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USER`S MANUAL Version 2.5

1. Panoramic output position in the stereo field e Vocal Filter X Vocal Filter X movement e Vocal Filter Y Vocal Filter Y movement OT oirenpcbReRUPObRP cian No modulation destination MOTION RECORDER Wi Oo FM Noise AM WOOL PWI Ext AM cod AM Pan Mod wi Oz FM vocal Filt x Wi O2 Pal Vocal Filt Y WO AM CFF OS FM WoO PIT EOS AM WO FM 20125 FM WoO PwWwM 20123 PYM 2012 AM Emphasis EG WCF lev Ei VICA lev Glide Mix Mad Mod Wheel ca Al lFo FM Fo AM Choose a modulation destination 7 7 8 Editing a motion curve You can edit in real time your motion curves thanks to the dedicated CURVE EDITOR interface This editor includes a series of tools which will help you draw or erase a part or all of the selected curve CURVE EDITOR 2 ee a a cnram ee p D A ks Eu E rp i The CURVE EDITOR interface Let s take a look on the Curve Editor interface 7 7 8 1 The Edit tools e Drawing tool Tool for drawing a freehand curve e Eraser tool Tool for erasing an existing curve e Line tool Tool for drawing a straight line ARTURIA Minimoog V USER S MANUAL 61 e Curve tool Tool for drawing an exponential curve e Noise tool Tool for adding noise to an existing curve e SINC COO aria Tool for drawing a sinusoid e Square tool Tool for drawing a Square curve
2. esses eese essen eene eee nnne nnns 56 Ld PIANO A TCCOTACE Mi OL OM CUIV ES ect qe te eror d Satis yon bother ee quatn exero date natu o aeu vessel 56 LS Recording a parameter motion curve in real time caesis eene eese tnn ness 59 7 7 4 Erasing a recorded automation in real fle usse Ad RO eU NUS 59 273 OURAN q MOON CUTVE ve t us era Rm AAA AENA 59 7 7 6 Setting the modulation amount of a motion curve eese essen eee ssne nnne senes 60 7 7 7 The parameters available for the Motion Recorder esses eene nnns 60 7 7 8 EJE OE WOO CUTE editt oc ee tole mud eti ec es d RUP epus 61 7 1 8 1 The Edit A II A aee oou s ler d ete cd 61 FESZ MS Curve EO Solicita AAA uten Eco bol voee iun CERT eL eV dun 62 7 0 THEE VOC AI TER IS 62 7 9 THELOWEREQUENCY GENERATOR edet everest cxt tavta d tese etude dE DE ada 64 ELO THEMODUEATION MATRDCG TOS 64 TEL PEEPARPEGGIAT OR PT 65 TAZ THE CHORUS AND STEREO DELAY ociosas 66 S THE BASICS OF SUBTRACTIVE SYNTHESIS scsvcccccccctscescucscceesssesconsnoesvsecesesuensusessbesscuecevsveesessaucsevessrs 67 8 1 THE THREE MAIN ELEMENTS id baiesbod sue debe o ep OE ya VE WEE Eun a OS EA RA URP ka ds EUN RE A REUS 67 8 1 1 Theodosia OF VCO in 67 8 1 1 1 MASA A A NO NANO 68 A INR UU 68 8 1 1 3 SUIE utet A EL AL C M UU MM MM MS 69 114 Pulse Width Modulada dd dla 69 5 1 15 Sis A ech uence case te beet Vapi teal e
3. Level of filter resonance EG VCP Als secur arenes Attack time of filter envelope EG VCF Dec Decay time of filter envelope EG VCF Sus Sustain level of VCA envelope EG VCF Lev Output level of VCA envelope EG VCA Att Attack time of VCA envelope EG VCA Dec Decay time of VCA envelope EG VCA Sus Sustain level of VCA envelope EG VCA Lev Output level of VCA envelope Glide eese Portamento time MixMod Level of mixing between oscillator 3 and Noise Mod Wheel Level of the modulation wheel VCA AM AA VCA output level LEPRO Mirra VCA speed LFO AM sssssesssisesesssis Level of LFO output Oscl 2 FM sena Frequency of oscillators 1 and 2 Osc1 2 3 FM annann Frequency of oscillators 1 2 and 3 Osc1 2 PWM Modulation of the impulse width of oscillators 1 and 2 Osc1 2 3 PWM Modulation of the impulse width of oscillators 1 2 and 3 Osc1 2 AM Modulation of the amplitude of oscillators 1 and 2 Pall ENERO tapas Modulation of the output panoramic Vocal Filter X Modulation of Vocal Filter X movement Vocal Filter Y Modulation of Vocal Filter Y movement 8 PO No destination of modulation 7 11 THE ARPEGGIATOR Situated in the Minimoog V extension panel that appears when in Extended mode the arpeggiator allows for each note played the triggering of an arpeggio wig
4. k CD Machie CD Moation P CD PartyBass CD Polite CD Ratlam CD RunAway CD Shorty CD Smoothy CD Upstairs CD WhiteToast CE Basso CE Basso CE Basso3 CE Basso4 CE ClickBass CE DryBass CE GawBass CE GowBass CE SubDub CE TubularBass CE VibroBass CP Ultrasubl CP chris CP pitmani 55 CP tiriner preset regardless of bank 35 When a preset has been modified an asterisk appears next to its name in the tool bar 6 1 2 Creation of a bank sub bank preset To create a new bank click on the u left button The dropdown menu displays the names of all of the existing banks of sounds and a line called New bank Click on New bank to create a new bank of sounds You can then change the name of this bank by clicking on its name in the tool bar and entering the new name To create a new sub bank just click on the LE middle button and select New sub bank You can also change the name of the new sub bank Finally to create a new preset click on the g right button and select New preset The new preset is created recording the current settings of the minimoog V You can thus work on the settings of a sound and save the sound again with the same preset name by clicking on the save button see the following paragraph You can also change the title of the new preset by clicking on its name 6 1 3 Saving a user preset To save your setting modifications in the current preset click
5. gt gt MOTION RECORDER VOCAL FILTER MODULATION MATRIX 0 H a Mibi MIDI UAE d da O A E ui Crest t nate DEPTH ory TIME Time rEEOR retos DAY DIT WET o wo WEY 1 LEFT RIGHT LEFT RIGHT WEY P reich baste stat CONTROLLERS View of the Minimoog V in Extended mode 7 1 THE OSCILLATORS The Minimoog V has three independent oscillators which can be found in the Oscillator Bank section in the synthesis panel EADE OSCILLATOR 1 WAWEFORM j Br FREQUENCY A IL a 1 E n nm E TT Li PA par rs OSCILLATOR tery MOMILATION i dan ee zog 1 OSCILLATOR BANK Oscillators Each of these oscillators can produce different waveforms which are selected using the knob on the right The first two generate from left to right a triangle an asymmetric triangle an ascending sawtooth a square asymmetric square and impulse The third oscillator replaces the asymmetric triangle with a descending sawtooth By right clicking on these selectors it is possible to adjust the impulse width of certain waveforms 52 ARTURIA Minimoog V USER S MANUAL Square rectangular impulse triangle and asymmetric triangle If the waveform is again modified the impulse width will go back to its default value The choice of range for these oscillators can be set with Range knobs on the left From the left to right are the positions Low 32 16 8 4 and 2 the third oscillator adds the
6. Authentication window The Minimoog V will then be installed as a standalone application but also as VST AU and RTAS plug ins The installation program now has enough information to complete the installation When the installation process is completed please proceed to authorization step Chapter 3 ARTURIA Minimoog V User s Manual 17 4 AUTHORIZATION Now that your Minimoog V has been installed you have to authorize the synthesizer The Minimoog V 2 5 uses the Soft eLicenser virtual dongle solution Avoiding the use of a USB port this system allows using the synthesizer on one machine which must be connected to the Internet during the authorization process To transfer your license on another computer or simply use the Minimoog V on several computers one instance at a time you will need to use one USB eLicenser hardware dongle sold separately also used by many other software editors _ in the eLicenser Control Center to drag and drop the license from one dongle to the other This transfer requiring a valid Internet connection can be done in both ways from Soft eLicenser to USB eLicenser _ from USB eLicenser to Soft eLicenser Please check the eLicenser documentation installed on your computer for any further technical details The first step is to register your software in order to obtain the activation code that will enable you to actually use the software You should have handy the license ser
7. Close button Panic D lin PQS re Fg Opening the extension panel 26 ARTURIA Minimoog V USER S MANUAL 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 5 3 OVERVIEW OF THE CLASSIC MODE The Classic mode contains 50 synthesis settings which will allow you to conceive an infinite variety of sounds The knobs and switches associated with 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 waveforms triangle sawtooth 1 and 2 square rectangle 1 and 2 and manage the pitch of the sound the frequency The third can also be used as a modulator when its signal 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 24dB 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 AMOUN OSCILLATOR 1 A VOLUME OF CONTOUR 4 FREQUENCY A h X i yA EXTERNAL MODULAS T N Ea e y yk 1 INPUT VOLUME A De o E 4 e OVERLOAD N 4 OM Ay zii 0 T A
8. RANGE potentiometer sets the amplitude of the bend wheel plus or minus four octaves per semi tone ARTURIA Minimoog V USER S MANUAL 5 E RANGE EN 7 59 Setting the bend wheel 7 7 THE MOTION RECORDER The Motion Recorder allows the recording of some parameters motions on the fly in real time Four dedicated tracks containing one parameter motion each are available Those recording curves can be quantized to a MIDI tempo or not The different motion curves can also be manually modified thanks to a dedicated editing interface including drawing tools pen eraser curve lines MOTION RECORDER 3 oca F Iit Y The Motion Recorder main interface 7 7 1 The Motion Recorder activation deactivation To activate the Motion Recorder just click on the MOTION button situated on the tool bar This button is now highlighted A2 The MOTION button To deactivate the Motion Recorder just click on the MOTION button This button is now turned off 7 7 2 Playing recorded Motion curves To hear the complete motion curve you have to hold a note or a chord on your MIDI keyboard or on your MIDI sequencer To play one or several recorded motion curves select the desired motion track to be read by clicking on its dedicated LJ button Play one or several note s on your MIDI keyboard to read the motion curve s To stop the curve from playing you can deactivate the
9. 12 ARTURIA Minimoog V User s Manual 2 2 3 Better reproduction of analog filters TAE allows the emulation of analog designed filters in a much more precise way than any existing digital filter In particular TAE has managed to reproduce the legendary Moog 24dB low pass resonant filter with great respect towards the original 45 40 55 70 55 resonant filter from a typical standard 24dB digital low pass software synthesizer Very selective 24dB resonance p filter of the Minimoog TAE made Moog resonance filter first 24dB resonant filter to be that selective Comparative response filters ARTURIA Minimoog V User s Manual 13 2 2 4 Implementation of the soft clipping In analog synthesizers particularly Moog s the resonant filter at the VCA uses a current limiting function preventing the signal from being too loud soft clipping TAE reproduces this current limiting function making the sound more natural It also allows filters to enter self oscillation like original hardware synthesizers do Current limiting emulation Low pass resonant filter Input Output 0 5 0 5 Soft clipping transfer function 14 ARTURIA Mini
10. Basses EFX Keyboards Leads Pads Percussives Horns Choice of a preset in another sub bank To choose a preset in another main bank click on the left most u button A dropdown menu appears with a list of the main banks available with the sub banks corresponding to the sub banks defined in each main bank and to the presets contained in each sub bank You can thus freely choose a preset by clicking on its name CP chist E L Duncan SA T E C Engel Arpeggio C Pitman Basses d G Downes k EFX J M Blanchet d Leads H Choice of a preset in another main bank In the BANK dropdown menu the AII option allows you to open a sub list with all of the sub banks available in all of the banks This gives you access directly to all of the presets of a given type for example all of the basses no matter which bank they are in This function is particularly useful to quickly see all of the presets of the same type iM Blanchet C Duncan C Engel C Pitman G Downes J M Blanchet K P Rausch K Schulze K Ujne M Lupo N Ubukata S Salida T Berlman new V2 J M Blanchet new V2 Menno Meijer new V2 M Ubukata new V2 T Koot new V2 Tasmodia G Darcey J M Blanchet2 Templates Users All Mew bank Choice of ARTURIA Minimoog V USER S JMB_Dark Pote W WOCAL FILTER s k gt Arpeggio Basses EFX MANUAL ra MODU IGUI d
11. Dry Wet knob to the center Dry 50 00 Wet 50 00 to obtain a balance between the volume of the signal without effect Dry and volume of the treated signal Wet OFF 1 es M ob Chorus DryWWet WE PIO RESO DAR ALL 00 A A The Dry Wei Wet TUS 9 3 2 The stereo delay This module allows you to repeat the incoming signal in an independent manner for the left and right tracks so as to create stereo echo The speed of repetition is set for the left and the right with the Time left amp right knobs The number of repetitions heard can be set with the Feedback Left amp Right knobs and the mixing between the initial sound and the treated sound with the Dry Wet knob To set the time between the repetitions of the left track turn the Time Left knob Do the same thing with the Time Right knob for the right track Tc nd EGGIATOR TYPE rcHorus E E hy Hii pa j d DA H DONK E ey PO 2402999 o Delay Time Left mo ED RIGHT in 382 81 ms Luupns Lin a ee The Time Left knob To obtain a stereo effect it is important that the two time settings Time Left amp Right have different values A 2 position MIDI Sync switch synchronizes the repetition time with the tempo of the host application This will help to quickly find the appropriate timing for each side Try for example the values Tempo synchronized
12. Limited Warranty Arturia warrants that the disks on which the software is furnished to be free from defects in materials and workmanship under normal use for a period of thirty 30 days from the date of purchase Your receipt shall be evidence of the date of purchase Any implied warranties on the software are limited to thirty 30 days from the date of purchase Some states do not allow limitations on duration of an implied warranty so the above limitation may not apply to you All programs and accompanying materials are provided as is without warranty of any kind The complete risk as to the quality and performance of the programs is with you Should the program prove defective you assume the entire cost of all necessary servicing repair or correction 11 Remedies Arturia s entire liability and your exclusive remedy shall be at Arturia s option either a return of the purchase price or b replacement of the disk that does not meet the Limited Warranty and which is returned to Arturia with a copy of your receipt This limited Warranty is void if failure of the software has resulted from accident abuse modification or misapplication Any replacement software will be warranted for the remainder of the original warranty period or thirty 30 days whichever is longer 12 No other Warranties The above warranties are in lieu of all other warranties expressed or implied including but not limited to the implied warranties of merchanta
13. O Entrer Code d Actiwation Valider P riodes d usage des Licences Reprendre Aide eLicensers Licences A 5m z x sao Mes Licences f C7BESA40FA Soft eLicenser Sel Vii eLicenser Control Center main window showing an empty Soft eLicenser gt In the eLicenser Control Center menu click on the Enter Activation Code button and enter the code when prompted Simply paste in the 32 digit code you ve just copied from your account on the ARTURIA website 20 ARTURIA Minimoog V USER S MANUAL Entrer le Code d Actiwation Veuillez entrer un code d activation dans les champs de texte ci dessous puis cliquer sur Continuer Code d Activation g 0 p p p 0240 BAAQ MABL LLWZ BODO TMOQ 1016 6427 J gt minimoog V 2 G Sel Annuler Enter the activation code The eLicenser Control Center is now ready to download the software license that will allow you to use the Minimoog V Click on Start the progress bar should advance until download completion A popup window will confirm just click Close Now the main eLicenser Control Center window should show your Minimoog V license installed and activated Fn eLicenser Control Center eL C Version 6 0 2 7004 G 5 om Entrer Code d Activation Valider P riades d usage des Licences Reprendre Aide eLicensers Licences Ja minimoog V 2 ce Sel T o 8338374143 CPEESA4OFA
14. The main interface of the Sound map ARTURIA Minimoog V USER S MANUAL 37 The Sound Map offers three options The sound map the sound map classifies the presets thanks to statistic methods in order to organize the sounds on a map from their own 1 audio characteristics PREVIOUS NEXT R Percussive m Sequence m Strings m Guitar m Keyboard The Map interface The Presets list this page offers a more classical interface to classify the presets using lists and filters to find the desired sound Name Instrument Author JMB_Synth_Bells Perc J M Blanchet JMB Tribal drums erc J M Blanchet KPR Fat ELP Bss ass K P Rausch KPR_Muted ass K P Rausch KPR_Octaver_Bass 3ass K P Rausch KPR_Square_Mix 3ass K P Rausch KPR_ Standard 3ass K P Rausch KPR_Sweepbass ass K P Rausch KPR_Noise_Droner PX K P Rausch KPR_Orionesk x K P Rausch KPR_Overtoner PX K P Rausch KPR_Windy_Rpt PX K P Rausch KPR 3 tuned Ld eal K P Rausch KPR_Amazing_Ld e K P Rausch m Brass KPR Detuned Saw eac K P Rausch gt x s Percussive KPR Dirty Guitarish Pac K P Rausch g Jz KPR_ELP Trilogy eat K P Rausch m Sequence KPR_Emerlist_Ld pac K P Rausch m Strings KPR_Fat_Sawlead K P Rausch m Guitar KPR_Fat_Swirl eac K P Rausch m Keyboard KPR_Filtersweep K P Rausch s E peius ALL KPR RW White Ld eac K P Rausch The List interface The Morphing interface COMPASS this page allows creating new sounds in real t
15. e Look and feel of toolbar updated e Bug fixes System requirements e MAC OSX 10 5 and 10 6 Intel o PPC no longer supported o MAC OSX 10 4 no longer supported e Windows o Seven o Vista o XP 6 ARTURIA Minimoog V User s Manual 2 FROM THE FIRST MOOG SYNTHESIZERS UP TO TAE Mind you neither of us had any idea where this was leading 2 1 THE GENESIS OF THE MINIMOOG SYNTHESIZER Robert A Moog was born in May 1934 in New York With a passion for music he took piano lessons for 12 years he was introduced to electronics by his father an engineer During his adolescence he discovered the Thereminvox plan invented during the 1930 s by a Russian engineer Leon Theremin or more exactly Lev Sergeivitch Termen Seduced by this instrument with its never before heard sounds he began to produce his own models and founded his own company in 1954 Frequenting musical professionals and in particular electronic and concrete music Moog realized that there was a real demand for electronic instruments of a higher quality One of the first clients to come to Robert Moog the professor of music Herbert A Deutsch asked him to listen to a song he had composed Moog was immediately convinced and they decided to associate their work Their co operation produced the first voltage controlled oscillator VCO In 1964 the first prototype of a Moog synthesizer was produced It was a modular system with a voltage controlled filter VCF a
16. iA Soft eLicenser Sel License is installed and activated It s now time to launch the Minimoog V synthesizer ARTURIA Minimoog V USER S MANUAL 21 5 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 T O minimooa mini settings Skin Knob Mode m Panic 6 TOOLBAR m im new_ V2 TKoo Keyboards TK Zync 2 VY miai Al e Poly 4 Mod livres o gt D lim du LEARN CLOSE MOTION RECORDER VOCAL FILTER MODULATION MATRIX EXTENSION O NY RELSUTIP ELLIDLO y CHORUS CY Soo Li 1 22 32226 CONTROLLERS FILTER AMPLIFIER OSCILLATORS AMPLIFIER ENVELOPE C ma a N m VIRTUAL MODULATION p a KEYBOARD WHEELS MIXER Overview of the minimoog V 5 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 panel
17. on which the mouse movements are being evaluated Movement in linear mode is available in the options of your sequencer In Cubase for example this choice can be found via the Edit Preferences menu and is found in the General tab of the window 6 3 2 Switches The Minimoog V has several types of switches Simply click on these switches to change their state Switches 6 3 3 Pitch Bend wheel The pitch bend wheel is used to change the pitch of the oscillators Just click on the wheel and move the mouse up or down to change the pitch of your sound The wheel goes back to the center position when the mouse is up 46 ARTURIA Minimoog V USER S MANUAL The pitch wheel 6 3 4 Virtual keyboard The keyboard lets you listen to the synthesizer sounds without the need for an external master MIDI keyboard and without programming a melody in the sequencer Just click on a virtual key to hear the corresponding sound 6 3 5 MIDI control Most of the knobs sliders and switches on the Minimoog V can be manipulated with external MIDI controllers Before anything else make sure that the MIDI device that you wish to use is correctly connected to the computer and that the sequencer or the Minimoog V application is correctly configured to receive MIDI events coming from the device 6 3 5 1 Learn menu A new menu entry has been introduced in Minimoog V 2 5 This menu entry Learn provides access to MIDI assignment functiona
18. parameter shift clicking on control provides access to assignment of the COARSE parameter 50 ARTURIA Minimoog V USER S MANUAL 7 THE SYNTHESIZER When it is set to Classic mode the Minimoog V remains very close to the original synthesizer It is composed of two parts one containing the synthesis parameters the other being the keyboard and the modulation wheels The synthesis panel is separated into several sub groups corresponding to the usual modules for subtractive synthesis Oscillators Mixer Filter and Envelopes Settings Skin Knob Mode Panic E J M Blanchet EFX JMB_Dark Pole YR mci Al e Poly 2 Mode High ies gt tn DW LEARN OPEN Fil TER AMOUNT CUTOFF da QUENCY EMPHAS OF CONTOUR VOLUME MAIN OUTPUT 1 1 4 4 EXTERNAL INPUT VOLUME 4 es S OVERLOAD gt Er Ld gt out ON d D 19 NOISE VOLUME 4 0 4 wher LOUDNESS CONTOUR ATTAC K TIME sus JAIN 1 EVEL VOICE DETUNE POLYPHONIC E A um EJ OUTPUT 00 rt vy Fe E WA z Gc a y z View of the Minimoog V Classic mode By clicking on the Open button of the toolbar or the upper wooden bar the Minimoog V will open and reveal the extension panel The effects an arpeggiator and a modulation matrix are contained here ARTURIA Minimoog V USER S MANUAL 51 Settings Skin Knob Mode i n J M Blanchet X JMB Dark Pole Y Va L All a Poly 2 Mode High ies
19. 3 F w A d fL a Mm mum The Curve Editor tools 7 7 8 2 The Curve Editor screen The Curve Editor screen allows you to edit a recorded curve or to draw a new curve from scratch To open the Motion Recorder screen editor click in the middle of it A new bigger screen is now opened showing the current motion curve Two locator bars determine the input and output loop points of a recorded curve I Place the right locator To place a locator click on the left top arrow for the input point or on the right top arrow output point and drag it from left to right to choose the desired input or output points of the loop Click on the Loop interrupter to validate the loop mode Click on the Loop interrupter If you have chosen a quantization factor 1 8 for example the locators will move by steps thru this quantization factor 7 8 THE VOCAL FILTER The Vocal Filter is a formant filter which can be applied to the output signal of the Minimoog V or to an external audio signal The main interface of the Vocal filter located on the central TV style screen shows a series of five vowels A E I O and U 62 ARTURIA Minimoog V USER S MANUAL VOCAL FILTER The main interface of the Vocal Filter The Vocal Filter frequency can be set in real time gt Manually by moving the red ball cursor between five vowels or moving the vowel letters by dragging them on the screen surface of the Vo
20. ARPEGGIATOR 7 MODI OCHAN ces tah Il mime O e O cg ju SPEED PLAY MEM uni i mm Arpeggiator The Speed knob sets the speed of the arpeggio The Midi Sync switch lets you synchronize delay return time with the host application ARTURIA Minimoog V USER S MANUAL 65 The Play switch triggers the arpeggiator which when a note is played activates the notes one after the other and stops when there are no more active notes on the keyboard The three state Off Hold Mem switch lets you choose the arpeggiator mode In Mem position the notes played on the keyboard are memorized To stop the memorization place the switch to Off mode To stop the chaining of the notes you must stop the arpeggiator with the Play position In the Hold position the notes played on the keyboard remain present until a new note or group of notes is played As long as a note remains active on the keyboard all of the notes played are memorized The Mode selector is used to choose the arpeggio mode ascending descending return random and in the order of appearance of the notes The Octave selector is used to choose the number of octaves that the arpeggiator covers for each cycle The Repeat selector is used to choose the number of cycles repeated for each octave 7 12 THE CHORUS AND STEREO DELAY In the Minimoog V extension panel which appears when it is in the ope
21. BEN NES BEE PA LEE EE ai MODIFIERS 3 Amplitude envelope Loudness Contour 5 4 THE EXTENDED MODE When the Minimoog V is in the Extended position you access an extension panel to the parameters of synthesis It is displayed in the form of a modulation matrix a Low Frequency Oscillator LFO which was added as a substitution for oscillator 3 which was being used to this effect An arpeggiator a chorus and stereo delay complete this extension 5 4 1 The modulation matrix The modulation matrix multiplies the possibilities for editing sound when compared to the original instrument You can choose 8 sources sub osc envelopes etc to modulate 8 destinations freq Osc freq VCF etc The choice of source and destination is done via the LCD displays The matrix offers 15 sources of modulation and 35 destinations compared to 2 on the original Em MODULATION MATRIX Ml A ERAN AAA Pl pda qul a pi HOTEL WHA x 0097115431044 Li A Empi k V OA PINM gt om e A arcos ra j iu 011 om The modulation matrix 28 ARTURIA Minimoog V USER S MANUAL 5 4 2 The LFO On the original Minimoog equivalent to the Classic 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 exa
22. DETUNE POLYPHONIC e M S p y 1 P Es sop 400 IA au o 10 A o ie ost 3 NOV x 7 fm CONTROLLERS OSCILLATOR BANK MODIFIERS OUTPUT In order to hear the sound click on the first of the 5 Mixer switches This activates the signal coming from the first oscillator 76 ARTURIA Minimoog V USER S MANUAL VOLUME cl a i ee EM E m Rn el OVERLOAD mi ES d zi o Aa Fa Eu E ie u Nast voume WHITH sp You will notice that the sound is particularly linear and without life The sawtooth signal from the first oscillator goes through a filter where the cut off frequency is set to the maximum This minimalist configuration will let you easily perform some simple experiments with this basic sound Start by changing the waveform of this oscillator to appreciate some of the tones it can produce RANGE CS CILLATOR rae a N MOLE LIT TL FRECIUTHMNCY rL z y fL Thi EXTERNAL ran n 2 Se IMPUT VOLUME ee E s A LLLATOR 1 o do ULATION i nm U OSCILLATOR F i Chance the EE of oscillator Progressively lower the cut off frequency of the low pass filter The sound becomes more and more dark Pitre AMOUR CUTOFF FREQUENCY EMPHASIS Of COHTGLF ATTACK TIME qi Lal SUSTAIN LEVEL a00 op I E a Sle uh a di I A f 5 E ROL cn le o cum d pt pi m d n us fe Il M ELEC i m 7 m pa i F PAS ER g FEE PA FEE Low
23. LFO s amplitude Choose the modulation wheel Wheel among the sources ARTURIA Minimoog V USER S MANUAL 29 gt gt gt 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 5 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 note 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 gt 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 held 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 mor ARPEGGIATOR MODE Octave REPEAT SYNC a ES E Git EN un E Qe OO TEN TN MOMS The arpeggiator 5 6 THE EFFECTS SECTION The effects section lets you add chorus or delay to your sound 5 6 1 The chorus The Chorus effect allows you to double and slightly detune your sound in order
24. LowMono position at the extreme left The Low position corresponds to a very low frequency mode the position LowMono on the third oscillator adds a monophonic function In this mode the oscillator will generate the same signal irrespective of the note played unlike the Low mode where it generates a different signal for each of the notes in polyphonic mode The other positions of this knob correspond to the range the 8 position being the position without transposition positions 4 and 2 respectively 1 and 2 octaves above positions 16 and 32 respectively 1 and 2 octaves below Oscillators 2 and 3 can equally be fine tuned with the central Frequency knob By left clicking with the mouse on the knob tuning is done by semi tones by up or down an octave When right clicked it is possible to tune it in a continuous manner by more or less a semi tone By double clicking on this knob it is possible to set it to its default value which is to say tuned e The Sync switch synchronizes oscillator 2 with oscillator 1 In this position it is the tuning of oscillator 1 which will give the pitch while oscillator 2 will bring and modify the harmonics heard e The Osc 2 Control switch allows to activate and deactivate the command of oscillator 2 by the keyboard e The Osc 3 Control switch is for activating and deactivating the command of oscillator 3 by the keyboard e The Oscillator Modulation switch
25. Sustain hold is the maximum volume level that the sound will reach after the decay is complete It stays at this level as long as the note is held ARTURIA Minimoog V USER S MANUAL 73 The Release is the time that the sound will take to fade to silence once the key has been released The two envelopes of the Minimoog V Contour contain only 3 parameters Attack Decay and Sustain You can get the Release thanks to the Decay button located on top of the modulation wheels The release time is thus identical to the decay time of the envelope mon nz a HIME SUSTAIN LEVEL LESE The cries V ADS R mir 8 2 3 The low frequency oscillator The LFO Low Frequency Oscillator or LFO on the Minimoog V possesses more or less the same characteristics of the classic oscillator but it only produces frequencies lower than 20 Hz In other words you won t hear the pitch of its sound It will create a cyclic modulation on the setting to which it is connected For example If the sine waveform of an LFO modulates the volume of an amplifier the sound will increase in volume then disappear in a varying manner following the speed the frequency of this LFO This will produce a tremolo effect A sine waveform on an LFO modulating the frequency of an oscillator would produce a vibrato effect With an LFO sinusoid wave modulating the cut off frequency of a slightly resonant low pass filter you will obtain a wah wah ef
26. Templates 3 JMB Unisonz Templates A JMB Velo Filterl JME Velo Filter2 All b 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 Templates 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 5 1 1 Modifying this preset For this we will start with a very simple manipulation Modify the brightness of the JMB Classici 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 bright Set this potentiometer to your liking ARTURIA Minimoog V USER S MANUAL 23 AMOUNT CUTOFF OF CONTOUR FILTEE EXTERNAL Mae AT E VS INPUT VOLUME K 4 i la DH 4 bat OVERLOAD c i P i B5 io d r Cutoff LIAC K TIME DELAY TIME SUSTAIN LEVEL ae a m Ue VOLUME NE 3 E i l Y k a ud Le WHITE GH qa DIT RN pun z Al r i i Py P SET SIC M SEC SEC T Change the brig
27. a continuous manner In the diagram above the only way to stop this quickly unpleasant sound is to lower the filter cut off frequency so that it becomes more and more damp until it finally disappears or simpler yet lower the volume of the amplifier To start and stop the sound and at the pitch that we require we use a keyboard that is connected both to the VCA through a gate and to the frequency of the oscillators This will play the sound as soon as a key is pressed and mute it when released Of course this connection is made through MIDI it replaces the gate type of connections on analog synthesizers which trigger the note when a key is pressed and stop it when released The key position provides a control voltage that tells the oscillator what pitch level to play when the gate opens If you don t have a MIDI keyboard you can also play on the virtual keyboard of the Minimoog V to hear sounds while editing voices on your computer 8 2 2 The envelope generator The envelope generator connected to the amplifier is used to sculpt the volume of the sound when we press a key on the keyboard and ends after the note is released The most common modules developed use 4 settings that we can vary The Attack is the time that the sound will take to reach its maximum volume once we have pressed a key on the keyboard The Decay fall is the time that the sound will take to diminish after the attack portion is complete The
28. a maximum slope of two octaves which can be set with the amount knob of the matrix When a key follow is connected the cut off frequency is equally influenced by portamento when it is active 7 4 THE OUTPUT VOLUME AND ITS ENVELOPE The output level of the Minimoog V is managed by a voltage controlled amplifier VCA where the setting changes are made with the Volume knob in the Output group of the synthesis panel VOLUME Setting the output level This VCA is also controlled by an envelope generator which is set in the same manner as the envelope generator associated to the filter LOLIDNESS CONTOUR ATTACK TIME DECAY TIME FUSTAIN LEVEL one ME L fio 1 j 4 h Je Jun Mi EC SEC MODIFIERS a p a 2 r mm Parameters of the envelope generator associated to the VCA ARTURIA Minimoog V USER S MANUAL 55 This envelope generator is set with the Attack Time knobs for the attack time the Decay Time knob for the decay time and the Sustain Level knob for the level of sustain The management of the return to zero is identical to the envelope generator associated to the filter When the decay time knob is set to the maximum the notes are held indefinitely 7 5 THE POLYPHONIC MODE THE PLAYING MODES The original Minimoog was a monophonic synthesizer The Minimoog V offers the possibilities of polyphonic playing where the number of voices can be set from 2 to 32 with the
29. and the different real time 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 a simple bass preset To do this click on button next to the the BANK LCD display 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 J M 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 22 ARTURIA Minimoog V USER S MANUAL Choose the SUB BANK called Basses and finally select JMB Classici in the PRESETS new V2 TKoo Keyboards B TK Zync W We wa an ejroy 4 Mode C Duncan VOCAL FILTER MODULATION MATRIX C Engel seu E C Pitman G Downes E MMC J M Blanchet Arpeggio or os i ELA ye K P Rausch Basses JAME Classicl pn K Schulze k EFX k JME Classic T KU jie Keyboards d JMB Distorded M Lupo di Leads li JME Resonantl MN Ubukata Pads k JMB Resonant S solida d Percussives JMB Reverse k F T Perlman ES Se JMB_Saw_Acid i new V2 J M Blanchet gt E Np i new V2 Menno Meijer IE cumple new V2 N Ubukata Aa MB Square nva new V2 T Koot EOS Ip Sun new V2 Tasmodia k E MS d G Darcey JMB Taurusl J M Blanchet2 Fo ME Hone Templates 5 JMB Unisoni
30. different versions of the Minimoog V that will appear with its evolution 10 3 6 Automation in Pro Tools Automation works with the Minimoog V like any other RTAS HTDM plug in refer to the Pro Tools documentation for more details on plug in automation Preset changes however cannot be automated 90 ARTURIA Minimoog V USER S MANUAL 10 4 DIGITAL PERFORMER 10 4 1 Installation During the installation procedure check the MAS choice among the plug in formats offered The Minimoog V will be automatically installed in the MAS plug in folder System Folder Extensions MOTU Plug ins To use the Minimoog V you will need to increase the memory allotted to Digital Performer by around 15 megabytes 10 4 2 Opening the instrument Access to the Minimoog V plug in is the same as for any other plug in through the insertion of an audio track Seq 1 utoPan stereo eVerb stereo Flanger stereo minimoog Y stereo MS Decoder stereo Multimode Filter stereo bw Compressor sterea Mw Gate stereo Mw Limiter stereo Mas Multi Effect Example P Opening the Minimoog V in Digital Performer The Minimoog V can be loaded to a mono track after insertion it becomes a stereo track or a stereo track We can now make the Minimoog V howl by clicking with the mouse on the virtual keyboard 10 4 3 Connection to a MIDI node In order for the Minimoog V to play information coming from a MIDI track it must be asso
31. ine paa 4 TACK TIM DECAY TIME SUSTAIM LEVEL P r tou 400 4 1 7 la JO INN UTD AKO i pe YT d Ta a n ul ai out ON CONTRO au i w a 0 te NOISE VOLUME i 4 wiri s c c Z LOUDNESS CONTOUR ON A ATTAC K TIME sus TAIN 1 EVEL YOI ICE BR UNE POLYPHONIC 4 Jj gt x set JIE 10 P e gt d y tc 10 OUTPUT The Classic mode the original Minimoog The Extended interface gives access to a motion recorder a vocal filter a LFO a modulation matrix an arpeggiator and two effects These different functions will enrich the basic settings of the minimoog V Motion recorder Vocal filter Modulation matrix MOTION RECORDER WOCAL FILTER Scan MATRIX seuil STIHATSOH LON Ca LATICO Lig Q Empiax k r3 Uco PM Vocal F itty T AM corru e Eror wibi amp ARPEGGIATOR MODE OCIAVE REE TYPE CHORUS MEE I p 1 ec ene 5YMC E X X e 0 Us 4 es 6 Q Qi DOWN km de mn A T T PRES al yi oo i Ja 9 0 0 NOR Qc CA PLU UN a UH EA TERESA ru SPEED Y MEM pon E E LET cart oimh by ee a dai ee Se O F ase eee LFO Arpeggiator Chorus Delay The panel of the Extended mode To access the Extended 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 Classic mode simply click again on the wooden crosspiece or on the
32. lawful use No part of this manual may be produced or transmitted in any form or by any purpose other than purchaser s personal use without the express written permission of ARTURIA S A moog and minimoog are registered trademarks in the UK to Alex Winter In all other countries Moog and Minimoog are registered trademarks of Moog Music Inc Other products logos or company names quoted in this manual are trademarks or registered trademarks of their respective owners 2 ARTURIA Minimoog V User s Manual 1 2 3 4 5 7 TABLE OF CONTENTS WHAT S NEW IN MINIMOOG VD ees vens ina Eaa iia 6 FROM THE FIRST MOOG SYNTHESIZERS UP TO TAE cocnncccccccnccnnnoccccncncconinocccccnncconacccccccccccnianoness 7 2 1 THE GENESIS OF THE MINIMOOG SYNTHESIZER occooococnccnnncoccoconncocccnonncocnononncosrocnonocorocnnnooso J 2 2 A BETTER EMULATION THANKS TO TAE seeeeeeetetttrererenene eterne retento teretes noni 11 2 24 Alasngsrree OSCILLONOTS T ot e ei idee aat iecore auem A e au eeu elena aede euo uet 11 22 2 Better reproduction of analog waveforms eese eene essen snna nnne essen nnns 11 2 23 Better reproducti n of analog ers uses ect o nor Eve adii een Y ina ee aa Eras aoc 13 22 4 Implementation or Ihe SO cDDIMQS a oe e tes isa Er AA A en med ne NU EA RA ARA 14 INSTALLATION eei ede ee On IN EE a pisi ded esta ive mede ne i ee de En n S 15 3 WINDOWS INSTALLATION 2000 XP VISTA s ispitotr dete euba tui
33. low frequencies like a LFO ARTURIA Minimoog V USER S MANUAL 79 Lower the tuning to 48 4 octaves by turning the central knob to the left with a right click on the mouse This oscillator will not produce audible sound possibly light clicks marking the oscillation cycle it will be used to modulate the filter cut off frequency Click on the Filter Modulation switch to activate the filter cut off frequency modulation by oscillator3 TER MOKULATION 2 r EI i Click on the Filter Modulation switch Raise the modulation wheel to maximum to set the modulation frequency I M x L F i F I AA Modulation Wheel mor z n an T a i Raise the value of the modulation whee You will obtain a rich accompaniment sound 9 2 THE MODULATION MATRIX We will discover a few of the many additions to the Minimoog V the modulation matrix the LFO and velocity For this let s again use the preset Tp EG Ampl Long in the Templates bank sub bank Temp Synth This preset offers an ideal starting point for an accompaniment sound the amplitude envelope is already calibrated for this type of use It will be composed of e 2 oscillators 1 slightly resonant low pass filter 1 output VCA The filter and VCA envelopes are active Oscillator 3 modulates the 2 other oscillators for a vibrato effect brought by the action of the modulation wheel The modulation matrix will be active for e A modu
34. modulates oscillators 1 2 and 3 via oscillator 3 with an amplitude that is dependant on the modulation wheel If we don t want to have oscillator 3 modulate itself we need to deactivate the switch 7 2 THE MIXER The section situated on the right of the Oscillator Bank sub group mixes the different Signals available before applying the filtering VOLUME EXTERNAL INPUT VOLUME HORE VOLIME race WHITE There are five sound sources available the three oscillators a noise generator and external audio in The level of the three oscillators is set with each of the Volume ARTURIA Minimoog V USER S MANUAL 53 knobs the external signal level with the External Input Volume knob the noise level with the Noise Volume knob The five vertically aligned switches allow the quick deactivation of a given sound source while the White Pink switch selects a white or pink noise When the Overload indicator lights up this indicates an overload of the external audio in The mixer possesses two modes of functioning with or without the emulation of the overload circuit In the first case the sound signals are not modified regardless of their level In the second the overload circuit limits the amplitude and thus allows a modification of the tone typical of the original Minimoog The mixer mode change is done with the Soft Clipping switch on the far right of the synthesis panel It should be n
35. modulation destination by selecting the OFF option in the automation track The motion automation curves are re trigged each time a note is played Finally they can be the equivalent to super envelopes that are drawn by the user 58 ARTURIA Minimoog V USER S MANUAL 7 7 3 Recording a parameter motion curve in real time Activate the live recording mode by clicking on the JANI button situated on the Minimoog V tool bar This button is now highlighted Play a note on your MIDI keyboard and hold it during the recording time The recording is now starting Choose the parameter you wish to automate by clicking on the dedicated potentiometer Tweak this potentiometer as you wish during the recording The motion recording stops by itself automatically after thirty seconds The EE button switches off To stop the recording before its time limit simply release the playing note The parameter you have automated is now selected on the LCD parameter screen of the active track and the result of the recording curve is displayed on the Motion Recorder main screen You can also change the parameter on the fly over the old one by clicking on another potentiometer You can also select a new parameter on the destination parameter menu situated on the left of the Motion Recorder main screen 7 7 4 Erasing a recorded automation in real time Erasing a recorded automation is very easy You just have t
36. on the Save button in the tool bar of the Minimoog V i Save button in the tool bar If you want to save your settings under another preset name click on the Save As button in the tool bar A dropdown menu appears and lets you choose an existing preset in this case the contents of the existing preset will be replaced with the current settings or else lets you save your settings as a new preset in this case click on New preset in the sub bank of your choice TONES x IMB_Dark Pole Ye Ne mai an lpoy i 2 in new V2 J M Blanchet Arpeggio MODULATION MATRIX new V2 Menno Meijer b Basses b JMB_Compressor new V2 N Ubukata k EFX k IME Mini FM new V2 T Koot Ld Leads H dion m new VZ Tasmodia i Pads H IMB Vocal Bass G Darcey Percussives Haw preset J M Blanchet2 k TENE E Templates likers F Save As button and save menu in the tool bar When you are working from a factory preset which cannot be deleted clicking on the Save button will not replace the current factory preset but will instead automatically open the Save As menu to save the current settings as a user preset 6 1 4 Import Export of a bank of presets It is possible to import new banks of presets conceived for the Minimoog V To import a new bank of presets click on the preset bank import button on the tool bar E Preset bank import button on the tool bar 36 ARTURIA Mi
37. td cu de PORE diae fatu de nrbt o e bui ea eb e Paten 15 I2 MACOS INST ALA TION is 17 AUTHORIZA TIO d eeeebisseeoste eevo te eub doree Eu eee pene eto Ee REDE SON Oe to te ORE Ser Nep e e EE EUIS 18 CUTCKES TAR ires 22 5 1 USING THE PRESE TS a T N 22 5 1 1 Modi ing THUS DI CSED tes endete na n Ma ee A 23 S2 IMHE PLAYING MODES cr P 23 5 3 OVERVIEW OF THE CLASSIC MODE das 27 54 THE EXTENDED MODE viroii en Ru deduce p ORE ETET E EeDe v Ia See Cua deB VD ED P gv EeM TO cM ERN 28 5 4 1 themodul dil On IMON EEE m 28 5 4 2 VIENI O ERRA IEN AEEA A E E I EEA E A E A EATS E E E A T 29 3 07 THE ARPEGGIATOR SECTION e 30 340 THEBEFECTS SECTION E dM MEME EUN N E O 30 5 6 1 INEC NOTUS aer E A E 30 3 0 2 JU EI I m Tc cadences 31 5 7 THEREAL TIME CONTROLLERS AND MIDT ASSIGN sostini 31 EAN A A EA E E A O EU Rea eu eSG 34 6 1 LYSE OP PRES ES ardido 34 6 1 1 Choice of a Dank SUD DONK Presta 34 6 1 2 Creaton ofa bank SUDADANK DICSCL aaa 36 6 1 3 SOVNE CIS CD PICS CV si a eS M M E MEM MEE M M MM EI 36 6 1 4 Import Export of a bank of DFeSets qiias aret RR EORR AES IRAE Ne S ERRARE eve TEES REATUS 36 02 THESODND NDAP iaa 37 6 2 1 Openm ethe sound HOD ete iste uestes HN Hd C M D eM EE UE 39 6 2 2 Ihe Sound INP ANICT QOO o etie Eae at ibat et irs up uL ELEM LEE M 40 6 2 2 1 Thecsouttd Tap man IEA sores qoo retia E A E AO 40 0 2 22 She sound Map oOVer AA chui ea oes ua data dtc DO sete rane ca
38. to a crotchet for the left and Tempo 1 5 synchronized to a dotted crotchet for the right side ANE pi ip m uem Ld Run Horse SVnehromzation of delay to MIDI tempo gt Now set the number of repetitions for both sides by turning the Feedback Left amp Right knobs 84 ARTURIA Minimoog V USER S MANUAL mE cHORUS a ita E 90 393 9 9 E IB Delay FeedBack Left LEFT RIGHT WET 0 35 SS a A The Feedback Left setting To finish as with the chorus effect place the Dry Wet knob to the center Dry 50 00 Wet 50 00 You will obtain a balance between the volume of the signal without effect Dry and the volume of the treated signal Wet These different examples as you will have noticed presented different levels of difficulty We hope that they will have allowed you to see a few of the possibilities offered by the Minimoog V But don t hesitate on trying your own settings this is the best way to progress and have more originality ARTURIA Minimoog V USER S MANUAL 85 10 MODES OF USE OF THE MINIMOOG V 10 1 STANDALONE The Minimoog V application can be used as an instrument independently of a sequencer standalone mode This lets you open one instrument and to play with a master MIDI keyboard 10 1 1 Launching the application To launch the Minimoog V application on Windows go to the menu Start gt Program Files gt Arturia gt Minimoog V and cho
39. value can be set This means that The assigned parameter will have the configured minimum value when the controller will be at its lowest position Assigned parameter will have the configured maximum value when the controller will be at its highest position You can invert Negative Slope Min and Max so that parameter will have minimum value when control has the highest value and parameter will have maximum value when control has the lowest value Output parameter alues A MAX Input FA control MIN values DEFAULT Output Output parameter parameter alues alues _A MAX MIN m Input E Input eg control control MIN values MAX values POSITIVE SLOPE NEGATIVE SLOPE parameter value MIN MAX MIN control value 6 3 5 5 Multiple assigned parameter It is possible to assign and setup assignment for multiple parameters for a single control Activate Learn mode select a parameter GUI control Tweak control to assign it optionally setup minimum and maximum Select a second parameter And tweak the same control Deactivate Learn mode Y v v cw vw Tweaking assigned control should modify both parameters with regards to assignment setup Min Max ARTURIA Minimoog V USER S MANUAL 49 6 3 5 6 Tricks Oscillator 2 and 3 tune control 2 parameters FINE and COARSE If Learn mode is ON clicking on control provides access to the assignment of the FINE
40. 0 2 3 Connection to a MIDI track In order for the Minimoog V to play information coming from a MIDI track you need to choose a MIDI track and select the Minimoog V as MIDI output of this track by using the menu for this in Cubase ARTURIA Minimoog V USER S MANUAL 87 C 5 CME OE amp os OTE OE x1 smnmmm OE ET int Al MIDI Mn m gt EI E MIDI 06 e MPU 401 mi Mappeur MIDI Microsoft Synth SW table de sons G5 Mic MIDI 08 Synthe Si table de sons GS Mic ca O U PY AX S m A L e Lx Es wip 10 Ci xis ICME El 9 x s IETEEE MIDI 01 woot FEJEM Oo Jout uje g w Mot Connected Connection of a MIDI track to the minimoog V The MIDI events played on a MIDI keyboard are then transmitted by your sequencer to the Minimoog V It is of course possible to record these MIDI events and use all of the MIDI editing options of the sequencer 10 2 4 Saving presets When the session is saved the state of the Minimoog V is saved as is even if the programming corresponds to no preset For example if you were working on a preset BassOne on which you had changed settings without saving them as BassTwo the next time you open the song the Minimoog V will load the preset BassOne plus the changes The drop down menu offered by the VST sequencer which saves the settings of a plug in is of course compatible with the Minimo
41. 5 Mixer switches Change the range of oscillator 3 with the range switch Set it to 4 for example The sound takes another form Don t hesitate on changing the waveforms of the three oscillators to hear the different tones that result You can also change the volume of these oscillators to create a different balance gt Now change the coarse tone of oscillator 3 to give it another tone For this click on the central knob with the right mouse button and turn it gently to the right until you reach the value 7 semi tone Change mew coarse of prone Lightly detune oscillator 2 from the two others by turning this same knob with the left mouse button The sound will begin to move slightly and sound warmer If you want a sound that is even fatter click on the Unison switch which brings all of the polyphonic voices to the same note Lightly detune each of the polyphonic voices with the Voice detune knob Output section Here is how in a few seconds to transform a simple base sound into the kind of powerful lead preset that made the Minimoog so famous 78 ARTURIA Minimoog V USER S MANUAL Save the preset with the Save As button in the toolbar 9 1 3 A polyphonic accompaniment Unlike the original Minimoog which offered just a monophonic playing mode one note at a time the Minimoog V allows you to play chords with the Polyphonic playing mode located in the Out
42. D 8 Assignment of Rights You may assign all your rights to use the software to another person subject to the conditions that a you assign to this other person i this Agreement and ii the software or hardware provided with the software packed or preinstalled thereon including all copies upgrades updates backup copies and previous versions which granted a right to an update or upgrade on this software b you do not retain upgrades updates backup copies und previous versions of this software and c the recipient accepts the terms and conditions of this Agreement as well as other regulations pursuant to which you acquired a valid software license A return of the product due to a failure to accept the terms and conditions of this Agreement e g the product activation shall not be possible following the assignment of rights 9 Upgrades und Updates You must have a valid license for the previous or more inferior version of the software in order to be allowed to use an upgrade or update for the software Upon transferring this previous or more 94 ARTURIA Minimoog V USER S MANUAL inferior version of the software to third parties the right to use the upgrade or update of the software shall expire The acquisition of an upgrade or update does not in itself confer any right to use the software The right of support for the previous or inferior version of the software expires upon the installation of an upgrade or update 10
43. RTURIA Minimoog V USER S MANUAL 89 e TDM systems the Minimoog V should be loaded to a stereo audio track Opening as HTDM is done through the TDM menu as a HTDM plug in is used exactly like a TDM plug in e Other systems the Minimoog V can be loaded on a mono audio track which becomes stereo after the insertion or stereo We can now have the Minimoog V putting out sound by clicking with the mouse on the virtual keyboard 10 3 4 Connection to a MIDI node In order for the Minimoog V to play information coming from a MIDI track it must be associated to a MIDI node through the appropriate menu In this way we can control the Minimoog V via a command keyboard see the Pro Tools manual for the connection of this type of device 10 3 5 Saving presets When the session is saved the state of the Minimoog V is saved as is even if the programming corresponds to no preset For example if you were working on a preset BassOne on which you had changed settings without saving them as BassTwo the next time you open the song the Minimoog V will load the preset BassOne plus the changes The Librarian Menu in Pro Tools can of course be used with the Minimoog V like any other plug in However we recommend that you use the internal menu of the Minimoog V This is for several reasons Presets saved in this manner can be used in any other sequencer making the exchange between users easier They will be compatible with the
44. TA oes NT Lt Lo usos rn on E on om Amount Modo Ze 000480 Turn the Amount knob For the 2 4 source of modulation choose the Velocity to modulate the filter Cutoff Turn the Amount knob to a value of 0 31 ARTURIA Minimoog V USER S MANUAL 81 ANGUS SOuk E PERIMATOMH f MO PN ooo mT o mn The velocity set to modulate the Cutoff Place the Range knob of oscillator3 to Low mono the last position on the left It will oscillate in low frequencies like a LFO Lower the tuning to 48 4 octaves by turning the central knob to the left with a right click on the mouse This oscillator will not produce audible sound possibly slight clicks marking the oscillation cycle it will be used to modulate the filter cut off frequency Now click on the Filter Modulation to activate the filter cut off frequency modulation by oscillator3 Finally increase the value of the modulation wheel to set the rate of modulation on the frequency of modulation By varying the strength of playing on the keys of your MIDI keyboard velocity the filter cut off frequency is varied with each note The 3 examples that we have just seen will give you the basics necessary in order to delve a little deeper Try other settings The possibilities for synthesis are numerous 9 2 1 Using the arpeggiator Now let s see how to program and play the arpeggiator by using the lead sound from the pre
45. TTACK TIME DECAY nmt SUSTAIN Leven on a A o dili LJ OSCILLATOR MODULATION o WT OSCHLATOR 2 Li J E KEYBOARD Vo COMTROL norse voumt WHITE 9 SOFT LOUDNESS CONTOUR CUPPING NOE TIME MONT TIME SUSTAIN LEVEL VOICE DETUNE POLYPHONIC y LJ LN di p E m ste lec M sed pa CONTROLLERS OSCILLATOR BANK MODIFIERS OUTPUT 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 Templates sub bank The structure of synthesis of this sound is very basic the sawtooth waveform of oscillatori is active and the signal is routed through the low pass filter and then through the output amplifier Oscillator VCO Filter WCF Amplifier Audio output N t VCA m Audio signal Envelope Envelope z ADS ADS The routing of the sound of preset 1_Osc 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 ADS envelope Attack Decay and Sustain ARTURIA Minimoog V USER S MANUAL 27 To clearly hear the effect produced by the ADR envelope on the filter cut off frequency increase the resonance E
46. ULAR Q2 as P 04 Q2 03 04 C4 co c e a a Q2 03 04 a2 03 04 1967 1968 21 1969 1970 a 1971 Moog synthesizers sales figures 1967 1971 Courtesy of Roger Luther MoogArchives com The very first Minimoog prototype was called Model A Three other versions B C and D followed This last model is the final and most common incarnation of the Minimoog synthesizer and the only one that was put into production in large numbers The choice of wood rather than plastic for the cabinet prevailed from the beginning simply because Robert Moog preferred to follow the advice of musician friends rather than drawings coming from Moog s industrial engineers The Model D was first introduced at the NAMM convention in June 1971 It was Moog s first exposure to the music instruments industry and the industry s first exposure to synthesizers The reception was rather cold as according to Robert Moog himself Most dealers didn t know what to make of a musical instrument with words like Oscillator Bank and Filter printed on the front panel Minimoog Model A prototype Courtesy of Roger Luther MoogArchives com ARTURIA Minimoog V User s Manual 9 Minimoog Model D Courtesy of Roger Luther MoogArchives com The Minimoog was an unparalleled success during the 1970 s Artists and bands like Tangerine Dream Kraftwerk Depeche Mode Keith Emerson Jean Michel Jarre Klaus Schulze and Rick Wakeman used the synth
47. USER S MANUAL 1 edition August 2011 MINIMOOG V Version 2 5 Arturia ARTURIA Minimoog V User s Manual Programming Robert Bocquier Thomas Diligent Nicolas Bronnec Pierre Jean Camilieri Sylvain Gubian Graphics Morgan Perrier Yannick Bonnefoy Beautifulscreen Thomas amp Wolfgang Merkle Bitplant Manual Robert Bocquier Thomas Diligent Pierce Warnecke Tomoya Fukuchi Jean Michel Blanchet Houston Haynes Tom Healy Sound designers Jean Michel Blanchet Clay Duncan Celmar Engel Mateo Lupo Chris Pittman Klaus Peter Rausch Very special thanks to Xavier Oudin Gilles Pommereuil C dric Rossy Vincent Travaglini Xavier Oudin Gilles Pommereuil David Poncet Mitsuru Sakaue Noritaka Ubukata Antoine Back Klaus Schulze Scot Solida Noritaka Ubukata Katsunori Ujiie Thomas Koot Robert A Moog Michael Adams Houston Haynes Thanks to Steve Dunnington Randy Fuchs Roger Luther moogarchives com Francois Hays Mark Vail and the numerous beta testers ARTURIA S A 1999 2011 All rights reserved 4 Chemin de Malacher 38240 Meylan http www arturia com Information contained in this manual is subject to change without notice and does not represent a commitment on the part of Arturia The software described in this manual is provided under the terms of a license agreement or non disclosure agreement The software license agreement specifies the terms and conditions for its
48. Voices menu The Unison switch lets you to play all of the voices at the same time The Voice detune knob lightly detunes each of the polyphonic voices r el SOUND A Poly 2 Mode High eum E v e liim Ny Number of polyphonic voices and playing mode The Polyphonic switch activates or deactivates the polyphonic playing mode When deactivated the Minimoog V is in monophonic mode When more than one note is played on the keyboard the note that will be heard depends on the mode of playing selected in the playing mode menu VOLUME MAN OUTPUT UPS Score TO n 313 POLY RONNIE E i r pe F a I E ey a a FI OUTPUT Polyphonic and unison In Low mode we will hear the lowest note in High mode the highest note and in Last mode the last note played on the keyboard In the two first modes when the note is released we will hear the lowest note or respectively the highest without triggering the envelopes In the last mode the envelopes are always active It is possible to prevent the triggering of envelopes with the Legato switch which is on the left of the keyboard LEGATO ON Activation of the Legato mode The original Minimoog uses the Low playing mode when the Legato mode is activated 56 ARTURIA Minimoog V USER S MANUAL The notes played on the keyboard directly command the frequency of the oscillators Nevertheless it is possib
49. Y Mai All s Poly sh a new V2 J M Blanchet WOCAL FILTER MODULATION MATRIX new_V2 _Menno Meijer k y ia new V2 N Ubukata T l 2 DS new Vz T Koot 1 LFO A TL wio aup ARPEGGIA new V2 Tasmodia E TE N PN ce be a G Darcey k 4 d rom el a el E oa wt go A RATI i SPEED PLAY J M Blanchetz bo DAMM DLL a o Templates ho E SS aa Users b Basses e Bassi Basse Mew bank Mew subbank ta keh b j ir e wo ITHE Z i Lo Nelen reset FER LET EET ew MODULATION p d t OVERLOAD Saving a preset 5 2 THE PLAYING MODES The Minimoog V offers 2 playing modes The Classic mode uses the original configuration of the Minimoog Some additional features oscillator 2 can be synchronized to the oscillatori oscillator 2 can be disconnected to the keyboard following circuit and poly mono unison switches have also been added ARTURIA Minimoog V USER S MANUAL 25 Grin V a Settings Skin Knob Mode Panic 2 i ie f Users Basses Bass2 C E Midi Al s Poly 4 Mode eve es lin DW LEARN OPEN FILTER AMOUNT CUTOFF FREQUENCY EMPHASIS OF CONTOUR VOLUME MAIN OUTPUT o 4 2 12 a Vd GUA EXTERNAL MODIN At NC UNISOW 1 t INPUT VOLUME n 2I ZI a OSCILLATOR e s m gt paa OVERIOAB Mi E a P o gt T d ow aie rd 1 f f i MODULATION Otra 0 10 0 m 3 16 gm wirds t
50. al Number minimoog v Unlock Code Product ARP2600 Y iM Q gm h sanre ATT fria XXXX XXXX XXXX XXXX for Software XX XXX XXX XXX for Hardware Please use Unlock Code XXXXXXX Only if printed on your registration card Next is the confirmation screen ARTURIA Minimoog V USER S MANUAL 19 Please confirm the following information se E mail address e Product amp RP267 Y s Serial Number mme fal Submit And finally there is a screen from which you can copy the eLicenser activation code The very same information is sent to you by email as a backup Now that you have retrieved the activation code launch the eLicenser Control Center This application has been automatically installed on your computer along with the Minimoog V It is accessible here Windows Start gt Programs gt eLicenser gt eLicenser Control Center MacOS X Finder gt Applications gt eLicenser Control Center The following screenshots have been taken using computer running Mac OS X however the process is strictly identical under a Windows XP Vista 7 machine The same functions apply only the graphical user interface differs and possibly also the language used These little details should not prevent you from understanding the full process In the eLicenser Control Center main window you should see a SeL software dongle installed onto your computer eon eLicenser Control Center eLC Version 6 0 2 7002
51. are e MOUSE x Output of oscillator 3 EG VOF sms Filter envelope output EG VCA soso VCA envelope output e P Bend Pitch Bend wheel e ModWheel Modulation wheel e AfterTouch Polyphonic aftertouch Channel pressure amp FOOD Expression pedal e Velocity Velocity EPO APA LFO output e Kbd Follow Key follow output 6 EXU IM oiieeriesasa ases External input signal VCA Out VCA output signal 64 ARTURIA Minimoog V USER S MANUAL Voice NUM Gives a different fixed modulation value for each voice number voice played Trigged SH1 Fixed random modulation value for each note played Trigged SH2 Fixed random modulation value for each note played OP arista No source of modulation The parameters that can be modulated are VCOL FM P Frequency of oscillator 1 VCO1 PWM Impulse width of oscillator 1 VCOT AM isso Output level of oscillator 1 VCOZ Fiori Frequency of oscillator 2 VCO2 PWM Impulse width of oscillator 2 VCOZ AM iex Output level of oscillator 2 VCO3 FM Frequency of oscillator 3 VCO3 PWM Impulse width of oscillator 3 VCO3 AM Output level of oscillator 3 Noise AM Output level of noise generator EXE AM ori Level of the audio external input Ure MERE E Filter cut off frequency Emphasis
52. ator2 is synchronized with the first and tuned to double the tonality The resulting waveform is unique in that it cannot be created by standard synthesis techniques such as layering or filtering 8 1 1 6 Frequency modulation A frequency modulation FM can be created between 2 oscillators by connecting the audio output from a first sinusoidal oscillator to the modulation input of a second oscillator On the Minimoog V if you turn the modulation rate ring you will obtain a sound richer in harmonics If you introduce a square or sawtooth signal the result can be quickly distorted but interesting for inharmonic sonorities like bell sounds or special effects for example FM Amplitude Amplitude Harmonic number 1 2 3 4 5 6 7 8 Frequency Time and spectral representations of a frequency modulation 8 1 2 The noise module The noise signal spectrum has all frequencies at an equal volume level often referred to as white noise For this reason the noise module is used to create different noises like the imitation of wind or special effects White noise is the richest of noises Pink noise is also often present on synthesizers It is less rich in the high frequencies than white noise Also note that the audio output of noise can also be used as a modulation signal especially when strongly filtered to create random cyclic variations On pre cabled synthesizers the noise module is either integrated into the oscillator its audio
53. bility and fitness for a particular purpose No oral or written information or advice given by Arturia its dealers distributors agents or employees shall create a warranty or in any way increase the scope of this limited warranty 13 No Liability for Consequential Damages Neither Arturia nor anyone else involved in the creation production or delivery of this product Shall be liable for any direct indirect consequential or incidental damages arising out of the use of or inability to use this product including without limitation damages for loss of business profits business interruption loss of business information and the like even if Arturia was previously advised of the possibility of such damages Some states do not allow limitations on the length of an implied warranty or the exclusion or limitation of incidental or consequential damages so the above limitation or exclusions may not apply to you This warranty gives you specific legal rights and you may also have other rights which vary from state to state ARTURIA Minimoog V USER S MANUAL 95
54. cal filter Manually moving the red ball cursor An LFO is also available to make an automation of the cursor movements You can set the radius amplitude of the LFO by clicking on the red ball cursor and moving it out of its initial central place This action will set the width of the circular ball movements It s also possible to re arrange the order of the five vowels on the screen space To do this simply click on one of the 5 letters and drag it to the place you wish on the screen Those changes will introduce some interesting variations when you modulate your five filters manually or with the LFO Re arrange the order of the vowels On the bottom of the main screen three potentiometers and a button allow setting additional parameters as follows The Vocal Filter parameters From left to right Dry wet eeeere Sets the balance between the dry signal coming from the Minimoog V or from an external audio source and the vocal filter signal MEMO Cm Sets the band width of the 5 band pass filters of the Vocal Filter When set all the way to the right it results in a very thin audio signal close to a ringing sound A O ian Sets the rate of the Vocal Filter LFO e LT button Starts or stops the LFO activity ARTURIA Minimoog V USER S MANUAL 63 7 9 THE LOW FREQUENCY GENERATOR The Minimoog V brings a new module which allows the generation of a very low frequency to modulate an
55. ciated to a MIDI node through the appropriate menu Seq l Cycle Record Start El Selection Start 1111000 End zai loann xj MUE LO0F LOCK REC IHFUT LEWEL FLAY OUTFUT TAKE UOICE COL TRACK HB 1 e Conc Aone Moog Modular o Audio 5 meert C 3A 4 AE AE AE E imi Mew Device Group Connection of the Minimoog V to a MIDI node In this way we can also control the Minimoog V through a command keyboard see the Digital Performer manual for the connection of this type of device 10 4 4 Saving presets When the session is saved the state of the Minimoog V is saved as is even if the programming corresponds to no preset For example if you were working on a preset BassOne on which you had changed settings without saving them as BassTwo the next time you open the song the Minimoog V will load the preset BassOne plus the changes ARTURIA Minimoog V USER S MANUAL 91 The dropdown menu offered by Digital Performer to save the settings of a plug in work with the Minimoog V NHowever we recommend that you use the internal menu of the Minimoog V This is for several reasons Presets saved in this manner can be used in any other sequencer making the exchange between users easier They will be compatible with the different versions of the Minimoog V that will appear with its evolution 10 4 5 Automation Automation works with the Minimoog V like any other MAS plug in refer
56. click on the All button on the bottom of the type filter window this will hide all the instrument types from the sound map MON The ALL button Then select the type s you want to see by clicking on the corresponding square box es A square appears on the selected box es and the type s of preset appears on the map interface us LER Hide Show Pad Presets MIE miss Show pad presets This is a good way to simplify and to refine the preset search If you click again on the AII button all the types of presets will be displayed on the map 6 2 2 4 Preset snap shot memories You can select up to four presets anywhere on the map interface and save them on up to four snap shot memories You will be able to use those four presets on the Morphing View see below for more details to create new sounds by using the morphing feature Of course you can save any kind of type of presets on these four snapshot memories MAP SHAPS EHAPA P AS NE A Select a snapshot memor TO save a preset on a snapshot memory Select a preset on the sound map main interface Hold the Shift key and select one of the four snapshot memory button The snapshot memory button is now highlighted in red Repeat the same actions if you wish to save presets on the three other snapshot memories If all memories already contain a saved preset you can replace them with other presets Select an
57. e order book was always full The modular synthesizer series had 5 years of high sales and sold around 200 models in the United States However the sales would rapidly decrease because the gigantic proportions of modular units put a damper on the interest of most musicians and also prevented the instrument from entering most music shops and therefore from being known Furthermore a serious competitor ARP has just arrived on the market At the same time Bob Moog received requests for a more compact instrument that could be transported more easily directed more to the stage than the studio With the help of an engineer from Berkeley Jim Scott and the advice from numerous musicians he was about to create another legendary synthesizer the Minimoog Here it is A compact moderately priced electronic music synthesizer designed for live performance This is the way the Minimoog was introduced on the very first promotional brochure in 1971 The Minimoog synthesizer required several months of research and development and 4 prototypes before leading to the commercial model More than 12 000 units were sold until 1981 They were quite far from the 10 modular units per month that Moog Music produced in the late 60 s In 2003 Arturia released a software emulation of the famous modular Moog synthesizers under the name of Moog Modular V 8 ARTURIA Minimoog V User s Manual 100 at at FO BIO OG BO 5 AL 30 20 MOD
58. each containing a number of sub banks and presets For security the factory banks cannot be directly modified It is nonetheless possible to create a sound based on a factory preset by saving it as a user preset 6 1 1 Choice of a bank sub bank preset The bank sub bank and preset in use by the Minimoog V are permanently displayed in the synthesizer tool bar CP chris4 Display of current bank sub bank and preset To choose a preset in the current sub bank click on the right most button and a dropdown menu appears with a list of the presets of the same sub bank You can choose another preset by selecting the corresponding line in the dropdown menu As soon as the preset has been chosen you can play the new sound on your MIDI keyboard or from your sequencer J M Blanchet X T JMB Dark Pole we v JMB Dark Pole JMB Hardcore JMB Hight Mad JMB Meditation JMEB Sync Bells MOTION RECORDER Choose a preset in the same sub bank To choose a preset in the same main bank but a different sub bank click on the L middle button and a dropdown menu appears with a list of the sub banks contained in the same main bank Each sub bank listed in the menu allows you to open a sub menu containing its presets A click on a preset allows you to directly choose a preset in the new sub bank 34 ARTURIA Minimoog V USER S MANUAL Basses CP A rpeggio MODULATION MATRI AMC MOTION RECORDER
59. econd will help you to use the modulation matrix Finally the third part will teach you to use the arpeggiator and the effects 9 1 SUBTRACTIVE SYNTHESIS 9 1 1 A simple bass sound To begin we will see how to program a bass sound As we saw in chapter 3 Quick Start the Minimoog V uses 3 oscillators We will only use the first for this example It will be composed of An oscillator A low pass filter Filter An output VCA Output The envelope corresponding to the filter The envelope corresponding to the output amplifier Loudness Contour You will thus obtain a base patch for subtractive synthesis Choose the preset Temp Blank in the Templates bank sub bank Temp Synth This preset does not produce sound yet Don t worry this is normal The following image shows the different knob positions OSCILLATOR 1 WAVEFORM VOLUME VOLUME MAIN OUTPUT FREQUENCY L 4 4 nit 1 d D 7 UNISON EXTERNAL TA y 3 T INPUT VOLUME D Er d __ S 1 OM lt i OT A 1 d x OVERLOAD ni EE 4 men A o o At bJ E PE out OSCILLATOR MODULATION L 2 e KEYBOARD M CONTROL I WHITE gt o 10 MOD MIX f 1 NOISE VOLUME a dl 4 s ear hd FU d _ po MM y OCI n gt o Wk a SIC SIC o SOFT 2E 7 osc a vs vt a ts aa P LOUDNESS CONTOUR CUPPING 20 n race a4 JA X OR y ATTACK TIME DECAY TIME SUSTAIN LEVEL VOICE
60. ed in decibels per octave or dB Oct The filters used in classic analog synthesizers have 24 dB Oct or 12 dB Oct slopes The Minimoog V offers 1 type of slope 24 dB Oct slope amplitude amplitude CF amplitude e frequency frequency frequency rough signal low pass filter filtred signal CF Cutoff Frequency Spectral representation of a rough then 24dB LP filtered signal On the Minimoog V you have access to one type of filtering The low pass filter LPF progressively removes high frequencies above the assigned frequency limit the cut off frequency and allows the sound below the cut off to pass through unchanged Depending on the setting we will hear the sound becoming more or less brilliant more or less dampened This is the type of filtering that you will find most often often on synthesizers that use subtractive synthesis It can be found on most of the recent analog and digital synthesizers ARTURIA Minimoog V USER S MANUAL 71 wy eee E Hz 20 00 40 00 80 00 1800 320 0 5640 0 1280 2560 S120 10240 Spectrum of a noise signal proceed with a low pass filter 8 1 4 2 The resonance A second setting to compliment the cut off frequency the resonance You will also find it called Emphasis or Q for Quality of filtering The resonance amplifies frequencies close to the cut off frequency The other frequencies remaining are either unchanged below the cut off frequency or reduced above the cut o
61. er Fader e As a HTDM plug in Host Time Division Multiplexing only TDM Systems so with at least one extension card for Mac OS 9 and X can use these plug ins refer to Digidesign for HTDM compatibility with Windows which is to come The latter work exactly like TDM plug ins no limitations on insertion positions etc with the difference being that the treatment is primarily being done by the central unit and not by the extension cards The advantage of this standard is the delicacy of TDM as well as the fact that this keeps the card s DSPs as free as possible Recap on the compatibility AAA Mac OS X Windows 98 2000 XP TDM System RTAS and HTDM RTAS stereo in stereo out stereo in stereo out Other Systems RTAS mono in stereo out RTAS mono in stereo out Pro Tools LE Free and stereo in stereo out and stereo in stereo out 10 3 3 Opening the instrument Access to the Minimoog V plug in is like any other plug in like for example through the insertion of an audio track eos testvide g NS Long Delay Il stereo Extra Long Delay Il stereo Opening the Minimoog V in Pro Tools for Mac OS X E N be Audio 1 E r ntitled l H vedr_Ip2 MIDI 1 Is V noinsert MIDI 2 be Audio 2 E multi channel TDM plug in gt minimoog V stereo multi channel RTAS plug in pe Short Delay Il stereo Slap Delay Il stereo muiti mono Medium Delay Il stereo multi mono RTAS plug in gt P i o A
62. er the cut off ao of the am pass filter Change the range of the oscillator with the range knob as a default it is set to 8 In this case lower it to 16 HAMGE OSCILLATOR 1 WAVEFORM rL mm FREQUENCY A ANA A Change the range of oscillator1 Increase the decay time for the filter envelope Decay to a value somewhere around 400ms so that the cut off frequency progressively decays when you press a key You will thus obtain a simple yet efficient bass sound ARTURIA Minimoog V USER S MANUAL 77 ELE ER AMOO CUTOFF FREGUENCY EMPHASIS OF CONTOUR uh or Increase the decay time for the filter envelope You can now save your sound by clicking on the Save As situated on the left of the toolbar It will be useful as a base template for programming lots of other sounds 9 1 2 A3 oscillator lead sound Starting from the current sound just made we will now go a little further and create a rich lead sound It will be composed of e 3 oscillators A low pass filter Filter An output VCA Output The envelope corresponding to the filter The envelope corresponding to the output amplifier Loudness Contour Start by again increasing the Decay time for the filter envelope so as to prolong the fall of the cut off frequency By using a value somewhere around 2000ms the sound will seem brighter So as to hear the sound from the 2 other oscillators click on the 3 and
63. esizer notably for the typical sound and its very warm quality which is excellent for basses and lead sounds After the production stopped in 1981 there had been several failed attempts to restart production of the Minimoog in the 90 s With the arrival of computer music technologies the Minimoog has been very often mimicked as a virtual instrument with little success Arturia s Minimoog V is the latest avatar and thanks to the TAE technology we dare to think it is probably the most accurate Minimoog emulation available on the market Now Moog Music Inc develops a modern version of the Minimoog hardware synthesizer under the name Minimoog Voyager a new version of the Minimoog that has quite a few innovations in its own right R A MOOG e F Moog plate affixed on the very first Minimoog prototypes MUSIC INC gallaliaatetere Moog plate affixed on Minimoog D series Courtesy of Roger Luther MoogArchives com 10 ARTURIA Minimoog V User s Manual 2 2 A BETTER EMULATION THANKS TO TAE TAE standing for True Analog Emulation is a new technology dedicated to the digital reproduction of analog circuits When implemented in software code TAE algorithms guaranty the respect of hardware specifications This is why the Minimoog V offers an unparalleled quality of sound In detail TAE means 2 2 1 Aliasing free oscillators Standard digital synthesizers produce aliasing in high frequencies and also
64. fect The original Minimoog does not contain any dedicated LFO You can use the third oscillator in low frequency Lo position of the Range selector to modulate the filter and oscillators frequency The signal of the third oscillator can be mixed with the noise signal to create some random modulations A L Wigi F IT t Y O RATE The LFO module of the minimoog V Now to finish here is the diagram of a complete synthesis voice on the Minimoog V containing 3 oscillators VCO 1 noise module 1 mixer mixing of the 3 VCO and the noise generator 1 low pass filter VCF 1 amplifier VCA 2 envelopes one for the filter and the other for the VCA 1 LFO 74 ARTURIA Minimoog V USER S MANUAL A T A A ADS R Env LFO ADS R EST A complete Minimoog V synthesis voice ARTURIA Minimoog V USER S MANUAL Audia output 75 9 A FEW ELEMENTS IN SOUND DESIGN Here is a series of examples designed to guide you through the creation of a sound and a sequence They are classed in order of difficulty going from the easiest to the most difficult and are organized into 3 parts e The first part will help you to grasp subtractive sound synthesis You will start with the most basic patch make a VCO oscillator sound in an output VCA amp and finish by touching on the programming of a more rich sound several oscillators the filter the frequency modulation of the filter and oscillators The s
65. ff frequency On the Minimoog V you can increase the amount of resonance via the emphasis knob When you increase the resonance the filter becomes more selective the cut off frequency is amplified and the sound begins to ring Amplitude 4 Frequency Frequency G resonance With a high resonance level the filter will begin to produce a sound close to a sine waveform At this stage the use of a key follow is very important as you can create a melody by tuning the cut off frequency of the filter to the frequency of the oscillators AMOUNT OF COHTOUR menm N Is L gt JE ca E 4 E T Mes TIME PECAT TISE SUSTAIN E K TECAED l BON Q 1 CONTRO The filter settings of the ae V 8 1 5 The amplifier or VCA The amplifier Voltage Controlled Amplifier receives the audio signal coming from the filter to be adjusted before the volume is sent to the speakers 72 ARTURIA Minimoog V USER S MANUAL VOLUME MAH OUTPUT UMISSOH The Minimoog V VCA In conclusion here is a diagram that should help you to understand the composition of a basic sound OSCILLATOR FILTER AMPLIFIER gt LOUD SPEAKERS audio signal Basic audio path in analog synthesis 8 2 OTHER MODULES 8 2 1 The keyboard If we stop here the sound that you will obtain will be uniform without life and without an end The oscillator delivers a sound signal the audio output of a waveform of a fixed pitch in
66. he processor usage gauge lets you control the processor power dedicated to sound synthesis in real time This gage is directly visible in the instruments tool bar Attention this information only corresponds to the processor rate dedicated to sound synthesis it is therefore inferior to the global system load 10 2 VST 10 2 1 Installation 10 2 1 1For Windows During the installation check the VST option among the plug in formats proposed The installer will automatically detect the VST instrument folder used by your version of Cubase In the case of another VST compatible sequencer like Logic Audio for example you need to manually copy the plug in file to the appropriate folder You can find this file after installation in the folder C Program Files Arturia minimoog V The file is named minimoog V dll 10 2 1 2For Mac OS X The VST plug in will automatically be installed in the system folder corresponding to VST instruments allowing it to be used by your VST host type applications 10 2 2 Using the instrument in VST mode The opening of the Minimoog V VST plug in is like any other VST plug in please consult the host sequencer s user manual for more information For Cubase SX open the menu Devices VST Instruments and choose the Minimoog V from the menu YST Instruments 1 X EN e No YST Instrument LM 9 Synths ES Neon 1 storm Opening the Minimoog V in Cubase SX for Windows 1
67. htness of the sound In the same manner you can change the range of oscillatori 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 RANGE OSCILLATOR 1 WAVEFORM VOLUME a d FREQUENCY A I 1 J u gt 3 Range Osc 1 h LL LL T Y A No Taai e S LIT Ay E p on 7i EE E Inn 2 i iD Hs I j y s TE aM e E i pre OSCILLATOR BANK Setting the range of oscillator 1 Range By performing these first settings you have already modified the JMB Classici 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 slots for bank and sub bank as well as a new preset are all 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 their names 24 ARTURIA Minimoog V USER S MANUAL iis Users Basses Has57 Y
68. ial number of Minimoog V and the unlock code these are an integral part of the software and are printed on a small plastic card Connect your computer to the Internet and go to this web page http www arturia com evolution en community my account html If you don t have an Arturia account yet please create one now Want to create an account Click here This will send you to this form Create your account here Indicates required fields Firstname PO Lastname PO Email address PO Confirm email PT Confirm password Doo E Address o O I wish to receive the Arturia newsletter 18 ARTURIA Minimoog V USER S MANUAL If you already have an account simply log in Already have an account cmatadiresss Remember me d Forgot my password One you are logged into your account you can register your Minimoog V and request your activation code Go to the My Registered Products section of your account and click on the Add button My Registered products amp Syncrosoft Activation Codes Serial number Activation code Date Acton Minimoog Y L E A i O Activation codes for this license Technical Suppart inquiry In the form that appears select Minimoog V in the drop down menu and key in your synthesizer serial number and unlock code as written on the registration card My licenses aalala aelel DARAS d Add a license Seri
69. ically assigned to Cutoff frequency you can check MIDI control message value gt d Tweak MIN and MAX sliders to adjust bounds for that control Repeat this operation for other controls Notice that you can assign multiple GUI controls to a single hardware control Click the Learn button and select LEARN entry to switch off Learn mode Click the Learn button and select Save As to save your configuration New configuration name Conl guration name NewConfiguration Save As popup Now you can find and quickly reload your newly created configuration in the Learn menu 32 ARTURIA Minimoog V USER S MANUAL lim Qu aR oes LEARN Save Save As Remove v Analog Experience Keyboards NewConfiguration Spark Controller Learn menu recall newly created configuration ARTURIA Minimoog V USER S MANUAL 6 THE INTERFACE 6 1 USE OF PRESETS Presets let you memorize the sounds of the Minimoog V A preset contains all of the information pertaining to the reproduction of a sound In the program the presets are classed in banks and sub banks Each bank contains a certain number of sub banks which generally determine a type of sound sub bank basses sub bank sound effects etc Each sub bank contains within itself a certain number of presets The Minimoog V is shipped with several factory banks But it is possible to create new user banks of sounds
70. ime thanks to a morphing result between 4 presets 38 ARTURIA Minimoog V USER S MANUAL v 7 Snap 42 KS BssThunder Snap 1 JMB_Synti_ Bells Snap 4 NU ShakePet m Percussive m Sequence m Strings Snap 3 mGuitar LM_Bass 14 m Keyboard The Morphing interface Let s go more deeply into the different sound map interfaces 6 2 1 Opening the sound map To open the main Sound Map interface click on the SOUND MAP button located on the tool bar A new window appears over the Minimoog V main interface y i Mici All e Poly 2 Mode High eae 25 a dr gt litte Mu T MODULATION MATRIX Ac INT Am Get Pasty aa WHAI ETE ATS HOCI _ EAT ATL or ds Co Svcr mu Lt MOE AN ar 60 vun DOM were Ju a ee Cm DOA hi mde eei e 3 Open the main Sound Map interface To open the preset list page click on the LIST button on the top right of the sound map interface j LEE I Er 5 a Open th List interface To open the preset morphing page click on the COMPASS button Open the Morphing interface ARTURIA Minimoog V USER S MANUAL 39 To return back on the main sound map interface click on the MAP button Sra Return back on the map interface 6 2 2 The sound map interfaces 6 2 2 1 The sound map main interface The sound map interface shows a map where are shared out all the presets of the Minimoog V organi
71. in v RTAS plugin Current selection requires at least 523 7 MB of disk space NN mm Choice of protocols For the VST protocol you must choose an installation folder in order for the host application to use the Minimoog V as a plug in If you do not know how to make this choice go to Chapter 8 B Setup minimoog v Choose VST Install Location Choose the folder in which to install VST plug in then dick Next Please choose the folder where the 32 bit VST plug in will be installed Program Files x86 Steinberg WstPliiains Please choose the folder where the 64 bit YST plug in will be installed C Program Files 5teinberg WstPluains lt Back IL next gt Cancel S Choice of VST plug in installation folder The installation program now has enough information to complete the installation When the installation process is completed please proceed to authorization step Chapter 3 16 ARTURIA Minimoog V User s Manual 3 2 MAC OS X INSTALLATION Insert the CD ROM into the drive Explore the contents of the CD ROM then double click on the icon named Minimoog V 2 5 Follow these steps Read and accept the End User License Agreement Select a destination When prompted enter the administrator name and password of your computer in the authentication window Authenticate Installer requires that you type your password Name Password b Details 2 Cancel t 9 OK
72. ion must be exchanged with the server of SIA Syncrosoft In the event of OEM software the activation codes will be send to an email address submitted by you during a registration and must be entered manually by the user upon installation and the license information must be exchanged with the server of SIA Syncrosoft The reinstallation of the software on the same or another computer is permitted only in case the already installed software cannot be used any more e g following deinstallation If the software does not use a Syncrosoft key the new activation codes may be obtained from the users online account for support created during the personal product registration Further the activation codes must be entered manually by the user upon installation and the license information must be exchanged with the server of SIA Syncrosoft Arturia may require for the provision of further activation codes e g your proof of purchase invoice receipt and a signed assurance by fax or letter stating your name address and that the already installed software cannot be used any more You can also use another computer other than the one on which the software is to be installed for the activation and transfer of license data to the Syncrosoft key if the software is using a Syncrosoft key However in such a case a corresponding access software Syncrosoft License Control Centre LCC must be installed on the computer connected to the Internet which is subject t
73. izers in the 80 s The Moog Minimoog or even your own Minimoog V is among the best illustrations of the enormous possibilities of subtractive synthesis 8 1 THE THREE MAIN ELEMENTS 8 1 1 The oscillator or VCO The oscillator Voltage Controlled Oscillator is the starting module with the noise module which is often classed among the oscillators for the creation of a sound on an analog system It will generate the initial sound signal We can think of the oscillator like a violin string that once stroked or plucked vibrates to create its sound RANGE OSCILLATOR 1 A toe FREQUENCY A F OSCILLATOR BANK The oscillator settings The main oscillator settings are The pitch determined by the oscillation frequency You can set the frequency of the oscillator with 2 controllers first the RANGE selector which determines the fundamental frequency it is expressed in feet Low 32 16 8 4 2 the highest number 32 brings the deepest tone inversely the smallest number 2 brings the highest tone Secondly the detune setting FREQUENCY lets you tune the oscillator more precisely On the Minimoog V the RANGE and FREQUENCY buttons are placed in the OSCILLATOR BANK panel The waveform which determines the harmonic richness of the audio signal On the Minimoog V 6 waveforms are available triangle saw triangle sawtooth square duty cycle 48 wide rectangular duty cycle 29 na
74. lation of the cut off frequency by the velocity e A modulation of the width of the oscillator2 square by the LFO To begin lower the filter cut off frequency to around 4 46 44 00 Hz This will make the different modulations easier to hear 80 ARTURIA Minimoog V USER S MANUAL gt gt FILTER x5 EXTERNAL INPUT VOLUME AES 3 E 4 E i tard a D XN DL ON SS a MAJA Seed A ES E WHITE ee soe AMES B 4 45 44 06 Hz Mk Se On the matrix start by choosing the first source of modulation by clicking on the display on the left of the first line LFO for Low Frequency Oscillator E im mme mem gm Ln mc AM Sou 2 rd lice WO 3 Ets WCF Ets YCA Bender Wheel After Touch Foot Exp Velocity 7 Edi External In Choice of source Do the same thing for the first destination by clicking on the display situated on the right of the first line choose VCO2 PW square width of oscillator2 Oon e e anos IIIS PESTIMATIH ETSI ES Lis A feo 2 pin Mor EMEN ow mer g em Qo EN Choice of destination Increase the rate of modulation by turning the Amount knob between the two displays Place it at a value of 0 0480 The square width of oscillator2 varies slightly in a way that creates a detuning between the 2 oscillators gt gt MODULATION MATRIX ET Cet LET Cal SFA H Line Ol SL
75. le or this frequency to move slowly from one note to the next This function called portamento is activated with the Glide switch on the left of the keyboard Setting the portamento time The Glide switch activates or deactivates the glide It can be controlled by a foot Switch pedal In this case you must click on the jack on the left The same is true for the Decay switch activating the time for the return to zero of the envelopes DECAF CN Activating the portamento and return to zero of the envelopes by pedal When none of the jacks are connected any pedal commands act on note sustain 7 6 THE PITCH BEND AND MODULATION WHEELS On the left of the keyboard we find two wheels one for modifying the oscillator frequency the other for varying the amplitude of the modulation brought by the third oscillator either on the oscillator frequency or the filter cut off frequency When the modulation wheel is at zero the window displays no modulation This means that it is not possible to modulate the value given by this wheel with the modulation matrix see underneath On the left of the bend wheel we find a BEND switch and a RANGE potentiometer The BEND switch is used to disconnect the bend wheel from the frequency of the oscillators We can thus through the modulation matrix use the bend wheel to modify a parameter of synthesis without modifying the frequency of the oscillator The
76. lities n y 9 lin ty aen 25 L LEARN Save Save As Remove v Analog Experience Keyboards Spark Controller Learn Menu The Learn Menu is composed of 2 sections First section provides e Learn Mode activation and deactivation e Save current configuration e Save As current configuration to a new one e Remove current configuration from list The second section contains the list of existing configurations e The ticked one is the current one e Click on a configuration to load it 6 3 5 2 Assigning MIDI controls In order to start assigning MIDI controls click the Learn menu then the LEARN entry The entry menu button remains highlighted to indicate that the learn mode is ON Click on a controller of the GUI to open the MIDI assignment popup ARTURIA Minimoog V USER S MANUAL 47 Plug in parameter name MIDI Control Setup Assigned or not LEARNING CUTOFF MIN MAX E Use NRPN Contro BE number CERO EXTERNAL INFUT VOLUME il OVERLOAD MIDI assignment popup Learn assignment The first and easiest way to assign a control is to move it for it to be recognized by Minimoog V Hand assignment It is also possible to change the assigned MIDI control number by clicking on Control xx and select another value gt Support for NRPN In addition to MIDI Control Change messages NRPNs are now supported either
77. moog V User s Manual 3 INSTALLATION 3 1 WINDOWS INSTALLATION Insert the CD ROM into the drive Explore the contents of the CD ROM double click on the icon named Minimoog V 2 5 Setup exe At the first step of the installation choose the destination folder for the Minimoog V installation By default it will be installed in the following location on 32 bit systems C Program Files Arturia minimoog V And I the following location on 64 bit systems C Program Files x86 Arturia minimoog V You can change the destination with the Browse button ie Setup minimoog v Welcome to the minimoog v Setup Wizard This will install minimoog v 2 5 0 on your computer It is recommended that you cose all other applications before continuing Click Next to continue or Cancel to exit Setup Choose the installation folder The Minimoog V will be installed as a standalone application The following stage will let you choose to install the Minimoog V as a plug in To do this choose the protocol s that you wish to use VST or RTAS For more information on these protocols go to Chapter 8 ARTURIA Minimoog V User s Manual 15 ip Setup minimoog v Select Components Which components should be installed Select the components you want to install dear the components you do not want to install Click Next when you are ready to continue Ful installation v Standalone application v VST plug
78. mphasis value to 5 00 This will amplify the filtering effect and the sound will start to ring 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 SITES rmm CUTOFF FREGUEMEY EMPHASIS of CONTOUR B F FILTER 7 EXTERHAL Moca E wi m E IRF WE Lu EE F FT OLUME Ln E r i eo te OVERLOAD on L LJ i kE 3 ATTACK TIE DECAY MME SUSTAIN LEVEL a KEYaie ou tty i o ad dut 4 5 CONTROL ri rz L ees 0 in J 2 roe ped NONSE VOLUME Ho y i t 1 i al i j A WHITE SEET i Tia pes hig F L L m M ZEC ME M EEID a nET i om to 3 El i A J E WCF Attack TTACK eet erri iret ESRB i Taal 315 63 ms poe A The Attack time parameter of the filter envelope 2 m tn x 1 Ld L PE 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 LOUDNESS CONTOUR ATTACE TIME DECAY TIAE SUSTAIN LEVEL ae 1 A Y 1 1 1 P C z F eg E 3 z f n T a E E E P E
79. mple With the added LFO module added in the panel of the Extended mode you can keep the 3 oscillator as a base for sound and add an additional source of modulation to be used on one of the 35 available locations Let s apply 2 additional types of modulation to the 1 Osc preset gt Among the modulation sources choose the low frequency oscillator 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 cyclical way following the LFO oscillations Col FM Glide WlOL PYM Mix Mod vCO AN Mod Wheel vC o2 FM ca Al Woe Py IFa FM Yolo AM Fo OM ECO FM Noise 41 Vos FPM Ext AM VOS AN Pan Mod vC oOl2 FM Wocal Filt X 20125 FM vocal Filt Y WlOLS Put OFF WlO123 Pl m vco12 AM rw Emphasis k E EG YCF Att EG YCF Dec Ets VF Sust EG VCF lev EG YCA Att Ei YCA Dec 90 EG VCA Sust EG WEA lev mir w Modulation of the filter cutoff frequency by the LFO Between the LCD displays is 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 ARAGUA i mt ANARAN GH HAERE PANNA MEA SALER es crum OT a OT on AW Lo gt cator e 0 0480 j Turn the knob to the right to apply a positive value Let s control the amount of the LFO modulation by using the modulation wheel to control the
80. n Recorder are VCOIEMus edis ras Coarse frequency of oscillator 1 VCO1 PWM Pulse width of oscillator 1 VCO1 AM Output level of oscillator 1 available in the Mixer MCO2 Msn Coarse frequency of oscillator 2 VCO2 PWM Pulse width of oscillator 2 VCO2 AM enne Output level of oscillator 2 available in the Mixer VCOS EM Coarse frequency of oscillator 3 VCO3 PWM Pulse width of oscillator 3 VCOS A Micra Output level of oscillator 3 available in the Mixer VCOLZ PM Coarse frequency of oscillators 1 and 2 VCOI23 EM Coarse frequency of oscillators 1 2 and 3 VCO12 PWM Pulse width of oscillators 1 and 2 VCO123 PWM Pulse width of oscillators 1 2 and 3 VEOT2 AM s15222 94283 Output level of oscillators 1 and 2 CULO arcas Filter cut off frequency Emphasis Level of filter resonance EG VCF lev Amount of filter envelope EG VCA lev Amount of amplifier envelope GIG M an Portamento time MIXMOG 55555532522 555222 Balance between oscillator 3 and noise Mod Wheel Amount of internal modulations only oscillator and filter VCA AM VCA output level LEO EM osaient LFO speed OA Masies LFO amplitude Noise AM Output level of noise generator available in the Mixer 60 ARTURIA Minimoog V USER S MANUAL e EXE AM ras Level of the audio external input available in the Mixer e Pan Mod
81. n envelope generator a white noise generator a trigger and two keyboards each with a generator module sawtooth triangle and square as well as a voltage controlled amplifier module VCA A second prototype grouping those new modules all together was built during summer 1964 and shown at the AES Audio Engineering Society autumn show where Moog took advantage of an unused stand In 1965 upon the success encountered at this show Moog decided to release the 900 series for sale RAM MOOG COMPANY The R A Moog Company at Trumansburg NY Courtesy of Roger Luther MoogArchives com In 1967 Moog decided to release different machines each with a certain number of modules This marked the birth of modular systems I II and IIT In 1968 worldwide recognition came with the success of Switched On Bach by W Carlos This album in which classical music is played on a Moog sold over one million copies and won 3 Grammy awards Bob Moog quoted by Mark Vail in his book Vintage Synthesizers Miller Freeman 1993 ARTURIA Minimoog V User s Manual 7 o ue ev T o lo EE 0 06 oo 00 o6 oo aa OO 00 The modular system III 1967 Courtesy of Roger Luther MoogArchives com Success grew and big groups like Tangerine Dream the Beatles and the Rolling Stones would also become modular Moog owners In 1969 the company which at that time had around 40 employees was building up to 3 modulars per week and th
82. n position we find two effects chorus and stereo delay Chorus and stereo delay The chorus has three knobs Rate Depth and Dry Wet which respectively set the speed the depth and the relationship between the original signal and the modified signal The type buttons allow the selection of chorus types from the simplest to the deepest The delay contains two knobs Time Left and Time Right respectively for setting the time for the left channel and the right channel two knobs FeedB Left and FeedB Right respectively setting the feedback of channels left and right and finally a Dry Wet knob which sets the relationship between the original signal and the modified Signal The Midi Sync switch lets you synchronize delay return time to the tempo of the host application 66 ARTURIA Minimoog V USER S MANUAL 8 THE BASICS OF SUBTRACTIVE SYNTHESIS Of all forms of sound synthesis subtractive synthesis is one of the oldest and still certainly one of the most employed today It is this method that was developed toward the end of the 60 s on analog synthesizers like the Moog ARP Yamaha Buchla Oberheim Sequential Circuits Prophet series Roland Korg MS and PS series and many others This concept of subtractive synthesis is still used on most current digital synthesizers complementing sample reading or wave tables which progressively replaced the analog oscillators of the first synthes
83. ned with the original Minimoog In fact electronics can never guarantee a perfect zero level to the filter input as is the case with a virtual reproduction 54 ARTURIA Minimoog V USER S MANUAL 5 T T ATTACK TEME DELAY TIME Hd ET LIB LEVEL mo 1 BD y 1 EAE g L The envelope generator associated to the filter can be adjusted with the Attack Time knob for the attack time and the Decay Time knob for the decay time and the Sustain Level knob for the level of sustain Unlike other envelope generators there is no separate setting for the time to return to zero This time is the same as the decay time but can be activated or deactivated with the decay switch situated on the left of the keyboard When it is deactivated the return time to zero for the generator is practically zero The two Keyboard control switches allow the use of a key follow on the filter cut off frequency e When they are set to the OFF position no key follow is connected e When the first is ON the key follow allows the modification of the cut off frequency by a major third for an octave e When the second is ON the key follow is of a fifth for an octave and when both are ON the filter cut off frequency follows the keyboard notes exactly It should be noted the pivot note is FO A supplementary key follow can be connected with the modulation matrix These two key follows combine The key follow connected by the modulation matrix has
84. ni uas ioru euet ases eut tam Maur ocu eT secu fut aeu 69 SLELO Prequency moduldbiOE a 20255 2 10 0008 pecie LECT A Dota pe Leama beo AA li 70 6 1 2 MENOS MO e ERE 70 8 1 3 A A 71 8 1 4 UA AID O CES 71 8 1 4 1 The curto TEQUES e a 71 SLA SIRE TOSONAAC E A da dda ilii esas cea e a e fuu 72 6 1 5 TREAMPUNTERORY Crta ia Secs A RN AN tias 12 8 2 OTHER MODULES atari alto ii idas arson abl bepet refieren 73 6 2 1 Thoesbey DOOR AA A iaa 73 8 2 2 TNC CHVCLOD C C ENCON S 73 8 2 3 Ihe low Teguency OS CLILGLON A A E 74 9 A FEW ELEMENTS IN SOUND DESIGN iras cines rin ie Aida 76 9 1 SUBTRACTIVE SYNTHESIS ote 76 9 1 1 NT DPI TATE 6 9 1 2 AOS CUNA TOPLESS CUNA AS AA A A A A 78 9 1 3 A polyphonice dccompDQRWientus os tete Bia a 79 Hz WHE MODULATION MATRIX old a a 80 9 2 1 STIS TCG DC OOIGION ot CE A II een A aie tates Peed eh eae hs tees 82 Ds THE EERE TS OP THE MINIMOOG M tt Gott uon 83 9 3 1 MP I D MUT a cae ee Sa es 83 9 3 2 INEOS TCO ION sce ce Sica diy rae pc cea sO LO 54 10 MODES OF USE OF THE MINIMOOG EV cisecessccccesencsnctscesencesscoed coseasenceevcccaccseesenccsscneasevecanscesvenens 86 IO SP ANDAL ON Bef aa 86 JO LQunchine the Gp pcan niere asein A A A dai SO 10 1 2 Configuration of an instrument the tool bar esses enne 86 10 1 2 1 Conneunne Audio and MIDE A A 86 10 1 2 2 CONAN E MM LM ILL watts 86 10 1 2 3 Conflieunne Knob Mod seria be ae dae acad e Qm ae bae db A 87 FU A O RO 87 IU JG Jgnhnio
85. nimoog V USER S MANUAL When you click on this button a window will appear allowing you to choose the preset bank file for the Minimoog V minibank extension Choose the file that you want to import and click on Open The new bank of presets will automatically appear among the available banks The Minimoog V equally offers the possibility to export your own sounds to save them to use them on another machine or to make them available to other users It is possible to export a preset a sub bank or a complete bank To export the current bank sub bank or preset click on preset bank export button in the tool bar of the program Bank Subbank Preset Current preset bank export button in the tool bar Select the type of export that you want to perform bank sub bank or preset and a window will appear giving you access to a choice of destination folder and file name for the bank that you are exporting 6 2 THE SOUND MAP The sound map is an innovative preset explorer which offers an easy and fun way to locate and choose a preset on a map area to simplify the preset management and to quickly find the appropriate sounds The sound map also offers a brand new interface for creating new sounds thanks to a morphing feature between four presets Sound MAP y LIST COMPASS 3 EI E o m Other LII Ort mj ead Ol Ol MOE B Percussive m Sequence m Strings m Guitar m Keyboard
86. nnGalatasi iu Ma ek Hla nda E M tUS Ue ATE 4 0 2 2 9 The instrument type filter WIBHQONW 3 ee cei cor e A A Persa decom Euh Aw iU Roo E coe Eu EIAS MUR 42 0224 ODresotsnapshoLfBetllOEIe Sues qno e qooqae ER eR t a NU M IL em ollo sais 43 0 225 The Morphina Internac eio be eds ce A b CE Lui wena eden ele td auto aleae A a 43 0 2 2 0 Me TSC Prese Manger A o 45 OS USE OP CONTROLLERS a oa 46 6 3 1 OR NG ERA O OTT CETT IA UNTER 46 6 3 2 A A de tM LM OR M ai A AS 46 6 3 3 PRADO a Sata 46 6 3 4 IO La EXOT AAA A Mu ui Mi LUDUM IU 47 6 3 5 MIDT CONTO Ret oa E cic o ese eee 47 6 3 5 1 Learn mmen ms a a aia 47 0332 Aseme MIDECOAO So dba 47 0293 Mandre cone UA ia E A AA AAA AN 48 6334 Minimum and maximum DOLAR p Dev Pee IEEE eU 49 63035 Mu ltipleassisned DabtatBeleF iode oue toi ie AL oed sip e Ma A 49 S MEMO ee ULP 50 TIHESYNTHESIZER E eeu reae eo Feo verb ee pera eee EET pU 51 7 1 THE OS CUA TOR tota Oo A actos 52 Te Pe DUE UU 53 7 3 THE PIETER AND ITS ENVELOPE ceinec A a ATA 54 ARTURIA Minimoog V User s Manual 3 7 4 THE OUTPUT VOLUME AND ITS ENVELOPE 2 cscsscececcececcececccceccscecescecectecsececsceecsceececesssesescesescesnecesnecs 55 To THE POLYPHONIC MODE THE PLAYING MODES rt dd ld 56 7 6 THE PITCH BEND AND MODULATION WHEELS ccccsccescescceccuccuccecceccccescescesceuceuscesceeceeseusesceessuscuscescenss 57 Tale THB MO PION RECORDER rta 58 A d The Motion Recorder activation deactivation
87. o a separate licensing agreement 6 Defect and loss of the Syncrosoft key In the case of a defect or damage to the Syncrosoft key Arturia or a third party engaged by Arturia will check the Syncrosoft key In the case of a legitimate claim the Syncrosoft key and the licenses included shall be replaced in return for a handling fee The licenses will only be replaced provided that they are licenses issued by Arturia Further claims against Arturia are excluded Arturia assumes no liability or obligation if the Syncrosoft key is mislaid as a result of loss theft or otherwise Arturia reserves the right to block the licenses saved on the Syncrosoft key upon being notified by the registered user of the loss The licenses saved on the Syncrosoft key cannot be replaced 7 No Unbundling The software usually contains a variety of different files which in its configuration ensure the complete functionality of the software The software may be used as one product only It is not required that you use or install all components of the software You must not arrange components of the software in a new way and develop a modified version of the software or a new product as a result The configuration of the software may not be modified for the purpose of distribution assignment or resale You may also not sell the Syncrosoft key separately as a license the usage rights always remain with the software in particular with the original software data carrier e g C
88. o record again new motion automation in the same way as describe above The new motion will automatically take the place of the old one and will be displayed on the Motion Recorder main screen 7 7 5 Quantizing a motion curve The Motion Recorder allows you to quantize a recorded motion curve in relation to the internal Minimoog tempo or to a host MIDI tempo Click on the QTZ menu situated under the Motion Recorder main screen and select the quantization factor you wish on the dedicated menu Click on the QTZ menu Some steps appear on the curve according to the chosen quantization ARTURIA Minimoog V USER S MANUAL 59 Steps appears on the motion curve The steps on the motion curve can bring some interesting rhythmic grooves or some sample and hold effects if you use the Square tool available on the Edit interface See below for more details about the edit tools 7 7 6 Setting the modulation amount of a motion curve You can set the output modulation amount for each motion curves to refine the modulation results as you wish gt gt Select the desired motion track thanks to the U button Click on the amount potentiometer labeled AMT situated under the Motion Recorder main screen and set the desired amount of modulation Click on the amount potentiometer 7 7 7 The parameters available for the Motion Recorder The parameters available as modulation destinations for the Motio
89. og V However it is strongly recommended that you use the internal menu of the Minimoog V the presets saved in this manner can be used in any other mode standalone or other sequencer and can be exported as a separate file 10 2 5 Automation Automation works with the Minimoog V like any other VST plug in see the VST sequencer documentation for more details on plug in automation Preset changes however cannot be automated 88 ARTURIA Minimoog V USER S MANUAL 10 3 PRO TOOLS 10 3 1 Installation During the installation select the RTAS HTDM plug in RTAS only for Windows among the choice of plug ins offered Then when you are asked indicate the folder where the other RTAS and HTDM plug ins are installed Generally the access is for Mac OS X System Folder DAE Folder Plug Ins for Windows C Program Files Digidesign DAE Plug Ins Whether your system can or cannot use HTDM plug ins see next section the installation is the same 10 3 2 RTAS and HTDM standards The Minimoog V can function with the Digidesign audio motor DAE in two manners e As an RTAS plug in Real Time Audio Suite all Pro Tool systems are compatible with this standard the sound treatment is done completely by the central unit and therefore does not require any specific extension card TDM type system On the TDM systems the RTAS plug ins can only be loaded on an audio track before the TDM plug ins They cannot be loaded to an Aux Input or a Mast
90. op and square bottom waveforms The original Minimoog proposed 3 types of square waveforms square 50 wide rectangle 25 and narrow rectangle 10 This choice allowed compensation for the missing PWM setting The Minimoog V offers these 3 waveforms but includes also the pulse width modulation 8 1 1 4 Pulse Width Modulation The PWM Pulse Width Modulation is a setting that allows you to modify the duty cycle of the square waveform This can be done through modulation only with an envelope or a LFO This pulse width variation translates to a spectrum modification resembling a waveform change Unlike classic analog synthesizers the Minimoog V lets you change the impulse width not only for the square waveform but also for the triangle This brings a large number of additional sound possibilities to compliment the base signal 8 1 1 5 Synchronization The synchronization of an oscillator with another creates more complex waveforms If for example you synchronize oscillator2 with oscillator1 oscillator2 will restart a new period every time the first oscillator completes a period even if oscillator2 has not completed a complete period this signifies that it is not tuned to the same tonality The more you tune oscillator2 upwards the more you will encounter composite waveforms ARTURIA Minimoog V USER S MANUAL 69 4 One Period Oscillator 1 un Ca Oscillator zz synchronized In the above image oscill
91. ose Minimoog V On Macintosh open the Finder gt Applications and double click on the Minimoog V application icon 10 1 2 Configuration of an instrument the tool bar The instrument has a menu tool bar allowing the setting of MIDI event input routing and the output of the sound Settings Skin Knob Mode Panic The tool bar on Windows 10 1 2 1Configuring Audio and MIDI Clicking on the Settings button shows this dialog box audio device type Windows Audio output lt lt none gt gt input lt lt none gt gt Show advanced settings active midi inputs LoopBe Internal MIDI 63 Automap MID Autamap Propellerhead Here you can e Set the audio output port e Set the audio input port used for the external input e Choose one or several active midi input port s 10 1 2 2Configuring Skin The skin menu allows you to choose among three on screen wood colors 86 ARTURIA Minimoog V USER S MANUAL 10 1 2 3Configuring Knob Mode This menu sets how the knobs operate either in Circular mode you have to turn around them with the mouse or in easier Linear mode moving the mouse vertically turns the knobs 10 1 2 4 Panic If the notes remain active without reason it is possible to send a MIDI message to the instruments to cut all of the notes that haven t stopped Click on the Panic button to solve this problem 10 1 2 5 Information on rate of processor use T
92. oted that the emulation of the overload circuit is heavy on calculation power and using it should be avoided with heavy polyphony or unison SOFT CLIPPING aH Activation of the overload circuit soft clipping The switch corresponding to the external signal has three positions The first disconnects this input from the mixer The second position connects the output of the Minimoog V to the mixer This allows thanks to the particular distortion brought by the overload circuit to obtain a typical sound The third connects the external input to the mixer 7 3 THE FILTER AND ITS ENVELOPE The result of mixing different sources of sound is directed towards a resonant filter with a slope of 24dB per octave AMOUNT OF CONTOUR A E 4 t id a In ATTACK TEME DECAY TIME BUSTAIM LEVEL 20 DE y T 1 I q A VI TT T Tr CONTRO t TP oe 200 ON 100 i SH a 10 10 p 4 A E 4 N SEL SIL M SIC SIC Filter parameters L The Cutoff frequency knob sets the cut off frequency The Emphasis knob sets the level of resonance and Amount of Contour sets the action of the envelope generator associated to the filter It should be noted that this filter auto oscillates which is to say that when the resonance is set to the maximum the filter generates a signal close to sinusoid even in the absence of an input signal Nonetheless a weak noise signal as filter input brings us a little closer to the results obtai
93. other preset anywhere on the Sound Map interface click on any of the 4 snapshot buttons while pressing the Ctrl key 6 2 2 5 The Morphing interface The Morphing page is an independent module allowing you to quickly create some new sounds thanks to a real time morphing from the four selected presets saved on the snapshot memories The four presets are placed on the four cardinal points of the compass ARTURIA Minimoog V USER S MANUAL 43 Sound MAP SHAP i SMAPS SHAP 3 SNAP 4 snap 42 ML Lead 17 Snap 1 JMB_Soft Pad Snap 4 JMB Velo Arp LIS S ESTEE E m Sequence DIESE Snap 3 fener Sc ChromeBone m keyboard The Morphing interface To open the Morphing page click on the COMPASS button situated on the toolbar of the Sound map gt To create a new morphed sound from those presets Click anywhere on the center of the compass area four red arrows appear converging to the group of presets Hold the left button of your mouse and drag the convergence point until you find a good sound The green arrow shows you the starting point of your motion Snap 3 2 ML Lead 17 Snap 1 JMB Soft Pad Snap 4 JMB Velo Arp Snap 3 Sc ChromeBone 44 ARTURIA Minimoog V USER S MANUAL gt Create a new sound If you wish you can save it on a User bank of the Minimoog V memory 6 2 2 6 The list preset manager The list preset manager offers a more clas
94. output being placed to compliment the waveform outputs or within the mixer directing the signals towards the filter 70 ARTURIA Minimoog V USER S MANUAL On the Minimoog V you will find the noise generator amongst the settings in the mixer panel A switch allows you to choose between the white and the pink noise VOLUME a EXTERHAL IMPUT VOLUME OVER 40 HOISE VOLUME 1 THE i fa IE The noise generator set on the mixer 8 1 3 The Mixer The audio signal generated from an oscillator is generally directed to a module filter VCF It will be first useful to individually set the volume of each oscillator external audio source or noise thanks to the Mixer The external audio signal could be for instance a recorded vocal track or a drum loop 8 1 4 The filter or VCF The audio signal generated by an oscillator the waveform is then usually directed to a filter module Voltage Controlled Filter It is this module that we use to control the sound by filtering by subtraction which explains the name given to this type of synthesis the harmonics situated around a cut off frequency It can be considered to be a sophisticated equalizer that reduces depending on the case the high or low frequencies of a sound 8 1 4 1 The cut off frequency The removal of undesirable frequencies at the cut off frequency is not done suddenly but progressively depending on the filtering slope This filtering slope is express
95. put module on the right of the synthesizer Let s see how to create a powerful evolving accompaniment VOLUME MAIN CHITPUT TT TETR TS an RETENE POLPHOHIC OUTPUT The Polyphonic mode This preset will be composed of 2 oscillators A low pass filter Filter An output VCA Output The envelope corresponding to the filter The envelope corresponding to the output amplifier Loudness Contour Oscillator3 in low frequency modulating the filter cut off frequency y Take the preset Temp 2 Osc in the Templates bank This sound is already composed of 2 active oscillators which you will use as a base sound Place the Range of oscillator2 to 8 so that both oscillators play in unison Slightly detune this same oscillator to obtain a richer sound turn the central knob to the right or left with a left click take for example the value fine tune 1 0020 Lower the filter cut off frequency to make the sound less bright Take for example a value of 2 00 256 96 Hz Increase the amplitude envelope attack time Loudness Contour to around 4000ms Set the Decay time to around 700ms LOUDNESS CONTOUR ATTACK TIME DECAY TIAE SUSTAIM LE WEIL r ae k e iia D 6 MEE O e RTI MODIFIERS the amplitude envelope a Stack ae Do the same with the filter envelope Place the Range knob of oscillator3 to Low mono the last position on the left It will oscillate in
96. rmalononqvule Of PEOCESSOTUS CASAR A A AA te scte edi dde 87 L0 2 AVSITIM S etis O dM Galt I UP Miu uar O LA DAL 87 POZA AMSG AMON ica ees ors leaned do 67 10 2 1 1 Por WV OWS eiio Pa dd a di Wilt gene een la dle d 87 10 2 1 2 lo GaN TON US P REN EE T T D TUM 87 4 ARTURIA Minimoog V User s Manual 10 2 2 USI TNC ANSIFUINCNIEAN VAST THOU renren Sas atid A uus euet E A tits 87 T1049 Connecuon 10 0 MIDE NOEK ct EET ti A NA 67 TOL SOVE DIESE S A A A A data 5S TU2 9 AOMA OT A A oEE 5S LOS PROTOOL ME catan dc ota 89 TODA AANA OT CREER RR REDE 5 amp 9 HOS ARIAS and HIDM Stnd AAS tected E AA AEE aie aded eas eeeienaenees 59 BOD VOPCMING TI TAS AUMENTA AAA OS 89 3A Connection TO4DMTDIE TIO ia AEE A E A E AER 90 BOSD DOVE DEOSOLN AAA AS ASA AE SATA AAA A AAA 90 OSO Amoma On TE Pro TOO Ss a eor Lado E 90 WA JDIGICAL PEREORMBRIM nata aaa at 91 LOAD AROSA ti 9 LOAD CODOnDmeie TAME AS 9 IDAS CONNECTION to a MIDI node nete oett otto toutes de 9 JU d SONO PES CIS AAA 9 TOAS Aulomalon RR od Rda 92 ARTURIA Minimoog V User s Manual 5 1 WHAT S NEW IN MINIMOOG V 2 5 Minimoog V 2 5 includes the following new features e Support for 64 bit VST and Audio Unit e Improvement for MIDI assignment o MIDI assignment configurations can be saved and restored o Controls can be assigned to multiple parameters o Minimum and maximum bounds for an assigned parameter o Support for NRPN MIDI controls e Triangle waveform LFO
97. rrow rectangular duty cycle 17 O O O QOO X ARTURIA Minimoog V USER S MANUAL 67 WAYEFORA A TL The Minimoog V waveforms 8 1 1 1 Triangle The triangle can be considered like a very filtered and soft square signal It is very low in harmonics odd only and will be very useful for creating sub basses flute sounds etc Amplituda Amplitude Ha monic number 10 20 30 40 Frequency Time and spectral representations of the triangle waveform 8 1 1 2 Sawtooth The saw tooth presents the richest audio signal of the 4 waveforms it contains all of the harmonics at decreasing volume levels in high frequencies Its sound is ideal for brass sounds percussive bass sounds or rich accompaniments Amplitude Amplitude Tite Harmocic number 10 20 30 40 Frequency Time and spectral representations of the sawtooth waveform 68 ARTURIA Minimoog V USER S MANUAL 8 1 1 3 Square The square possesses a more hollow sound that the saw tooth it only contains odd harmonics but none the less its rich sound notably in low frequencies can be used for sub bass sounds that will come out well in the mix the square oscillator is often set an octave below that of the saw tooth wood sounds clarinet if the square signal is a little filtered etc Amplitude Harment number 10 zu 30 do Frequency Amplitude Harreric number 10 20 yi Aci Frequency Time and spectral representations of the pulse t
98. select a preset simply browse the list and click on the name of a desired preset You can inverse the order from A to Z or from Z to A by clicking on the column title an ascending or descending arrow shows you the order type ARTURIA Minimoog V USER S MANUAL 45 Instrument Author C Duncan C Duncan C Duncan C Duncan C Duncan C Duncan C Duncan C Duncan C Duncan C Duncan C Duncan C Duncan C Duncan Inverse the order of the instrument types 6 3 USE OF CONTROLLERS The Minimoog V uses different types of controllers potentiometers switches wheels etc Let s take a look at those different types of controllers 6 3 1 Potentiometers Generally host sequencers offer several potentiometer control modes The default mode of control for knobs with the mouse is the circular mode click on the knob and turn around it in order to change the value of the controller The circular mode gives high precision in the manipulation of controls The further the mouse goes from the knob the higher the precision of the setting Potentiometer In linear mode the knob can be set only by vertically moving the mouse not going around it Like the sliders it is possible to obtain a higher precision by right clicking or Shift Click on the knob concerned The linear mode can sometimes be simpler to use than the circular mode although we can lose precision the precision is limited by the number of vertical pixels on the screen
99. send NRPN MIDI control messages to Minimoog V or check NRPN then select LSB and MSB numbers MIDI Control Setup LEARNING CUTOFF MIN MAX ASSIGNED O Use NRPN MSB 0 LSB 0 CLEAR MIDI assignment popup NRPN activated Remove assignment Assignments can be removed by clicking the Clear button The message Not assigned will then be displayed All these operations deal with a single plug in parameter In order to setup a complete configuration a set of parameters should be configured 6 3 5 3 Manage configurations New in Minimoog V 2 5 the possibility to maintain multiple configurations Default configuration By default Minimoog V loads configuration for Arturia Analog Experience keyboards Select one configuration A configuration is loaded by clicking the entry in Learn menu Create a new configuration A new configuration can be created by performing assignment operations described in the previous section This configuration has to then be saved by clicking on the Learn menu Save As entry A popup opens enter the name of your configuration A new entry for your configuration now exists in the list of available configurations Remove a configuration 48 ARTURIA Minimoog V USER S MANUAL It is possible to remove a configuration by loading it and then clicking on Remove 6 3 5 4 Minimum and maximum bounds For each assignment a minimum bound value and a maximum bound
100. sical way to explore the presets using a list interface in which the Presets are classified and filtered in order to simplify preset management gt Name JMB_Synth_Bells MB Tribal drums KPR Fat ELP Bss KPR Muted KPR Octaver Bass KPR Square MIx KPR Standard KPR_Sweepbass KPR Noise Droner KPR QOrionesk KFR Overtoner KPR Windy Rpt KPR 3 tuned Ld KPR Arnazing Ld KPR Detuned Saw KPR Dirty Guitars KPR_ELP_ Trilogy KPR_Emerlist_Ld KPR Fat Sawlead KPR Fat Swirl KPR Filtersweep KPR RW White Ld 5HAP i SHAPE SHAP 3 X x x X Instrument Author e HEN Jmm Perc J M Blanchet Perc J M Blanchet Bass k F Rausch K P Rausch K F Rausch K P Rausch K P Rausch k F Rausch K P Rausch k F Rausch K P Rausch k F Rausch K P Rausch k F Rausch K P Rausch k F Rausch m re uti K P Rausch LI K F Rausch m Strings K F Rausch oleme K P Rausch mj keyboard k F Rausch ALL K P Rausch Preset list interface To open the list interface click on the List button situated on the toolbar of the Sound map race ma 5 Fr N TTE E s E E 3 dp E En mi E au QU WAEI DA 23 Tes f I Ta Meum NE xd ime Click on the List button The list preset interface is very simple you can see three columns showing from left to right The preset names The instrument type The name of the sound designers All this data is classified in alphabetical order To
101. tall this software In this event give the product back to where you have purchased it including all written material the complete undamaged packing as well as the enclosed hardware immediately but at the latest within 30 days in return for a refund of the purchase price 1 Software Ownership Arturia shall retain full and complete title to the SOFTWARE recorded on the enclosed disks and all subsequent copies of the SOFTWARE regardless of the media or form on or in which the original disks or copies may exist The License is not a sale of the original SOFTWARE 2 Grant of License Arturia grants you a non exclusive license for the use of the software according to the terms and conditions of this Agreement You may not lease loan or sublicense the software If the software is protected by the Syncrosoft key alone you may install a license for the software on one or at most 3 computers which are in your possession The software may be used only on one of the computers at the same time by using the Arturia key If the software is protected by the Soft eLicenser alone or together with the Arturia key or has been sold to the first end user together with other software and or hardware hereinafter OEM software you may install and use a license for the software only on one computer which is in your possession Purchasing a Syncrosoft key makes it easily possible to use the software on three computers if needs occur The use of the software wi
102. te E eset ne S to your sound 590039939200 jart DEPTH evs TIME TIME FEEDE FEEDS DRY WET LEFT RIGHT LEFT RIGHT WET The Chorus and Delay effects 9 3 1 The stereo chorus For this example take the sound of the accompaniments from the previous paragraph 8 1 3 Add chorus by clicking on the Chorus button on the right of the toolbar EE hin mu Add chorus Chorus is used to create an effect of doubling the sound which gives more width and thickness If you accentuate the intensity of the effect you will obtain a very detuned sound The speed of modulation can be set with the Rate knob the amplitude with the Depth knob and the mixing between the initial sound and the effect with the Dry Wet knob The 3 Type buttons choose between the 3 types of chorus simple medium complex gt To clearly hear the different depths of modulation simply increase the value of the Depth knob The higher the value the more detuned the sound becomes For a classic chorus use minimal values around 0 16 BB mio id ya Q9 s The Depth parameter Set the modulation speed by turning the Rate knob the faster the speed the faster the detuning Here again use values situated around 0 50 Hz if you wish to have a slight detuning ARTURIA Minimoog V USER S MANUAL 83 ARPEGGIATOR qe de as ed a TYPE CHORUS The Chane Rate knob Place the
103. thin a network is illegal where there is the possibility of a contemporaneous multiple use of the program You are entitled to prepare a backup copy of the software which will not be used for purposes other than storage purposes You shall have no further right or interest to use the software other than the limited rights as specified in this Agreement Arturia reserves all rights not expressly granted 3 Activation of the Software Arturia may use a compulsory activation of the software and a compulsory registration of the OEM software for license control to protect the software against unlawful copying If you do not accept the terms and conditions of this Agreement the software will not work In such a case the product including the software may only be returned within 30 days following acquisition of the product Upon return a claim according to 811 shall not apply 4 Support Upgrades and Updates after Product Registration You can only receive support upgrades and updates following the personal product registration Support is provided only for the current version and for the previous version during one year after publication of the new version Arturia can modify and partly or completely adjust the nature of the support hotline forum on the website etc upgrades and updates at any time The product registration is possible during the activation process or at any time later through the Internet In such a process you are asked to agree
104. to make it deeper and livelier 3 types of stereo chorus are available gt 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 use the feedback knob to control 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 30 ARTURIA Minimoog V USER S MANUAL TYPE CH on 7 B 2 09 0 9 Li RATE DEPTH DEY WET The chorus 5 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 n
105. to the Digital Performer documentation for more details on the automation of plug ins The changes in presets and therefore the movement of cables cannot be automated 92 ARTURIA Minimoog V USER S MANUAL MINIMOOG V 2 5 END USER LICENSE AGREEMENT In consideration of payment of the Licensee fee which is a portion of the price you paid Arturia as Licensor grants to you hereinafter termed Licensee a nonexclusive right to use this copy of the Minimoog V program hereinafter the SOFTWARE All intellectual property rights in the software belong to Arturia SA hereinafter Arturia Arturia permits you only to copy download install and use the software in accordance with the terms and conditions of this Agreement The product contains product activation for protection against unlawful copying This system is known as Syncrosoft and permits a permanent use of the software only after the activation process has been totally completed The software can be used only together with the Syncrosoft key dongle and or the Soft eLicenser the OEM software can be used only following registration Internet access is required for the activation process The terms and conditions for use of the software by you the end user appear below By installing the software on your computer you agree to these terms and conditions Please read the following text carefully in its entirety If you do not approve these terms and conditions you must not ins
106. to the storage and use of your personal data name address contact email address and license data for the purposes specified above Arturia may also forward these data to engaged third parties in particular distributors for support purposes and for the verification of the upgrade or update right ARTURIA Minimoog V USER S MANUAL 93 5 License module Syncrosoft Key and or Soft eLicenser Arturia uses a hardware device connected through the USB connection of a computer the Syncrosoft key and or a protection scheme the Soft eLicenser for license control hardware and or software dongle The Syncrosoft key and or Soft eLicenser permanently saves the license information and regulates access to the software If a Syncrosoft key is required for the use of the software then the Syncrosoft key must be connected physically to the computer through the USB interface For the activation of the software updates or upgrades of the software the computer which is connected to the Arturia key and or using the Soft eLicenser or using the OEM software must be connected to the server of SIA Syncrosoft through the Internet If the product was delivered with the Syncrosoft key the license information was already transferred to the Syncrosoft key If the product was delivered with a product card without the Syncrosoft key the activation codes of the enclosed product card must be entered manually by the user upon installation and the license informat
107. umber of echoes on each side Feedb Right and Feedb Left CHE E EN TIME TIME FEEDE FEEDS DE DELAY 1 EY LEFT RIGHT LEFT 17 WELE Settings of the delay effect 5 7 THE REAL TIME CONTROLLERS AND MIDI ASSIGN Minimoog V 2 5 has been improved in order to provide easier access to MIDI assignment and now has the possibility to save and select multiple configurations A default configuration matching Arturia Analog Experience keyboards is loaded at startup Thus you can control Minimoog V 2 5 from Analog Experience keyboards without any configurations If you own a non recognized MIDI controller keyboard configuration is pretty straightforward Check that your MIDI controller is recognized in standalone if not recognized you can click Settings to configure MIDI inputs Click on the button Learn in the toolbar gt Mm o E om LEARN Save Save As Remove Analog Experience Keyboards Spark Controller ARTURIA Minimoog V USER S MANUAL 31 gt gt Learn menu in toolbar Select LEARN entry Learn mode is then activated Click on the Cutoff Frequency Knob on the GUI MIDI Control Setup LEARNING CUTOFF MIN MAX ASSIGNED B Use NRPN Control TE CLEAR IFF FREQUENCY EX TERH AL IPIT VOLUME i t OVERLOAD MIDI assignment popup A MIDI assignment popup opens and then just move the control that you want to be assigned The control is automat
108. und Map overview On the top right of the Sound Map main interface you can see an overview of this map You can use the map overview for navigating into the map and to zoom in or out inside of the map area ARTURIA Minimoog V USER S MANUAL 41 The map overview interface To navigate into the map click inside of the red square and drag it on the map area to view other sections of the Sound map To zoom in the view on the sound map click on the Zoom slider under the overview window and drag it on the right to increase the size of the map To zoom out the view on the sound map click on the Zoom slider and drag it on the left to decrease the size of the map The zoom slider You can also use the Zoom or Zoom buttons under the slider to increase or decrease the map size step by step by factor 1 Clicking on the FIT zoom button resizes the map to its global size The FIT ZOOM button 6 2 2 3 The instrument type filter window On the right of the map main interface an instrument type filter window allows you to choose which type of preset you want to see or to hide on the map By default all types of presets are selected Olas B Pad B Bass ONE m EF x Ol m Brass m Fercussive E m Seguence LIE RE B Guitar B Keyboard The instrument type filter To select an individual or a group of instrument types 42 ARTURIA Minimoog V USER S MANUAL First
109. vious section 8 1 2 Click on the arpeggiator Play button MIDI ARPEGGIATOR STNE cher rd Li A A sc DO mdi moo i pa BM EY E TT n mn eye SPEED Eris MAEM Click on the Play button Play a chord between C4 and C6 the notes will be played one after the other in the order in which you have placed them it is possible to change the playing order by clicking on the linear mode knob If you want it is possible to keep the chord continuous by clicking on the Hold switch Two types of playing are available in this mode Hold central position lets you add notes to an existing chord and Memory low position allows the change of chord type freely The Memory position 82 ARTURIA Minimoog V USER S MANUAL TO remove one or several notes or add notes without keeping them in the arpeggio click again on the Hold switch to set it to Off position to the top and play the note to be removed To remove one or several notes click again on the Hold and play the note to be removed It is now possible to simultaneously play or record a bass part on the first octave of your keyboard accompaniments on the 2 following octaves all while having an arpeggio that develops on the latter two 9 3 THE EFFECTS OF THE MINIMOOG V The Minimoog V offers two additional effects letting you add more color and more space e CHORUS DELAY 3 s en
110. when using Pulse Width Modulation or FM TAE allows the production of totally aliasing free oscillators in all contexts PWM FM and at no extra CPU cost Aliasing 2778 15 135 17 881 20 627 a e Linear frequency spectrum of the Moogular oscillator made with TAE 2 2 2 Better reproduction of analog waveforms Original analog oscillators used capacitor s charge and discharge cycles to produce common wave shapes saw tooth triangle square This means that waveforms were slightly curved TAE allows the reproduction of the capacitors discharge ARTURIA Minimoog V User s Manual 11 5 o 5 o 5 0 5 5 hm o 5 0 5 5 E Temporal representation of a waveform on a Minimoog Er 5 0 5 a o Sy 5 a 5 ia 5 Temporal representation of the waveform from a different Minimoog like software synthesizer a o a o a a o a o a o a gt o a o a o Temporal representation of the Minimoog V waveform thanks to TAE In addition original analog oscillators were unstable Actually their wave shape was always slightly different from one period to another Also due to analog hardware sensitivities new period trigger times varied with the temperature and other environmental conditions TAE simulates the instability of oscillators helping to create warmer sounds often given the affectionate term of fat
111. y of the synthesis parameters It is situated in the extension panel that appears when the Minimoog is in the open position Low frequency generator e Rate knob Sets the frequency the Waves knob selects the waveform e Midi Sync switch Synchronizes the frequency of the generator to the tempo of the host application Waveforms Sine descending sawtooth ascending sawtooth square noise random triangle new in 2 5 The modulation destinations for the LFO generator are selected exclusively through the Modulation Matrix see below 7 10 THE MODULATION MATRIX The Minimoog V increases the original possibilities of modulation thanks to the presence of the modulation matrix in the extension panel This panel appears when the Minimoog V is in the open position e MODULATION MATRIX AMERINT Apa Game AB nuit ELS T ru uL TIL IERI CaS PAT Oe i T Bi MAT on b Lis Wa Emplark Wa ooa PINM om om Lis Was WOO FM d cron 4 Modulation matrix This matrix can be activated or deactivated with the selector in the task bar above the synthesizer TT LT Activation of the modulation matrix The matrix allows 8 modulation connections To activate a connection select a source of modulation by clicking in the source zone Next select a parameter to modulate in the destination zone and set the rate of modulation with the Amount knob The sources of modulation
112. zed for their types of sound and their own audio characteristics The types of presets are represented by different geometrical characters and colours for an easy way to locate them Y The Bass sounds O The Brass sounds The EFX sounds m The FM sounds The Guitar sounds Bl The Keyboard sounds The Lead sounds E The Pad sounds Bl The Percussive sounds V The Sequence sounds A The Strings sounds The Others sounds To select and listen a preset directly click on one of the icons anywhere you want on the map area The icon is now highlighted in red If you hold a few seconds on the selected preset a popup appears and indicates the name of the preset 40 ARTURIA Minimoog V USER S MANUAL Select a preset You can create new presets thanks to an exclusive real time morphing feature Click between a group of presets and hold the left button of the mouse on this point Four red arrows drawing a cross appear linking the group of four presets Morphing between a group of presets You can now drag your mouse between those presets The green arrow shows you the starting point of your motion When you release the left mouse button you can play the resulted sound and if you wish you can save it on a User bank of the Minimoog V memory In this way it is very easy to quickly get some new and exiting sounds without programming anything on the synthesizer interface 6 2 2 2 The So

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