Hi!
I’m writing an essay about analog synthesizers and now the turn has come to the classic Minimoog.
What makes the Moog synthesizers so unique and what is a typical Minimoog sound?
Cheers!
Graduations were last week, I’d say you missed your due date.
I’m not about to write your homework assignment, I’ve had my share of bullies steal my lunch and my homework.
lol troll fail
What is the differance between the sound of a Strat and a Telcaster? Which one sounds better than a Gibson Les Paul?
Cast out, reel in, cast, reel. 
I wonder what sort of school does research on 30 year old obsolete devices?
I wonder what sort of school does research on 30 year old obsolete devices?
Any school that’s interested in recent cultural history…
ROFLMAO typical MiniMoog sound! 
Pppiiiieeeeeeoooooooooooeeeeeeeeeeeeennnnnnnnnnnnnnnnnnnn
Sound like one to me… 
I thought the typical minimoog sound was just like aliens.
mmmMMMMMMWHAAAaaaaWHaaaaWhhhaaawhaaa,
Actually, it’s both
Pppiiiieeeeeeoooooooooooeeeeeeeeeeeeennnnnnnnnnnnnnnnnnnn
and
mmmMMMMMMWHAAAaaaaWHaaaaWhhhaaawhaaa,
tuned a 5th interval apart
What about MMmmmmMMMmOOOOoooooOooOoooooOOOWWwwwWwWwoOOooOoOOOooOooOWWwwWwwWwoOOomMmmMooooooooowWWwwWWooWOw? 
They make the best fart machine in history.
What made the Minimoog unique was the hardwiring of individual modules-- VCO’s, VCA’s, VCF, mixer, and keyboard into a compact package with everything needed to produce monophonic analog synthesized tones.
Prior to the Minimoog synthesizers were made up of individual modules that had to be patched together in order to create tones. The modules were expensive even by 1960’s living standards, patching was complicated, and getting repeatable tones required lots of meticulous note taking. Most of the modular systems sold back then wound up in college music labs due to the cost and the experimental nature of the beast.
Other major contributing characteristics are the Moog 24dB filter and the envelopes which define the cutoff frequency of the filter and control the filter and volume ADSR characteristics of the patch. The filter is Dr. Moog’s patented design, and the envelopes are what provide the punchiness of a fast attack of funky bass or the slow rise of string pads and everything in between. I suppose a further innovation was tracking filter glide, allowing for more expressiveness, as well as switching to allow FM of one oscillator by another. Today these are commonly expected to be functions of both analog and virtual synths.
The result is a powerful, expressive instrument that has a personality and tone all it’s own, based entirely on waveforms generated by electrical oscillators and the manipulation of those waveforms by the accompanying circuits.
That itself represents a break from almost all previous inventions of musical instruments save the theremin-- the first electronic instrument.
What do I win???
You left out the fact they’ve got 3 oscillators, each oscillator may be set to a different wave form and a different note, and the 3rd oscillator may be used as the LFO and can modulate the filter and/or the 1st and 2nd oscillators. But if I were to try to tell you what the “typical” Minimoog sound would be I’d tell you first of all, the fact that it is a synth makes it in general able to play many tones that are all great illustrations of what a synth sounds like. But you could listen to the music played back in the early 70s by Rick Wakeman in Yes, or Jan Hammer in Mahavishnu Orchestra and in the Jan Hammer Group, or you could listen to Bernie Worrell’s music in Pariament.. But you’ll have to make sure there’s not a different synth playing.. Good luck.
What made the Minimoog unique was the hardwiring of individual modules-- VCO’s, VCA’s, VCF, mixer, and keyboard into a compact package with everything needed to produce monophonic analog synthesized tones.
The Arp 2600, which came out at approximately the same time, also featured these same items listed above.
Therefore not so unique.
Other major contributing characteristics are the Moog 24dB filter
Ummm.. that would be -24dB filter and Moog modulars already had these for half a decade prior.
No cigar here either.
and the envelopes which define the cutoff frequency of the filter and control the filter and volume ADSR characteristics of the patch.
ADSRs had been around long before the Minimoog, but even so, the Minimoog doesn’t have true ADSRs since the Decay and Release portions are not independently controllable.
So.. no.. not that either.
The filter is Dr. Moog’s patented design
Found in many synths since and yet they don’t share the unique tonality of a Minimoog just because of this filter.
Keep trying…
and the envelopes are what provide the punchiness of a fast attack of funky bass or the slow rise of string pads and everything in between.
Which is so generic it could be said for any synth with envelopes, not just a Minimoog.
I suppose a further innovation was tracking filter glide
Nope. One could do that with the 2600, which again came out about the same time.
In fact on the 2600 you had to patch in a cord in to remove it- it was a default condition.
allowing for more expressiveness, as well as switching to allow FM of one oscillator by another.
Many synths that came before the Minimoog allowed FM patches.
Moog, Buchla and Arp all allowed FM.
Today these are commonly expected to be functions of both analog and virtual synths.
Considering virtual synths are often modeled after real synths, this would be no great surprise either.
The result is a powerful, expressive instrument that has a personality and tone all it’s own, based entirely on waveforms generated by electrical oscillators and the manipulation of those waveforms by the accompanying circuits.
Which could be said of any synth, not just the Minimoog.
That itself represents a break from almost all previous inventions of musical instruments save the theremin-- the first electronic instrument.
And we wrap up with a flawed history lesson ignoring the 60’s modulars that could do everything mentioned above as well.
Certainly the Minimoog derived more from these modulars than it did from the Theremin.
What do I win???
Nothing.
You were either wrong or offered only generic answers.
Possibly even quotes from sales literature.
Here, let me help…
The Minimoog was one of the first synths designed for musicality and not as a “lab” type instrument.
Everything was done with musicality in mind.
Like many traditional musical instruments, a wood enclosure was used and it was laid out in a musically understandable way.
Instead of being labeled in Hz or cycles per seconds, the oscillators followed organ footages like 32’, 16’ and so on.
The left to right signal path was clearly indicated by very large lettering using easily understood words like Modifiers and Emphasis.
It was one of the first synths to feature musically predictable and usable live pitch bend and modulation controls.
The mod wheels imparted modulation in an exponential way which was more musical.
Moog chose to use an exponential taper pot for the mod wheel that despite electronic shortcomings inherent to such a design, was chosen for musicality first.
Instead of sending modulation to a destination via a pot, the Minimoog patched modulation to destinations at full level and the mod wheel instead shorted it out as it was lowered.
This is a very different approach that no manufacturer employed before, nor after, as far as I know.
The Minimoog featured external inputs that made musical sense.
For example, few people are aware that a Minimoog features not one, but two VCAs.
A 2nd VCA exists solely for an external pedal input, a commonly desired musical feature.
The Minimoog’s sound always goes through two VCAs, one being opened full when no pedal is plugged in.
The glide and final decay are controllable via foot switches also.
In fact, wired correctly and using the correct type pot, an external foot pedal can also control the glide time, not just an on/off function.
Again, a musically desirable feature.
The Minimoog featured both high and low output jacks suitable for almost any sound system from phono amps to PA systems.
Previously synths always expected line level inputs.
The Minimoog could be played through a guitar amp, widening its appeal to users.
The main output could also be switched off to allow live sound-checks using headphones and the A-440 tuning reference.
This was necessary for the Minimoog’s design goal of being a usable live performance musical instrument and not just a sound effects box.
The panel could be lowered to a flat position allowing maximum performer visibility not possible with earlier modulars, nor the Arp 2600.
Also, unlike earlier modulars and the 2600, the Minimoog was completely self-contained with a non-detachable keyboard.
A player could put the whole thing under their arm.
It was likely the first analog synth to offer a linear rate glide.
Other glides (including the previously available Moog modular and Arp 2500) were exponential types.
Linear glide meant that very little glide was noticeable on a short interval such as a semitone span, but very noticeable for a wider-played interval.
Calibration was more quickly and easily performed with a Minimoog than with the 2600 or other synths of that day.
A Minimoog could be fine-tuned on stage, whereas all previous modulars required disassembly and involved tech-work.
This meant it cost less to keep in tune and experienced less down time, especially when on tour.
It was one of the first synths that allowed a performer to plug a guitar or mike directly in the back using a standard 1/4" guitar cable.
It was one of the first synths that featured an accurate on-board tuning reference.
So the Minimoog became one of the most revered musical instruments because it was designed as a musical instrument in the first place.
My opinion only, of course.
If there’s a prize, give it to C7sus. 
OUCH!
Nice to see you back Kevin! Quite the entrance you’ve made.
That roundhouse hick was as bad as Chuck Norris
Ouch indeed!
Moving beyond the nonsense. Simple answer, the minimoog came at the right time. No doubt, other companies including ARP were moving towards self contained synthesizers but Moog put it all in the right combination and made it simple and it caught on with a lot of bands and became a major staple of pop music.
Are there issues with envelopes and filters? I would say the filters make it more distinctive. I think ARP might have even stole them for a while but I am not sure I am gettting my history right here.
Consider the Melotron. Cumbersome and in many ways, super low tech but it worked. It had just the right sound that it became a hit and it came at a time that there were no samples yet.
Agreed. I remember lots of folks with ARP (Solina) String Ensembles who would have gladly ditched them and put up with the 'Tron’s many problems if they could have afforded one.
As far as I understand it, The ARP 4012 filter was indeed a stolen Moog filter. Of course, Kevin Lightner will roundhouse kick me into oblivion if I am wrong, and may do so anyway just because he can.