Moog MINIMOOG MODEL D User manual

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 dierent 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).
Important Safety Instructions

Table of Contents
INTRODUCTION
A Brief History
New Features
GETTING STARTED
Setup & Connections
AC Power
Raising the Panel
Creating Sound
Audio Monitoring
Headphone Monitoring
Sound Experiments
FEATURES & CONTROLS
Oscillator Bank
Controllers
Left-Hand Keyboard Panel
Keyboard
Mixer & Noise
Modifiers
Output
TOP PATCH PANEL
MIDI Ports
Control Outputs
Audio Outputs
Audio Input
Control Inputs
PERFORMANCE TIPS & TECHNIQUES
Processing External Audio
Enhancing a Keyboard Performance
Creating FM Eects
Creative Switching
OSCILLATOR TUNING PROCEDURE
GLOBAL SETTINGS
SIGNAL FLOW
PATCH SHEETS
SPECIFICATIONS
WARRANTY
6
10
11
12
13
14
16
20
22
25
26
28
32
34
35
36
37
38
39
40
41
42
43
46
52
54
80
82

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.

10 | 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.
New Features

11 | 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 dierent angle.)
4. To lower the panel, again tilt the panel forward until the hinged kickstand returns to
its original position, then gently lower it.
Getting Started

12 | Creating Sound
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, low-
level output that can connect to an instrument amplifier or other high-gain, high-
impedance 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.
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.

13 | 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 FILTER. You can
use the OSCILLATOR–1/RANGE knob to select dierent octave settings and the
WAVEFORM knob to listen to the distinct harmonic content of each waveform.
2. In the FILTER section, experiment with the CUTOFF FREQUENCY and
EMPHASIS knob settings to see how the FILTER aects each of the dierent
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 FILTER has its own ATTACK TIME and DECAY TIME knobs. As you adjust
these values, you will also need to raise the AMOUNT OF CONTOUR value to hear
the eect. Continue to explore the FILTER CUTOFF and EMPHASIS knobs as you
change these settings.
NOTE: Each of the knobs, switches, and other controls are explained in more detail in the
following sections of the manual.
Sound Experiments

Features
& Controls

15 | 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:
The front panel groups these elements and controls
together by type—CONTROLLERS, OSCILLATOR
BANK, MIXER, MODIFIERS, OUTPUT—in an
intuitive and ecient 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.
• 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

16 | 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—
each with its own Waveform, Octave, and Pitch
setting—creating a deep or complex sound. The
Mixer then controls the balance between the
Oscillators.
Oscillator Bank

17 | Oscillator Bank
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 eect. 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.

18 | 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.
Oscillator Bank

19 | 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 eect.
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.
Oscillator Bank

20 | Controllers
Minimoog Model D contains a number of
modulation sources that can aect 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.
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.
Controllers