Arturia Minimoog V User manual

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1 MINIMOOG V - QUICK START
This chapter will help you get to know the main aspects of how the minimoog V works.
You will be presented an overview of the different parts of the synthesizer while using the
program for the first time. You will find a detailed description of all visible settings and
controllers in the chapters that follow.
Chapter 6, A few elements of sound design is specially recommended for users who have never
worked with a subtractive synthesizer before and who wish to learn the basics in this
domain.
Overview of the minimoog V
1.1 USING THE PRESETS
Use of presets is one of the major areas of evolution when the minimoog V is compared
to the original, which couldn’t save sounds!
With the minimoog V, a preset (memorized sound) contains all of the parameter settings
of the synthesizer plus the «extension» part and the different real-time and effect
controllers necessary to reproduce the sound.
To get to know a few of the different sounds contained in the minimoog V, we will select
the «Bass1» preset.
 To do this, click on button above the «BANK» LCD display which indicates «Arturia»
(this display shows the name of the current bank in use). When you click, you will see
a dropdown menu indicating the available banks. Choose the «JM_Blanchet» bank.
When this menu is open, it expands the sub-menus allowing you to reach the «SUB
BANK» and «PRESETS» of a sound designer with a single click.
 Choose the «SUB BANK» called «Basses» and finally select «JMB_Classic1» in the
«PRESETS».

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Select the preset JMB_Classic1
The minimoog V comes with 400 presets, which will familiarize you with the sounds of
the synthesizer. A bank called «User / Temp» offers a selection of presets with a basic
configuration (or template) to start programming a sound.
(The sound «1_Osc», for example, comes with: an oscillator directed to the low-pass
filter, with the signal then routed to the VCA.)
It is also possible to see all of the presets corresponding to a given type of sub-bank by choosing the «All»
option in the bank. For example, to see all of the bass presets click on «All» in the bank selection and then on
«Basses».
1.1.1 Modifying this preset
For this, we’ll start with a very simple manipulation.
 Modify the brightness of the «JMB_Classic1» sound using the «Cutoff Frequency»
potentiometer of the filter. Turn this potentiometer and you will hear the tone of the
sound becoming more or less «brilliant». Set this potentiometer to your convenience.
Change the brightness of the sound
 In the same manner, you can change the range of oscillator1 by turning the «Range»
potentiometer to one of the six values expressed in steps (like on organs). The lower
the number, the higher the pitch of the sound. (The standard tuning is found at the
value 8’)

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Setting the range of oscillator 1(«Range»)
By performing these first settings, you have already modified the «JMB_Classic1» preset.
You can now save the sound that you have just created.
 To save a «user» preset, click on the save icon on the toolbar: The settings of the
current sound will be saved in the selected preset without changing the name.
If the current preset is a «factory» preset, the factory preset will not be overwritten.
 To choose another destination for this sound, click on the «Save as» icon and select a
destination. For example, select «new» in the choice of bank. 2 new emplacements
for bank and sub-bank and a new preset are immediately created. The names «new
bank», «new sub bank…» and «new preset…» appear in their respective menu
locations.
 Click on each of them to change the names.
Saving a preset

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1.2 THE PLAYING MODES
The minimoog V offers 2 playing modes:
• The «Close» mode is close to the original configuration of the Minimoog.
The closed mode (the original Minimoog)
• The «Open» mode gives access to extensions offering a modulation matrix, an
arpeggiator and effects. These different functions will enrich the base settings of the
minimoog V.
The extension of the «Open» mode
 To access the «Open» mode, click on the wooden crosspiece situated above the
synthesis settings or on the «Open» button on the right of the toolbar.
 To return to the «Close» mode, simply click again on the wooden crosspiece or on the
«Open» button.

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Opening the extension
To use the minimoog V exactly like the original Minimoog, you must also deactivate the chorus and delay
effects on the toolbar and switch off the polyphony toggle in the output section.
1.3 OVERVIEW OF THE «CLOSE» MODE
The «Close» mode holds 50 synthesis settings, which will allow you to conceive an
infinite variety of sounds. The knobs and switches associated to these parameters are
found regrouped on the panel above the keyboard.
These parameters are composed of:
• 3 oscillators (VCO) which deliver the base audio signal thanks to 6 wave
forms (triangle, sawtooth 1 and 2, square, rectangle 1 and 2) and manage the height
of the sound (the frequency). The third can also be used as a modulator when it’s is
directed to the filter or oscillators.
• A Mixer allows you to mix the signals coming from the oscillators or the noise module.
• A low-pass 24 dB resonant filter
• An ADS envelope modulating the low-pass filters
• 1 amplifier (VCA) allowing the amplification of the signal coming from the filter to
direct it to the stereo output.
• An ADS envelope modulating the signal going through the amplifier.
The synthesis parameters
Let’s see how to quickly create a progressive lead:
 To correctly understand the logic in programming the minimoog V, let’s use a very
simple sound. Select the preset «1_Osc» (in the «User / Temp» sub-bank). The
structure of synthesis of this sound is very basic: the sawtooth waveform of
oscillator1 is active and the signal is routed through the low-pass filter, and then the
output amplifier.
The routing of the sound of preset «1_Osc»

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 Start by lowering the cut-off frequency of the low-pass filter (LPF). This will make the
sound more and more dampened.
 To do this, set the «Cutoff frequency potentiometer». For fine-tuning, use the right
mouse button (this is valid for all potentiometers).
Notice that the filter cut-off is modulated by an ADR envelope (Attack, Decay and
Release).
 To clearly hear the effect produced by the ADR envelope on the filter cut-off
frequency, increase the resonance («Emphasis») value 5.00. This will amplify the
filtering effect and the sound will start to «whistle».
 Change the length of attack for this envelope («Attack time») so that the brightness
increases slower or faster when the note is sent.
 In the same manner, change the value of decay («Decay time»); the brightness will
diminish faster or slower as you hold the note.
The «Attack time» parameter of the filter envelope
You will probably have noticed that an envelope also modulates the amplitude of the
sound – «Loudness Contour»
 Increase the «Attack time» so that the volume of the sound increases progressively.
 Do the same with the «Decay time»; the volume will progressively decay when you
hold the note pressed down.
Amplitude envelope – Loudness Contour
1.4 THE «OPEN» MODE
When the minimoog V is at the «Open» position, you access an extension to the
parameters of synthesis. It is displayed in the form of a modulation matrix, a Low
Frequency Oscillator (LFO) which was brought in be substituted for oscillator 3 which was
being used to this effect. An arpeggiator, a chorus and stereo delay complete this
extension.

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1.4.1 The modulation matrix
The modulation matrix multiplies the possibilities for editing sound when compared to the
original instrument. You can choose 6 sources (sub osc., envelopes, etc…) to modulate 6
destinations (freq. Osc., freq. VCF, etc…).
The choice of source and destination is done via the LCD displays. The matrix offers 12
sources of modulation and 32 destinations (compared to two on the original!).
The modulation matrix
1.4.2 The LFO
On the original Minimoog (equivalent to the «Close» mode), oscillator3 can be set to the
low frequency («Lo» position in the range) to be used in LFO mode. This removed the
possibility of using 3 simultaneous oscillators as well as a slow modulation on the filter
cut-off frequency for example.
With the added LFO module added in the extension of the «Open» mode, you can keep
the 3rd oscillator as a base for sound and add an additional source of modulation to be
used on one of the 32 available locations.
Let’s apply 2 additional types of modulation to the «1_Osc» preset:
 Among the modulation sources, choose the low frequency oscillator 1 («LFO»).
 Choose the filter cutoff frequency among the destinations. Turn down the frequency
so that you can hear the result. The cutoff frequency will vary in a cyclic way,
following the LFO oscillations.
Modulation of the filter cutoff frequency by the LFO

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 Between the LCD displays can be found the «AMOUNT» knob. You can set the
modulation level by applying positive (turn to the right) or negative (turn to the left)
values. For this example, take a value of 0.0480.
Turn the knob to the right to apply a positive value
Let’s delay the action of the LFO by applying modulation wheel on its amplitude:
 Choose the modulation wheel (“wheel”) among the sources.
 Choose «LFO AM» among the destinations
 Set the modulation level by applying a positive value of about 0.0193.
 Set the modulation wheel up to 0.60.
1.5 THE ARPEGGIATOR SECTION
The «Arpeggiator» section lets you easily create an arpeggio from a chord played on the
keyboard.
An arpeggio is a series of single notes of the same length that spell out a chord, and play one after the other.
Arpeggiator settings are available on the right of the modulation matrix.
Let’s take the example the «JMB_Classic2» preset to see how to use the arpeggiator.
 Click on the «PLAY» button of the arpeggiator.
 Play a chord between C4 and C6; the notes will be played one after the other in the
order you placed them (it is possible to change the order by clicking on the «mode»
button).
 It is also possible to keep the chord help down by clicking on the «HOLD» button.
 To remove one or several notes, click again on the «HOLD» button and play the note
you want to remove.
The arpeggiator

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1.6 THE EFFECTS SECTION
The effects section lets you add chorus or delay to your sound.
1.6.1 The chorus
The Chorus effect enables to double and slightly detune your sound in order to make it
deeper and livelier. 3 types of stereo chorus are available.
 Activate the «ON/OFF» button for Chorus, on the right side of the menu bar.
 Set the «Dry/Wet» knob for Chorus in order to counterbalance the «raw» sound and
the feedback of the effect.
 Next turn the «Rate» knob to set the speed of the oscillations.
 Finally set the chorus depth by turning the «Depth» knob.
 You can choose between 3 types of chorus: Chorus 1, 2 and 3, from the simpler
version to a more sophisticated chorus, designed for sharper detuning effects.
The chorus
1.6.2 The delay
The delay effect adds stereo echoes to the sound.
It has independent settings for the speed and the number of echoes on the right and left
sides. It is also possible to create a great number of rhythmic combinations between the
echoes. The speed of the delay can also be synchronized with the MIDI tempo.
Let’s keep the «JMB_Classic1» preset and see how to use the delay with this sound:
 Press the «DELAY» button on the toolbar. The effect is enabled.
 Set the «Dry/Wet» knob of the Delay so as to balance the «raw» bass sound.
 Next turn the 2 «Speed» knobs of the delay to set the speed of echoes for the right
side (Time Right) and left side (Time Left).
 It is also possible to set the number of echoes on each side («Feedb. Right» and
«Feedb. Left»)
Settings of the delay effect

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1.7 THE REAL TIME CONTROLLERS AND MIDI ASSIGN
Like its excellent ancestor, the minimoog V is adapted in particular to real time play. One
of the major points of evolution when compared to the original is the possibility to assign
any minimoog V knob to an external MIDI controller.
Let’s look at an example:
 Click on the «Cutoff frequency» knob while holding the Ctrl key down. A MIDI assign
dialog appears.
 Click on «Learn» and move the MIDI controller of your choice. The knob in minimoog
V will move at the same time.
 You can then record the movement of your MIDI controller on your MIDI sequencer or
simply make it evolve on the fly during a «live» presentation.
MIDI assigning of the «Cutoff frequency» knob
Of course, all of the settings that we have modified during these chapters will be saved in
the preset that you have created.