Hi,
Does anyone know what settings MARK KELLY from MARILLION used on his MiniMoog for solos like GARDEN PARTY, FUGAZI, SHE KNOWS YOU KNOW, MARKET SQUARE HEROES and so on ?
cheers
Geo
I do but I’m on tour without my Minimoog right now. I’m new to this forum. Is there a system people normally use to share info about sounds or is it just a case of writing stuff like “Osc 1&2 set to 8’ slightly detuned sawtooth waveform etc.”
cheers
Mark
PS. If anyone has a minimoog question for Don Aiery from Deep Purple I can ask him for you as we are on tour with them 
Hi Mark, welcome to the forum! I’m a big fan of Marillion, nice to see you posting here. I’d also be interested in your Minimoog settings from Marillion tunes, there’s no set ‘format’ here, as far as I know, for outling settings, just give us as much information as you can/ would like to! Thanks! Oli
Hi!
Mr Kelly, another huge fan of yours here, and I would also like to know about those settings. Every now and then the machine slips into, what seems to be, the right settings for Punch & Judy or the solo of Incommunicado. There is one thing that amazes me; how the sound is so fat, even when you only use two Osc:s. Att the end of the Incommunicado-solo, you LFO-modulate and let the tone fade out, so I´m asuming there are only two OSC:s making the sound. Do you re-route the signal back to External input?
~Patrik Ringholm, Sweden
(By the way, I´ll never forget the concert in Oslo on 24-01-09, however technically disastreous)
Obviously this is an ancient post, but I’d love any leads on MK minimoog patches!
I’m not Mark Kelly, but I can certainly help you get to that sound.
Firstly, if you’re thinking of synth solos on Script, like the Garden Party one, know that that was done on a Sequential Pro One, not a minimoog. It’s got a slightly different tone and portamento curve to the moog.
For the moog sounds for Incommunicado etc. you basically need to set two OSCs to sawtooth, and detune one slightly against another. Open the filter up fully or almost fully, and remove envelope contour and filter resonance. Set the VCA to zero attack and a slight delay, then turn on the legato setting which adds a little release. Set the portomento to a low, snappy amount. Use the third VCO in low frequency mode and have it modulate the pitch of VCOs 1 and 2 when the mod-wheel is used. This will give you the wobble you need for mod-wheel emphasis.
I think that’s basically everything Mark did, and the rest in the fingers!