I own the late version with the stable oscillator board. I wish I had used it as bass machine more often in the past as it has something very pleasant and full in its tone which is hard to get otherwise. It is more flexible than it looks. The filter is the most characterful one ever. One issue though: resonance is breaking down below about 100 Hz which is typical for Moog. If you want bassdrums use layering or take an oscillator controlled by an external envelope. Or just use the feedback trick and get huge bassy persussions. The squarewave of the oscillators sounds better than in the Model15 in my ears although the Model15 actually does it better in almost all other categories.
It might be easy to dismiss the countless superlatives that have been written and spoken about the Minimoog, but what cannot be ignored is just how many different players used this synth, and how many different styles into which it found itself comfortably fitting. On paper, it seems far too simple: 3 VCOs each with 6 selectable waveforms, and with the option to use the 3rd VCO as an LFO; White and pink noise; Low-pass resonant filter; 2 ENVs (ADS/R - 1 for filter, 1 for amp); external input can be processed through the filter. But when it was played, both the performers and the listeners paid attention! Some say it's that Moog filter, some say it's the oscillator waveforms, others say it was the way Bob Moog overdrove some of the circuitry. But most just say "It's a Minimoog."