We have added an advanced modulator that allows you to draw a shape and control many parameters creating a movement and interest. A vocal filter expands sonic possibilities with a formant-analysis based effect: now you can make that synth talk! A modulation matrix has been added dramatically improving on the original design and doing away with its limitations.
No additional samples were used. All the sounds used in this piece are available in a preset bank of the Mini V plug-in. Many thanks to the author, Jean-Michel Blanchet. Many thanks to the author, Mitsuru Sakaue. Fabrizio Massara a. He's a member of Baustelle, alternative pop italian band two albums released, now signed to Warner Music Italy.
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April 15th, The controller section has three new controls. This frees up it up for other duties — specifically, to be used as a control source in the Modulation Matrix that I'll describe below.
We've already discussed the second control, Bend Range, so we'll move on to the third; the Legato switch. This switches between single-triggering Legato On and multi-triggering Legato Off , and is best used in conjunction with the Playing Mode setting in the tool bar, which offers high-, low- and last-note key priorities.
For reference, the Minimoog is a low-note priority, single-triggering instrument. Click on 'Learn' in the window that then appears, and the next MIDI CC or command you send from the controller keyboard or sequencer will become the controller for that function.
As a bonus, you can direct a single controller to as many functions as you wish, making complex timbral changes possible using a single knob, slider, wheel or sequenced MIDI continuous control message. I like this.
Furthermore, if your host application supports automation, the panel controls of Minimoog V will respond to this. At the right end of the toolbar, you'll find three buttons marked Matrix, Chorus and Delay.
You access the facilities to which they refer by clicking on the Open button alongside them, or by clicking on the wooden bar at the top of the control panel. This reveals a hitherto hidden set of controls for the modulation matrix and effects, as well as an arpeggiator and an additional LFO see below. The modulation matrix provides six slots, each with the same 12 sources and 32 destinations detailed in the box on page Organising sounds into banks, sub-banks and presets. Being a 'hands-on' synth player, I'm particularly pleased to see the performance-oriented additions within the matrix.
I was disappointed to see Osc1 and Osc2 omitted from the source list, but the six slots nonetheless provide a huge number of options, extended still further by the fact that some are recursive. For example, you can use the output from Osc3 to modify the amplitude, pulse width and frequency of This takes you into some wild audio territory more usually the preserve of modular synths.
Other useful things you can do with the matrix include sweeping Osc2's pitch using all manner of modulation sources. When Sync is on, this can produce the 'tearing' sounds that made the Moog Source such a desirable instrument. In addition, having six slots, you can combine these 'sync' sounds with velocity and aftertouch response to do things that were never possible on the Source. This is very good stuff. Or at least, it would be if it all worked. For example, try using Osc3 as an amplitude modulation source for either Osc1 or Osc2 to create ring modulation.
It doesn't work. Something happens at low amplitude, but it isn't what I would expect. Alongside the modulation matrix, you'll find the additional LFO again, this was something that was added to numerous 'real' Minimoogs. For freeing up Osc3 for audio duties, or acting as a second LFO on a dual-oscillator synth, it's just the job.
There are also three 'Hold' options: off, hold the last set of keys played, and remember all the keys played since the arpeggiator was last switched on. The last of these allows you to build complex and interesting patterns, even if the only keyboard available to you is the monophonic representation on the computer's screen.
You can even remove unwanted notes from an arpeggio by placing the switch in the 'off' position and playing the offending key. However, this also causes the arpeggio to glitch, so it is of dubious use. You can't use the arpeggiator as a basic sequencer, either, because playing the same note twice does not insert it into the arpeggio a second time.
The tool bar, which sits above the main Minimoog V window, contains all the controls relating to patch management, as well as important MIDI and voice settings. This is also where you gain access to the hidden control panel. In common with other Arturia products, the effects added to Minimoog V comprise a stereo chorus and a stereo delay no reverb. The chorus has three 'types', described in the manual as Simple, Medium and Complex.
I discovered that Simple has two audio paths; the unaffected signal and a single modulated signal. Medium has three audio paths, and Complex has four. However, while investigating the chorus types, I found that when Rate is set to zero there is never an offset, no matter where you stop the modulation in its cycle. I checked and found that the Rate control also affects Depth. As you increase modulation speed, you also increase the range of frequencies over which the modulated signals are swept.
Irritatingly, this means that — for a consistent effect — you have to decrease Depth if you increase Rate, and vice versa. I can't see any reason for this restrictive clash of functions.
The 'hidden' section of Minimoog V, accessed via the tool bar, extends the function of the original instrument considerably with a modulation matrix, an extra LFO, an arpeggiator, and effects. Finally, we come to the Delay processor. This is a simple stereo delay with left and right channel outputs, but no cross-delays, and no way to balance the channels independently. If you use Minimoog V as a monosynth with multiple voices and unison, or as a polyphonic synth that offers sync, complex modulation, a dedicated LFO, arpeggiation and effects, all pretence that the package is supposed to be some kind of Minimoog can be dropped — and having left behind the disappointment of this impersonation, it leaps to life.
The unison mode is superb, and if you don't overdrive the analogue stages in your signal path, it can be the source of some huge, deep sounds. If you click on either or both of the inserts on the controller panel, two cables will appear see the screenshot. If neither of the plugs are 'inserted' in this panel, the pedal will act as a sustain pedal, holding the sound at the Sustain Level until released.
Moreover, Minimoog V is a polysynth with great depth and character; I was soon programming and organising some excellent string synth sounds, brass ensembles, orchestral sounds, organs stunning cathedral organs!
I was far less successful with pianos and other percussive emulations, but weird sound effects and off-the-wall cacophonies leap forth almost unbidden once you start to experiment with the matrix.
Yet still there are problems. For example, if you route Velocity to VCA amplitude in the modulation matrix, anything more than a smidgen of 'Amount' produces a raucous overload in the signal path, and you have to reduce the levels dramatically to obtain the required velocity-sensitive version of the original sound.
This brings me to the subject of distortion, and digital overloads, both of which Minimoog V sometimes generates without warning. It sounds to me as if something in the maths has gone awry, resulting in digital overflow or something similar. Exceeding percent leads to very unpleasant digital glitching. In the manual, Arturia state, 'the emulation of the overload circuit is heavy on calculation power, and should be avoided with polyphony or unison'. They're not wrong. Nonetheless, the polyphonic sounds can be superb, so rather than give up on Minimoog V as a polysynth, I'd like Arturia to do something about it.
Had Arturia designed the on-screen representation differently, Minimoog V might have scored as a very good software synth. But when used as a software Minimoog, I feel that it falls far short of the winning post. Of course, you might be asking whether you should care if it sounds authentic. Well, consider it like this; if I offered to sell you a software synthesizer with limited envelopes, a single filter, a limited number of modulators, and so on In conclusion, Minimoog V is a CPU-hungry softsynth capable of some first-class, warm and engaging timbres, some of which sound not quite like a Minimoog.
But if Arturia could eliminate the digital overloads, sort out some of the bugs and operational peculiarities and reduce the processor load, this could be an excellent synth. If they could then redesign those aspects of its implementation that do not resemble those of a real Minimoog, it could be the Minimoog emulation it promised to be. I'm waiting for version 1. Aside from some operational oddities, some bugs, and its propensity to digitally overload, Minimoog V is a fine software synth in its own right, and is capable of some excellent polyphonic sounds.
However, it fails to emulate the behaviour of a real Minimoog in several key areas. Whether that matters is up to you. Specification No specification is included in Arturia's marketing documents or manual, so I have compiled the following abridged version. Waveforms per oscillator: Six.
Pulse width: Pulse and triangular waveforms with 0- to percent width and PWM. Audio ranges: 32' to 2'. Noise: White and pink. External signal input: Stereo, summed to mono. Polyphony: One to 32 voices, depending upon processor power.
Unison: Two to 32 voices, depending upon processor power. Glide: Maximum 13 seconds; minimum near instantaneous. OSC3: Monophonic and free-running polyphonic modes. Minimum envelope Attack: Claimed instantaneous measured approximately 1. Key priorities: High, Low, Last-note. EG VCF. EG VCA. Foot Expression Pedal.
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