
Cuto Frequency, the sound will be perceived as growing
darker, while increasing the Filter’s Cuto 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 Filter’s Cuto Frequency. By turning the Emphasis control
up and lowering the Filter Cuto 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 defined
below.
FILTER MODULATION SWITCH
When this switch is on, the Filter Cuto Frequency can be
modulated by the Noise Generator, Filter Contour, Oscillator
3, and LFO (Low Frequency Oscillator). The modulation
source and amount are defined by the CONTROLLERS
settings and the Modulation Wheel position.
29 | Modifiers
Modifiers
KEYBOARD CONTROL (1&2) SWITCHES
The Keyboard Control switches allow the note played on
the keyboard of Minimoog Model D to aect the Filter Cuto
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, resulting in an octave change in filter
cuto per octave change played on the keyboard.
CONTOUR CONTROLS
Contour controls provide a way to add
articulation to the sound of the synthesizer.
Minimoog Model D features two Contour
controls, or Envelope Generators. One
provides a signal to change the Filter
Cuto Frequency over time. The other
provides a signal to change the Loudness
over time. In both cases, the Contour
contains three main controls: AT TACK
TIME, D E C AY TIME, and SUSTAIN LEVEL.
FILTER CONTOUR
ATTACK TIME KNOB
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 KNOB
The Decay Time knob sets the time required for the Filter
Contour Generator to lower the Filter’s Cuto Frequency
from the level achieved by the Attack stage to the Sustain
Level. The Decay Time 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 Decay Time knob is
activated by the D E C AY switch on the Left-Hand Keyboard.
30 | Modifiers
Modifiers
SUSTAIN LEVEL KNOB
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.
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 Cuto Frequency over time.
LOUDNESS CONTOUR
ATTACK TIME KNOB
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.
DECAY TIME KNOB
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, 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 Level knob for as long as a
note is held.
31 | Modifiers
Output
The OUTPUT section is divided into three
functions: MAIN OUTPUT, PHONES OUTPUT,
and the A-440 Reference Tuner. The MAIN
32 | Output
OUTPUT and the PHONES OUTPUT feature
independent Volume controls. The Main Output
also oers an On/O 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 30dB lower than the High level
output.
NOTE: The scaling of overdrive is directly related to the Main Output
Volume knob. Because of this, it is ideal to keep the Main Output
Volume knob at or below 6 for the most musical range of overdrive
control via the External Input Volume knob.
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-440Hz is built into 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 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
Minimoog Model D in order to prepare the next sound or to check
the tuning.
33 | Output
Top Patch
Panel
34 | CHAPTER
While not a modular synthesizer, Minimoog Model D features an enhanced Patch Panel to
interface with other analog synthesizers and musical equipment via Control Voltage, Trigger
signals, and MIDI. This Patch Panel also expands the expressive performance capabilities of
Minimoog Model D itself. The Patch Panel is located along the top edge of the synthesizer.
MIDI PORTS
MIDI IN
Minimoog Model D can receive MIDI Note,
Velocity, and Pitch Bend information. It now
includes mod-wheel MIDI support: CC #1
(MSB or Most Significant Byte) and CC #33
(LSB or Least Significant Byte).
MIDI THRU
This jack rebroadcasts the signal arriving at
the MIDI IN jack and passes it along to other
MIDI equipment.
MIDI OUT
Minimoog Model D can send MIDI Note,
Velocity, and Pitch Bend information Mod
Wheel information, as well as Aftertouch.
CONTROL OUTPUTS
AFTER PRESSURE OUT (AFTERTOUCH)
This jack sends a 0 to +5V control voltage signal based on the After Pressure that
is generated by pressing down further on a key that is already being held down on
the keyboard. There is a small trimpot located adjacent to this jack that is used for
attenuating the level of the After Pressure control voltage signal.
PITCH OUT
This jack sends a 1V/Octave control voltage signal based on the Pitch of the note being
played on the keyboard summed with the output of the PITCH Wheel. The default
setting is for the key C0 to generate zero volts; however, this note is not accessible
from the keyboard itself. Using the Pitch CV Zero Volt Power On Command (Global
Settings), you can specify a particular key to have a control voltage value of zero volts.
35 | Top Patch Panel
Top Patch Panel
V-TRIG OUT
This 1/4” jack sends a +5V Trigger signal each time a note is played. It uses a standard
V-Trigger connector in place of the S-Trigger and Cinch-Jones hardware used on the
original Minimoog Model D.
VELOCITY OUT
This jack sends a 0 to +5V (by default) control voltage signal based on the Velocity
used to play a note on the keyboard. There is a small trimpot located adjacent to this
jack that is used for attenuating the level of the Velocity control voltage signal.
AUDIO OUTPUTS
There are two main audio outputs: LOW level and HIGH level.
MAIN OUTPUT LOW JACK
This is the most commonly used output for connecting to
guitar amplifiers, DI inputs on a preamplifier, etc.
MAIN OUTPUT HIGH JACK
This is the most commonly used output for connecting to the
line input of a mixer, audio interface, keyboard amplifier etc.
AUDIO INPUT
An external audio source can be introduced into Minimoog Model D via this input jack.
The signal appears at the EXTERNAL INPUT switch and VOLUME knob in the MIXER
panel. This allows an external audio signal to be processed, gated, and filtered by
Minimoog Model D.
EXT. SIGNAL INPUT JACK
Connect the audio output cable from your external sound
source to this input jack. If no cable is connected here, the
output of Minimoog Model D is attenuated and then normalled
to the External Input signal path. In this case, increasing the level
of the EXTERNAL INPUT VOLUME knob on the MIXER panel will
reintroduce the output signal of the instrument 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, regardless of whether or not the EXTERNAL INPUT switch
is set to ON or OFF.
NOTE: The scaling of overdrive is directly related to the Main Output
Volume knob. Because of this, it is ideal to keep the Main Output Volume
knob at or below 6 for the most musical range of overdrive control via the
External Input Volume knob.
36 | Top Patch Panel
Top Patch Panel
CONTROL INPUTS
LOUDNESS INPUT
A 0 to +5 volt control voltage signal connected to this input jack will aect the overall
level of the Loudness Contour.
FILTER INPUT
A 0 to +5 volt control voltage signal connected to this input jack will aect the Cuto
Frequency of the Filter.
OSCILLATOR INPUT
A 1 V/Octave additive control voltage signal connected to this input jack will aect the
pitch of the Oscillators.
NOTE: The Oscillator, Loudness, and Filter input jacks are equipped with TRS (Tip/Ring/Sleeve)
connectors with a current-limited +5V on the ring. This allows each parameter to be controlled
via control voltage signal or from a Moog EP-3 expression pedal.
MOD. SRC. INPUT
A varying control voltage signal connected to this input jack can be used as a
modulation source. Inserting a standard 1/4” cable into this jack breaks the normalled
connection of the Noise modulation source, and any external control voltage applied
will take its place. With no cable connected, this jack remains normalled, connecting the
Noise send to the MOD. SRC. input, and NOISE can be selected as a modulation source.
TIP: This jack is equipped with a TRS ( Tip/Ring/Sleeve) connector, which allows it to also
function as a send for the Noise Generator. With WHITE NOISE selected, the modulation source
becomes Pink Noise. With PINK NOISE selected, the modulation source becomes Red Noise.
EXT. V-TRIG INPUT
This 1/4” jack can receive a standard V-Trigger from other electronic instruments.
It uses a standard V-Trigger connector in place of the S-Trigger and Cinch-Jones
connector used on the original Minimoog Model D. A trigger signal received here
will cause the Contour Generators to fire and will act as a keyboard gate.
37 | Top Patch Panel
Performance
Tips &
Techniques
38 | CHAPTER
Even with its streamlined control panel, Minimoog Model D remains a deep and versatile
instrument for audio synthesis. Here are just a few examples of how Minimoog Model D may
be used in interesting and perhaps unexpected ways.
PROCESSING EXTERNAL AUDIO
Using a Moog Ladder Filter to process external sounds can lead to extremely creative
explorations. Try filtering another keyboard, a guitar, found sounds, etc.
STEP 1
Connect the external audio source to Minimoog Model D via the
EXT. SIGNAL INPUT jack on the Top Patch Panel. (The level is set
using the EXTERNAL INPUT VOLUME knob on the MIXER panel.)
STEP 2
Be sure the blue rocker switch for the
EXTERNAL INPUT VOLUME is ON. For now,
set the other blue rocker switches to OFF so
that you can isolate the external signal.
STEP 3
In order to hear the signal being filtered, the Contour Generators need to be triggered.
This can be done by touching the keyboard, or by using an external trigger from a
drum machine, additional synthesizer, etc.
STEP 4
Using the Modulation
Wheel can introduce more
complex filtering eects.
For example, set the black
NOISE/LFO rocker switch
to LFO, set the orange
FILTER MODULATION
switch to ON, and rotate
the MODULATION MIX
knob fully clockwise.
39 | Performance Tips & Techniques
Performance Tips & Techniques
STEP 5
Next, pull up slightly on the L F O R AT E knob to select a square wave. The LFO RATE
knob is a push/pull knob allowing you to switch the LFO waveshape between triangle
and square. Pulling up on the LFO RATE knob switches the LFO shape to square and
pushing down on the knob returns it to triangle.
STEP 6
Finally, as the external source is playing, hold down any note on the keyboard and
push the MODULATION Wheel forward to create a pulsed filter eect. Adjust the
LFO R ATE , FILTER CUTOFF FREQUENCY, and EMPHASIS knobs accordingly.
ENHANCING A KEYBOARD PERFORMANCE
In this example, the expressive capabilities of the Minimoog Model D keyboard are
enhanced by adding Velocity control to the volume and After Pressure control to
the filter brightness.
STEP 1
Connect a 1/4” TS to 1/4” TS
instrument cable from the
VELOCITY Control Output to the
LOUDNESS Ext. Control Input.
Now, the velocity with which
a note is played will aect the
Loudness, or output volume, of
the Model D. Use the adjustable
trimpot adjacent to the VELOCITY
IN T. Control Output to determine
the amount of velocity control.
STEP 2
Next, connect a 1/4” TS to 1/4” TS
instrument cable from the AFTER
PRESSURE Control Output to the
FILTER EX T Control Input.
By applying small amounts of
pressure to a key while holding a
note, the Filter Cuto Frequency
will change, allowing the note to
appear brighter in tone or timbre.
Use the adjustable trimpot
adjacent to the AFTER PRESSURE
Control Output to determine the
amount of After Pressure control.
40 | Performance Tips & Techniques
Performance Tips & Techniques
CREATING FM EFFECTS
Often when we think of Modulation, we are thinking of adding a slow, cyclic change
in pitch, filter brightness, etc. Minimoog Model D also allows one audio oscillator to
modulate another, creating interesting Frequency Modulation eects.
STEP 1
Set the OSCILLATOR MODULATION rocker switch to ON to enable
frequency modulation of the Oscillators via the modulation bus.
STEP 2
Set OSCILLATOR–1 to the 16’ or 8’ Range.
STEP 3
Set OSCILLATOR–3 to the 16’ or 8’ Range.
STEP 4
Isolate OSCILLATOR–3 from keyboard control by setting the
orange OSC. 3 CONTROL rocker switch to OFF.
STEP 5
In the CONTROLLERS section, set the black OSC. 3/FILTER EG
rocker switch to OSC. 3 and rotate the MODULATION MIX knob
fully counterclockwise.
STEP 6
Turn o all audio sources to the MIXER panel—except
OSCILLATOR–1—using the blue rocker switches.
STEP 7
Hold any note on the keyboard, and use the MODULATION Wheel to apply Frequency
Modulation to Oscillator–1 using Oscillator–3. The FM eect can be controlled by the
position of the Modulation Wheel, as well as the Range, Frequency, and Waveform
settings of Oscillator–3.
41 | Performance Tips & Techniques
Performance Tips & Techniques
CREATIVE SWITCHING
With a little forethought, the blue and orange rocker switches on Minimoog Model D can be used
to quickly introduce new elements to your performance. For example, by tuning OSCILLATOR–2
and OSCILLATOR–3 to specific intervals in regard to OSCILLATOR–1, extra harmonies or chords
can be added to your performance as you play.
STEP 1
Tune OSCILLATOR-2 to a Perfect Fifth (7 semitones) above
OSCILLATOR-1.
STEP 2
Tune OSCILLATOR–3 to a Perfect Fourth (-5 semitones) below
OSCILLATOR–1.
STEP 3
In the MIXER panel, use the blue rocker switches to
turn OSCILLATOR–1 ON, and OSCILLATOR–2 and
OSCILLATOR–3 OFF.
STEP 4
Now, as you play a lead, you can switch the blue
OSCILLATOR–2 and OSCILLATOR–3 rocker switches
ON to instantly add a parallel harmony voice.
42 | Performance Tips & Techniques
Oscillator Tuning Procedure
Notes:
Match these front panel settings before attempting the tuning procedure.
From time to time the analog circuitry in your Minimoog Model D may require tuning to ensure
peak performance. This tuning procedure should only be performed by a qualified technician.
Please follow the procedure carefully and complete each step before advancing to the next step.
WARNI NG: Before tuning your Minimoog Model D, you MUST first perform the Global Reset procedure.
To perform the Global Reset, which returns Minimoog Model D back to the factory settings, hold the lowest
four white keys —F0, G0, A0, B0—while turning on power.
To begin the tuning procedure, match your instrument setting to those shown in the illustration.
Place the front panel controls in the
following positions:
TUNE: Centered
GLIDE: Fully CCW
MODULATION MIX: Fully CCW
OSC 1 OCTAVE: 4’
OSC 1 WAVEFORM: Sawtooth
OSC 2 OCTAVE: 4’
OSC 2 TUNE: Centered
OSC 2 WAVEFORM: Sawtooth
OSC 3 OCTAVE: 4’
OSC 3 TUNE: Centered
OSC 3 WAVEFORM: Sawtooth
OSC 1 VOLUME: 10
EXTERNAL SIGNAL VOLUME: 0
OSC 2 VOLUME: 10
NOISE VOLUME: 0
OSC 3 VOLUME: 10
43 | Oscillator Tuning Procedure
Place the front panel switches in
the following positions:
OSC 3 CTRL: ON (Up position)
OSC 1 VOLUME: ON
EXTERNAL INPUT: OFF
OSC 2 VOLUME: OFF
NOISE VOLUME: OFF
OSC 3 VOLUME: OFF
Place the LHC controls in the
following positions:
PITCH WHEEL: Centered
MODULATION WHEEL: Down
GLIDE: OFF
DECAY: OFF
Oscillator Tuning Procedure
OSC 1 RANGE AND SCALE BOARD 1
The following procedure uses headphones for the oscillator tuning. An audio
amplification system can be used for this instead of the headphones.
NOTE: Periodically check the tuning of the A-440 tuner. If it is out of tune, simply use the
A-440 trimpot to adjust its tuning.
1. Set the A-440 switch to the ON position.
2. Set the Filter CUTOFF FREQUENCY control to the maximum position.
3. Set the Filter EMPHASIS control to the minimum position.
4. Set the LOUDNESS CONTOUR SUSTAIN LEVEL and DECAY TIME controls to their
maximum positions.
5. Depress the HIGHEST “A” KEY on the keyboard, and adjust the OSC 1 RANGE
trimpot for zero beats.
6. Depress the LOWEST “A” KEY on the keyboard, and adjust the OSC 1 SCALE
trimpot for zero beats.
7. Repeat steps 5 and 6 above until there are zero beats against the A-440 tone. Note
that this process may take several iterations.
8. Set the A-440 switch to the OFF position, but keep OSC 1 on.
OCT TRIM BOARD 1
1. Set the OSCILLATOR-1 RANGE rotary control to the 4’ position.
2. Set the OSCILLATOR-2 RANGE rotary control to the 4’ position.
3. Set the OSCILLATOR-2 VOLUME switch to the ON position.
4. Depress the HIGHEST “A” KEY on the keyboard and hold.
5. Tun e OSCILLATOR-2 to OSCILLATOR-1 with zero beats.
6. Set the OSCILLATOR-1 RANGE rotary switch to the 16’ position.
7. Adjust the OCT Trim trimpot for zero beats.
8. Repeat as needed until both oscillators are in tune with each other at any setting of
the RANGE controls.
9. Return panel settings to the initial settings specifed on page 43.
10. Verify OSCILLATOR-1 RANGE and SCALE by verifying the HIGHEST “A” KEY and
LOWEST “A” KEY are still in tune. If not, repeat OSC 1 RANGE AND SCALE
BOARD 1 tuning procedure from above then repeat Steps 1-4 of OCT TRIM
BOARD 1 procedure. Repeat both procedures until no more trimpot adjustments
are needed. Do this before moving onto OSC 2.
44 | Oscillator Tuning Procedure
Oscillator Tuning Procedure
OSC 2 RANGE AND SCALE BOARD 1
1. Set the OSC 2 VOLUME switch to the ON position.
2. Depress the HIGHEST “A” KEY on the keyboard, and adjust the OSC 2 RANGE
trimpot for zero beats to OSC 1.
3. Depress the LOWEST “A” KEY on the keyboard, and adjust the OSC 2 SCALE
trimpot for zero beats to OSC 1.
4. Repeat steps 2 and 3 above until there are zero beats from OSC 2 to OSC 1.
5. Set the OSC 2 audio switch to the OFF position.
OSC 3 RANGE AND SCALE BOARD 1
1. Set the OSC 3 VOLUME switch to the ON position.
2. Depress and hold the HIGHEST “A” KEY on the keyboard, and adjust the
OSC 3 RANGE trimpot for zero beats to OSC 1.
3. Depress and hold the LOWEST “A” KEY on the keyboard, and adjust the OSC 3
SCALE trimpot for zero beats to OSC 1.
4. Repeat steps 2 and 3 above until there are zero beats from OSC 3 to OSC 1.
5. Set the OSC 3 VOLUME switch to the OFF position.
45 | Oscillator Tuning Procedure
Global Settings
F0
F#0G#
0
C#1D#
1
C#2D#
2
C#3D#
3
A#
0
F#1G#1A#
1
F#2G#2A#
2
F#3G#3A#
3
G0 A0 B0 C1 D1 E1 F1 G1 A1 B1 C2 D2 E2 F2 G2 A2 B2 C3 D3 E3 F3 G3 A3 B3 C4
Under the hood, the Minimoog Model D is
equipped with a number of global functions that
expand the versatility of the instrument. Some
of these functions are accessed via Power-On
commands, while others are accessed via MIDI
SysEx (System Exclusive) messages—or both.
SysEx documentation can be downloaded at
moogmusic.com.
By holding down specific keys on the keyboard
during Power-On, you can access certain Global
settings, referred to in this manual as PowerOn Commands. These Commands can only
be activated one at a time, but their eect is
cumulative. Power-On Commands are retained
by the Minimoog Model D, even when the power
has been turned o.
46 | Global Settings
GLOBAL PARAMETER KEY SELECTION
Global Reset
Hold the lowest four white keys—F0, G0, A0, B0—while turning on power.
This returns the instrument to its original factory settings.
Note Priority Power-On Commands
The Priority function specifies which note will take priority when more than one note is played at a time
on the keyboard: the last note played, the highest note, or the lowest note.
Last Note Priority
Hold this C Major chord; C3, E3, G3.
Prioritizes the last note played
Low Note Priority
Hold this C Minor chord; C3, Eb3, G3.
Prioritizes the lowest note played. This is the default setting and how a classic Model D behaves.
High Note Priority
Hold this C Augmented chord; C3, E3, G#3.
Prioritizes the highest note played
Legato Triggering Power-On Commands
With Multi-Trigger On, each new note played on the keyboard will send a new pitch to the Oscillators,
and will trigger the Filter and Loudness Contour Generators. With Multi-Trigger O (Legato Mode), the
Contour Generators will only trigger if all notes have been released on the keyboard before a new note is
played.
Multi-Trigger On
Hold this D Major chord —D3, F#3, A3—while turning on the power.
Sets Multi-Triggering to On
Multi-Trigger O
(Legato Mode)
Hold this D Minor chord—D3, F3, A3—while turning on the power.
Sets Multi-Triggering to O
47 | Global Settings
Gate Source Power-On Commands
Determines which sources will trigger the Keyboard Gate and Contour Generators
External Gate
Hold F2 + A2 while turning on the power.
Sets gate source as EXT. V-TRIG input only
External and Local
Keys (No MIDI)
Hold F2 + Bb2 while turning on the power.
Sets gate source as both the local keyboard and the EXT. V-TRIG input —notes received via MIDI will not
trigger the contour generators
External and MIDI (No
Loca l Keys)
Hold F2 + B2 while turning on the power.
Sets gate source as both MIDI and the EXT. V-TRIG input —keys pressed on the keyboard will not trigger
the contour generators
External, MIDI, and
Local Keys (All)
Hold F2 + C3 while turning on the power.
Sets gate source as the local keyboard, MIDI input, and the EXT. V-TRIG input—this is the
default behavior
Velocity Control Voltage Range Power-On Commands
The voltage range of the Velocity control output can be doubled from five volts to ten volts in order to
accommodate dierent types of analog equipment.
Velocity CV Range = 5
Volts
Hold G0 + C#1 while turning on the power.
Limits the Velocity CV range to 5 Volts
Velocity CV Range = 10
Volts
Hold G0 + D1 while turning on the power.
Expands the Velocity CV range to 10 Volts
Global Settings
48 | Global Settings
Keyboard Tuning Error Power-On Command
The Pratt-Read keyboard on the original Minimoog Model D used a fixed resistor network on each key
to set the pitch. This feature can recreate the tuning errors caused by variations in the resistor values to
add a more vintage sound and feel to the instrument. When On, a random error value (within 10 cents) to
replicate the tolerance values of the original resistors will be applied to each key; the error value remains
constant each time the key is played.
Keyboard Tuning Error
On
Hold F1 + C2 while turning on the power.
Turns Keyboard Tuning Error On
Keyboard Tuning Error
O
Hold F1 + B1 while turning on the power.
Turns Keyboard Tuning Error O
MIDI Power-On Commands
Setting the MIDI IN/
OUT Channel
Hold Bb3 and press any of the lowest 16 lowest keys while turning on
the power.
Sets MIDI IN/OUT to channel 1-16
Setting the MIDI IN
Channel
Hold Bb3 + B3 and press any of the lowest 16 lowest keys while turning
on the power. Hold the 17th key (A1) to select OMNI.
Sets MIDI IN to MIDI channel 1-16 or OMNI
Setting the MIDI OUT
Channel
Hold Bb3 + C4 and press any of the lowest 16 lowest keys while turning
on the power.
Sets MIDI OUT to channel 1-16
MIDI IN/OUT Reset
Hold Bb3 while turning on the power.
Resets MIDI IN/OUT back to Channel 1
MIDI In Transpose
Hold C4 and press any key in the octave above or below C2 while
turning on the power.
Transposes the MIDI IN note data by +/- 12 semitones
MIDI Out Transpose
Hold B3 and press any key in the octave above or below C2 while
turning on the power.
Transposes the MIDI OUT note data by +/- 12 semitones
Global Settings
49 | Global Settings
MIDI Pitch Wheel Output On
Hold F0 + C1 while turning on the power.
Transmits Pitch Bend data via MIDI
MIDI Pitch Wheel Output O
Hold F0 + B0 while turning on the power.
Disables the transmission of Pitch Bend data via MIDI
MIDI Mod Wheel Output On
Hold A1 + C1 while turning on the power.
Transmits Mod Wheel data via MIDI
MIDI Mod Wheel Output O
Hold A1 + B0 while turning on the power.
Disables the transmission of Mod Wheel data via MIDI
MIDI Aftertouch Output On
Hold G0 + C1 while turning on the power.
Transmits Aftertouch (After Pressure) data via MIDI
MIDI Aftertouch Output O
Hold G0 + B0 while turning on the power.
Disables the transmission of Aftertouch (After Pressure) data via MIDI
MIDI Local On
Hold the highest three white keys (A3, B3, C4) while turning on power.
Turns Local On
MIDI Local O
Hold the highest three black keys (F#3, G#3, A#3) while turning
on the power.
Turns MIDI Local O
TIP: By transposing the MIDI note output, you can command another MIDI synthesizer to play in parallel
harmony with the Minimoog Model D. Additionally, by setting MIDI Local to O and transposing the MIDI
note output, you can play in any key while using normal fingering.
MIDI Velocity Curves
MIDI Velocity Curve Soft
Hold this C Minor chord (C2, Eb2, G2) while turning on power.
Sets MIDI Velocity Curve to soft, so that louder notes are produced with less physical eort
MIDI Velocity Curve Medium
Hold this C Major chord (C2, E2, G2) while turning on power.
Sets MIDI Velocity Curve to medium —the default velocity curve which is appropriate for most players
MIDI Velocity Curve Hard
Hold this C Augmented chord (C2, E2, G#2) while turning on power.
Sets MIDI Velocity Curve to hard, so that players with a heavier touch can more easily produce softer
(lower-velocity) notes
Global Settings
50 | Global Settings
MIDI Tuning Table Power-On Commands
Standard Tuning (Alternate
Tuning Table O)
Hold G1 + B1 while turning on the power.
Uses the Default tuning
Custom Tuning Table 1:
Pythagorean C Scale
Hold G1 + C2 while turning on the power.
Sets tuning to Pythagorean C scale —Tuning Table 1 in memory
Custom Tuning Table 2:
Wendy Carlos Harmonic
12-Tone Scale
Hold G1 + D2 while turning on the power.
Sets tuning to Wendy Carlos’s harmonic scale—Tuning Table 2 in memory
Custom Tuning Table 3:
Harry Partch 43-Tone Scale
Hold G1 + E2 while turning on the power.
Sets tuning to Harry Partch’s 43 tone scale—Tuning Table 3 in memory
Pitch CV Zero Volt Power-On Command
Primarily of value when interfacing Minimoog Model D with other analog synthesizers, this command allows
you to specify which note will cause the PITCH OUT control voltage (Pitch CV) to have a value of zero volts.
The default setting causes the Pitch CV to be 1.00 volt when the C above low F on the keyboard is played.
This key corresponds to MIDI note 48, meaning that MIDI note 36 will produce a Pitch CV value of zero volts.
To specify a dierent note, hold A3 and press any one key in the octave above or below Middle C on the
keyboard.
NOTE: This setting will aect both the Pitch CV output and the tuning of the synth itself, since the same
voltage driving the oscillators appears at the Pitch CV output jack. Note that if you move “the key that has
been specified to output zero volts” to a higher note on the keyboard, then the pitch that you hear when you
play the same key will be transposed down by the same number of notes.
Global Settings
51 | Global Settings
52 | Signal Flow
Patch
Sheets
54 | CHAPTER
Notes:
Sound:
Midnight Funk
Set the LFO Rate knob to triangle wave (down position).
Adjust Filter Cutoff Frequency to taste.
Notes:
Sound:
Air Bass
55 | Patch Sheets
Notes:
Sound:
Sawyer = Bass
Adjust External Input Volume to taste.
Notes:
Sound:
Kraft Bass
Set the LFO Rate knob to triangle wave (down position).
Adjust External Input Volume to taste.
Use Mod Wheel to introduce vibrato.
56 | Patch Sheets
Notes:
Sound:
Dark Toms
Notes:
Sound:
Vocal-Bot
Set the LFO Rate knob to triangle wave (down position).
57 | Patch Sheets
Notes:
Sound:
Very Bad Place
Notes:
Sound:
‘70s Violin Lead
Set the LFO Rate knob to triangle wave (down position).
Use Mod Wheel to introduce vibrato.
58 | Patch Sheets
Notes:
Sound:
Room Snare
Play up and down the keyboard.
Adjust Filter Decay and Cutoff Frequency.
Notes:
Sound:
Hi-Hat
Adjust Loudness Decay Time to change behavior/hat tension.
59 | Patch Sheets
Notes:
Sound:
Droning Brass Intro
Set the LFO Rate knob to triangle wave (down position).
Turn Oscillator-2 range to 32’ for added depth.
Notes:
Sound:
Bright & Rude
Set the LFO Rate knob to triangle wave (down position).
Reduce Filter Emphasis for less rudeness.
60 | Patch Sheets
Notes:
Sound:
Steel Wound
Notes:
Sound:
Fuzz Lead
Set the LFO Rate knob to triangle wave (down position).
Use Mod Wheel to add Filter Modulation.
61 | Patch Sheets
Notes:
Sound:
Tri Kick
Increase Amount of Contour to add punch.
Notes:
Use Mod Wheel to introduce modulation.
Sound:
Abandoned Planet
62 | Patch Sheets
Notes:
Sound:
Bubble Bass
Hold Notes.
Pull down Mod Wheel for variation.
Notes:
Sound:
3-Square Lead
Slightly detune Oscillator-2 and Oscillator-3.
Add vibrato with Mod Wheel.
63 | Patch Sheets
Notes:
Sound:
Freqy
Notes:
Sound:
Jurassic Love
Set the LFO Rate knob is set to square wave (up position).
64 | Patch Sheets
Notes:
Sound:
Tornadus
Set the LFO Rate knob to triangle wave (down position).
Notes:
Sound:
Octave Ouroborus
Set the LFO Rate knob to square wave (up position).
65 | Patch Sheets
Notes:
Sound:
Light Cycle
Set the LFO Rate knob to square wave (up position).
Experiment with the position of the modulation selection switches in the
CONTROLLERS section.
Notes:
Sound:
More Bounce Bass
Mod Wheel controls vibrato amount.
66 | Patch Sheets
Notes:
Sound:
‘70s French Sci-Fi Movie
With Mod Wheel up, Oscillator-3 Frequency controls the rate of “wobbly”
modulated Filter.
Notes:
Sound:
Classic Stanley
Set the LFO Rate knob to triangle wave (down position).
Use Mod Wheel for seasick vibrato.
67 | Patch Sheets
Notes:
Sound:
Sub Bass
Set the LFO Rate knob to triangle wave (down position).
Notes:
Sound:
Sync-Strike
Ensure Oscillator-3 tuning is exact for proper performance.
68 | Patch Sheets
Notes:
Sound:
Nothin’ Lead
Mod Wheel adds vibrato.
Notes:
Use Mod Wheel to introduce modulation.
Sound:
Smooth-E-P
69 | Patch Sheets
Notes:
Sound:
‘60s Space
Use Oscillator-3 Frequency knob to adjust modulation rate.
Notes:
Sound:
Soft Rez Bass
70 | Patch Sheets
Notes:
Sound:
Singing Wind
Notes:
Sound:
Sonic 7
Set the LFO Rate knob to square wave (up position).
Add Beefy square wave bass with Mod Wheel down.
Add Crazy FX “ala Sonic 6” with Mod Wheel up.
71 | Patch Sheets
Notes:
Use Mod Wheel to introduce modulation.
Sound:
Destitution
Notes:
Sound:
Looking Glass Rock
Set the LFO Rate knob to triangle wave (down position).
Try manipulating the Modulation Mix Control position.
72 | Patch Sheets
Notes:
Sound:
Rez Hit
Play with the Mod Wheel for varied effect.
Notes:
Sound:
Square Meow
Set the LFO Rate knob to square wave (up position).
73 | Patch Sheets
Notes:
Sound:
Level 3
Notes:
Sound:
The Haunting
74 | Patch Sheets
Notes:
Use Mod Wheel to introduce modulation.
Sound:
The Jump
Notes:
Sound:
Broken Radio
All Oscillator-3 controls, Filter Cutoff, and Mod Wheel values can be changed or
varied to create interesting effects.
Having a long release time after striking notes allows both hands to change multiple
knob values at once.
Try changing Cutoff and Oscillator-3 Frequency simultaneously.
Use Mod Wheel to introduce modulation.
75 | Patch Sheets
Notes:
Sound:
West Coast Ghost Lead
Using the A-440 Switch, press A2 on the Keyboard and tune the
Cutoff Frequency to A-440 (approx. 9 o’clock).
Use Mod Wheel to introduce modulation.
Notes:
Sound:
Outlaw
Turn Oscillator-2 On/Off to introduce bass.
Use Mod Wheel to introduce modulation.
76 | Patch Sheets
Notes:
Sound:
Notes:
Sound:
Additional patch sheets can be downloaded at www.moogmusic.com
77 | Patch Sheets
Notes:
Sound:
Notes:
Sound:
78 | Patch Sheets
Notes:
Sound:
Notes:
Sound:
79 | Patch Sheets
Specifications
DIMENSIONS (WITH PANEL FULLY
LOWERED)
Width: 28.625” / 727 mm
Depth: 17.125” / 435 mm
Height: 5.75” / 146 mm
Net Weight: 32 lbs. / 14.5 kg.
TEMPERATURE
Storage Temperature: 5F to 140F (2C to 60C)
Nominal Operating Temperature: 50F to 95F (10C
to 35C)
Operational Temperature: 50F to 122F (10C to 50C)
SOUND SOURCES
Oscillators x 3
Noise Generator
External Input
OSCILLATORS
Frequency Range: 0.1 to 20kHz (In Six Overlapping
Ranges)
Oscillator Stability (short term) > 0.25 %
Waveforms:
Tri a n gle
Triangle-Sawtooth (Oscillator–1, Oscillator–2)
Reverse Sawtooth (Oscillator–3)
Sawtooth
Rectangle
Wide Pulse
Narrow Pulse
NOISE GENERATOR
White and Pink
LFO
Rate: 0.05Hz to 200Hz
Waveform: Triangle (knob down); Square (knob up)
EXTERNAL INPUT
Input Range: +10 millivolts to +2 volts
Input Impedance: 1MEGOhms
FILTER
Filter Type: Voltage-Controlled Low Pass
(Moog Ladder Filter)
Cuto Frequency Range:
10Hz to 20kHz
Filter Slope: 24dB per Octave
Filter Resonance: At Cuto Frequency
CONTOUR GENERATORS
Attack Time: 1 millisecond to 10 seconds
Decay Time: 4 milliseconds
to > 35 seconds
Sustain Level: 0 to 100% of Contour peak
Filter Contour Width: 0 to 4 Octaves
VOLTAGE-CONTROLLED AMPLIFIERS (VCA)
Loudness Contour Dynamic Range: 80dB
AUDIO INPUT LEVELS
1/4” External Signal Input Voltage: +10 millivolts
(min); +10 volt (max.)
Nominal Input Impedance: 100KOhms
AUDIO OUTPUT LEVELS
High Level Output Typical Voltage: 0.5 volts
Maximum Voltage: 4.2 volts (peak-to-peak)
Nominal Output Impedance: 3KOhms
Low Level Output (30dB below High level)
Typical Voltage: 15 millivolts
Nominal Output Impedance: 1KOhms
Headphone Output (stereo)
Maximum Voltage: 0.3 volts
Output Impedance: 8Ohms
KEYBOARD
Key Action: Synthesizer (Spring)
Number of Keys: 44
Key Range: F0 to C4
Priority (Low, High, Last): User Selectable
Hardwired Connections: Oscillator–1 (Pitch)
Oscillator–2 (Pitch)
Filter Contour (Trigger) Loudness Contour (Trigger)
Switchable Connections: Oscillator–3 (Pitch)
Filter (Keyboard Tracking 1/3) Filter (Keyboard
Tracking 2/3)
Typical Voltage: 0.5 volts
Maximum Voltage: 4.0 volts (peak-to-peak)
Nominal Output Impedance: 3KOhms
Glide Rate (octave): 1 millisecond to 10 seconds
Pitch Bend Range: (+/-) 7 semitones
80 | Specifications
Specifications
CONTROL VOLTAGE OUTPUTS
After Pressure (Aftertouch): 1/4” TS
0 to +5 volts with user adjustable trimpot
Pitch: 1 /4” TS
-3 volts to +7 volts. C1=1 volt
Gate: 1/4” TS
0 to +5 volts
Velocity: 1/4” TS
Global selection of either 0 to +5Volts or 0-10volts.
Manual attenuation with trimpot.
CONTROL VOLTAGE INPUTS
Loudness: 1/4” TRS 0 to +5 volts; +5 volts = Unity
Gain Ring connector allows pedal control via Moog
EP-3 Expression Pedal
Filter (Cuto Frequency): 1/4” TRS 1 volt per octave
of change Ring connector allows pedal control via
Moog EP-3 Expression Pedal
Oscillators (Pitch): 1/4” TRS 1 volt per octave of
change Ring connector allows pedal control via
Moog EP-3 Expression Pedal
Modulation Source: 1/4” TRS Ring=Noise Send;
Tip=Modulation Receive (This jack makes a
normalled connection with no cable present.)
Trigger: +5 volt V-Trigger; 1/4” TS Activates both
Contour Generators
MIDI JACKS (5-PIN DIN STYLE)
MIDI In: Note On (Trigger), Note #, Velocity, Pitch
Bend, and Mod Wheel
MIDI Out: Note On (Trigger), Note #, Velocity,
Aftertouch, Pitch Bend, and Mod Wheel
MIDI Thru: Mirror of the MIDI In signal
POWER SUPPLY
Self-switching external supply; 100–240 volts;
50/60Hz; <12 Watt nominal consumption. Locking
XLR-4 connector
81 | Specifications
Moog Music Standard Warranty
Moog warrants its products to be free of defects in materials or workmanship and conforms
to specifications at the time of shipment. The Warranty Period is one year from the date of
purchase. If, in Moog’s determination, it has been more than five years since the product
shipped from our factory, it will be at Moog’s discretion whether to honor the warranty
without regard to the date of the purchase. During the Warranty Period, any defective
products will be repaired or replaced, at Moog’s option, on a return-to-factory basis. This
warranty covers defects that Moog determines are no fault of the user.
The Moog Limited Warranty applies to USA purchasers only. Outside the USA the warranty
policy and associated service are determined by the laws of the country
of purchase and supported by our local authorized distributor. A listing of our authorized
distributors is available at moogmusic.com.
If you purchase outside of your country, you can expect to be charged for warranty
as well as non-warranty service by the service center in your country.
RETURNING YOUR PRODUCT TO MOOG MUSIC
You must obtain prior approval in the form of an RMA (Return Material Authorization)
number from Moog before returning any product. Email techsupport@moogmusic.com for
the RMA number or call us at (828) 251-0090. All products must be packed carefully and
shipped with the Moog supplied power adapter. We recommend packing your instrument
securely with thick bubble wrap or packing paper. Please avoid packing peanuts, towels,
linens, or clothing. These materials do not oer sucient support and threaten our ESDsafe work environment. The warranty will not be honored if the product is not properly
packed.
Once you have received the RMA number and carefully packed your Minimoog Model D, ship
the product to Moog Music Inc. with transportation and insurance charges paid, and be sure
to include your return shipping address.
MOOG MUSIC, 160 Broadway St, Asheville, NC, 28801, USA
WHAT WE WILL DO
Once received, we will examine the product for any obvious signs of user abuse or damage
as a result of transport. If the product is abused, damaged in transit, or out of warranty,
we will contact you with an estimate of the repair cost. Repair work will be performed, and
Moog will ship and insure your product to your United States address free of charge.
HOW TO INITIATE YOUR WARRANTY
Please initiate your warranty online at www.moogmusic.com/register. If you do
not have web access, please call (828) 251-0090 to register your product.
82 | Standard Warranty
Service & Support Information
STANDARD INTERNATIONAL WARRANTY
Moog warrants its products to be free of defects in materials or workmanship and
conforming to specifications at the time of shipment.
Outside the USA the warranty policy and associated service is determined by the
laws of the country of purchase and supported by our local authorized distributors.
A listing of our authorized distributors is available at moogmusic.com. Please feel
free to reach out to them or the retailer from whom you purchased your instrument
for support.
If you have questions regarding your international warranty, please contact
techsupport@moogmusic.com.
HOW TO INITIATE YOUR WARRANTY
Please initiate your warranty online at www.moogmusic.com/register. If you
do not have web access, please call (828) 251-0090 to register your product.
HOW TO RETURN YOUR INSTRUMENT FOR SERVICE
Outside the USA, service is determined by the laws of the country of purchase
and supported by our local authorized distributors. Please reach out to them or
the retailer from whom you purchased your instrument for service support.
If you have questions regarding your international service, please contact
techsupport@moogmusic.com.
CARING FOR MINIMOOG MODEL D
Clean Minimoog Model D with a soft, dry cloth only—do not use solvents or abrasive
detergents. Heed the safety warnings at the beginning of the manual.
AN IMPORTANT NOTE ABOUT SAFETY: There are no user serviceable parts in Minimoog
Model D. Refer all servicing to qualified personnel only.
83 | Service & Support Information
©2022 Moog Music, Inc. All rights reserved.
MOOG, the MOOG logo, MINIMOOG, and MINIMOOG MODEL D are registered in US Patent &
Trademark Oce and elsewhere.
Minimoog Model D User ’s Manual Version 2
For the most up-to-date user manual go to www.moogmusic.com/minimoog-model-d
Phone: +1 (828) 251-0090
Email: info@moogmusic.com
Website: www.moogmusic.com
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