"That's the most famous synth of all time, I think. People who don't even make music sometimes recognize this. It's been on every album, ever. This is from my buddy. I got this from him a year ago and just fell in love with it. It's on permanent loan.", said Tycho in [this interview](http://www.wired.com/2011/11/tycho-synthesizers/#slideid-539775) with Wired. In [another interview](http://www.soundtoys.com/tycho/), when asked, "Is there one piece of gear or an instrument that is the key part of that sound or has the largest impact on that sound?" > "It’s a 1972 Model D, and for whatever reason I just feel completely connected to that thing. It’s so responsive. It’s the closest thing I’ve ever found to a guitar in a synthesizer. For whatever reason when I sit down and play those, things just flow. With a lot of the newer stuff it’s harder just because for whatever reason it takes longer to get into a space where I feel inspired by the sound."more
"I suppose it does sound synthy, yes, a pure, soft sort of middle frequency sound. It was one of the most important sounds in those earlier albums. It was the sound I kept working with and returning to... I never had a Minimoog at that time, I didn't get a Minimoog until about...1976."more
Personnel Phil Collins – vocals, Roland TR-909 David Frank – Roland Alpha Juno, Mini Moog bass, Oberheim DMX Daryl Stuermer – guitars The Phenix Horns Don Myrick – saxophone Louis Satterfield – trombone Michael Harris – trumpet Rahmlee Michael Davis – trumpet Arranged by Tom Tom 84more
"We rented a rehearsal hall from Roger and this brand new Mini-Moog was sitting in the room. We started messing with it and got a sound we wanted for “Being Kind.” You couldn’t store presets, so we taped all the knobs in place and took it to Nashville. We joke about it whenever we run into Head East. At least we brought it back. By the time we did “Ridin’,” I had my own. "more
Like many producers in electronic music I wanted to own my own Moog synth from the beginning. So the Minimoog was one of the first synths I bought when I started to make a little money with my music. I used it a lot in my early productions. My first records under my real name featured sawtooth basslines a lot. This is the synth I made them with. I have to have it serviced, though – it’s not very stable now. That’s why I bought the Voyager two years ago – to have a fully functional Moog synth when I need one. I’m not using it a lot nowadays but I will never sell my Minimoog as it was my first real proper synth.more
["Rick got his first Minimoog in 1971 from actor Jack Wild (Oliver!), who, not knowing it was monophonic, though it was broken and sold it to Wakeman for half the price it originally costed. 'I don't know the exact answer, but I think I have probably owned about 20 Minimoogs in my lifetime. I currently have 9. Finding good ones is extremely difficult. I have a very good man who repairs them for me and keeps them in good order. I cannot even imagine not having one.'"](http://astronautapinguim.blogspot.co.uk/2013/11/seven-questions-to-rick-wakeman.html)more
In the interview they ask "What specifically are your favorite pieces of gear? What can''t you live without in the studio?" To which Mark responds "Moog Minimoog, Yamaha DX-100, a spring reverb, Echoplex Tape Echo, EMS Synthi A, Universal Audio Precision Maximizer, ARP Odyssey and a Waterphone. I probably have used the Minimoog on more tracks that any other synth that I own."more
Manfred Mann can be seen playing a Moog Minimoog Model D in this photo. In [this article](http://www.platform-end.co.uk/html/moogs.html), The Many Moogs of Manfred (Sounds - UK Article 1975), Manfred Mann says, "And the Mini Moog is a brilliant invention - a simple, usable synthesizer. You know people get lovely sounds on others and Stevie Wonder uses this model and Billy Preston uses that, but the Mini Moog is completely different - the possibilities are so simple to realise."more
Bill mentions his use of a Minimoog in the 70s. "I bought a synth, (a mini-moog,) way back in the '70's, some time prior to writing the 'Drastic Plastic' album, I think. I bought it from a band/duo called 'Hudson-Ford, (an offshoot of 'The Strawbs,') who had not found the synth of much use to them. I immediately took to it and it became a major compositional tool when I created demos for the songs that went onto the 'Drastic Plastic' and 'Sound-On-Sound' albums. It also featured heavily on the 'Quit Dreaming' sessions and far beyond."more
In this [interview](http://guitarinternational.com/2010/08/20/curve-dean-garcia/) with *Guitar International*, Dean says "I have a MiniMoog which is quite old. I send guitars through it and process the sounds with the oscillation of the Moog, using the guitar as a trigger. There’s also this sound on *Cuckoo* (the band’s most recent album) that has this swooping guitar made from two slide guitars and two voices that went into this funny whammy pedal, which sounds like we’re kind of singing with the guitars.”more
Although boasting a lush sound, the album was recorded largely at Paul's Rhythm Ranch studio on a single tascam 16-track with a Studiomaster desk. Synths used include: Roland D-50, Akai S1000 and S3000, Kork M1R, Waldorf Microwave, Roland Super Jupiter module, Oberheim Matrix 1000, Yamaha TX802, Minimoog, MIDIMoog, Oberheim Two-Voice, Roland Jupiter 8 and SH-101.more
It was a need for unique voice. I knew I wasn’t going to be able to take the piano where I wanted to go. I kept searching for this. I used to run my keyboards through electronic boxes, like a ring modulator, trying to get a unique sound. When I got my hands on a Minimoog, I thought “I know what to do with this!” The sound can remind you of a clarinet, a flute, or a sitar. It’s the fact that it bends and flows. People should have a license to use the pitch wheel! When I first got a Minimoog, the pitch bend was set to be a fourth. Eventually I got it adjusted to where I want it. Some people can get by with pitch bend set to two semitones, but you can not express the creativity that I look for with two semitones. You have to be coordinated, and listen, using your ear like a violinist does.more
"I had loads of analogue gear: [Roland Jupiter 8](http://equipboard.com/items/roland-jupiter-8-synthesizer) and [6s](http://equipboard.com/items/roland-jupiter-6), and a Minimoog... " - Liam Howlett. Judging by the date of this interview he was most likely talking about the Model D.more
Hannes Bieger in his Berlin studio. His name may be unfamiliar to many, but that’s only because he works behind the scenes. Those in the know are well aware that Bieger is an in-demand sound engineer who has mixed down tracks by artists like Steve Bug, Ruede Hagelstein, and Tale Of Us. We peeked over Hannes’ shoulder while he worked in order to learn a bit more about his philosophy and his approach to his trade.more
,,,,aktuelle Produktion: der „FRAKTUS“ Film über die Band die Techno erfunden hat,,,,,, ,,,,,mit Heinz Strunk, Rocko Schamoni, Jaques Palminger,,etc Analog Aufnahmen mit Korg MS10, 20, 50, SQ10, Polysix, Minimoog, ARP 2600, Roland Jupiter 6, JX3P, Juno 60, CR-78, SH-09, System 100 Sequencer,PPG Modular 300, Russian Polyvoks, etcetc,,,more
I know in the Wingspan book, there is a paragraph on page 45, covering the year of 1972, which Sir Paul says of his late wife's musicianship: "The critics would say, 'She's not really playing' or 'Look at her - she's playing with one finger.' But what they didn't know was that she was playing a thing called the Mini-Moog (sic), which could only be played with one finger. It was monophonic. You can use as many fingers as you want but there's only one of them going to work. She rode through all those storms; it didn't really bother her."more
as for POP MASTERS : Simenon has said that in sticking with one instrument, the Minimoog, and making Conboy a full partner, he wanted to simplify Bomb the Bass and its sound, as well as avoid repeating himself. His aims are commendable. After all, he could've cashed in with Clear part two. In this case, though, simpler also means less interesting, and the sad truth is that a repeat would've been more welcome.more
The real question-
How does the 300.00 Behringer stack up?
Extremely well. Get the Behringer D and don’t sweat if you’ve got “the real deal”
It sounds fantastic. It’s not the “same” as a player, sure- but to the audience? They’ll never know the difference.
With the Moog Model D now out of production & the Behringer D available any day @ $300.00 loads of people are weighing in on how well the Behringer will do & weather the Model D can justify the price (and let’s get real, the price tag is REAL)
I bought mine just a month or two before the Behringer Model will hit shelves.
I could have returned it. I could get what at least seems to be damn close to the sound at a fraction of the cost. I decided not to. Why?
I can really put into works what it is to play the Moog. The large sturdy knobs, the satisfying click when you switch waveforms, the excellent keybed, the SOUND. That’s not really enough. The Model D feels, behaves, and is truely a musical instrument. It’s more than the sum of its parts.
That’s not to say I would discourage anyone from getting the Behringer-
I’m 100% thrilled that there’s such an affordable way into the magic that is a 3 oscillator Mono synth with a beautifully overdriven fliter. It’s something everyone who loves music & synths should experience.
For me a relationship was formed the 1st time I played it. It’s something truely special & more than a collection of electronics as some comparisons might suggest...but that’s just me.
Staggeringly beautiful instrument.
Possibly the best synth ever made. There are others technically better, with more options, better design, sound that rivals it. But there's simply nothing as good as an original Minimoog. It blows the reissues out of the water.
The Rolls Royce of my synth collection. Perfect conditions, sounds gorgeous. I still using it even if it goes out of tune sometimes, but it is very stable. Great wood design. The software version by Arturia is the best emulation.
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."