A little bit of history...
The model of the Mini V knew 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 synthesizer, notably for the typical sound and its very warm quality, which is excellent for basses and lead sounds.
The very first prototype of this synth was called Model A. Three other versions, B, C and D, followed. This last model is the final and most common incarnation of this 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 his musician friends rather than the drawings coming from his industrial engineers.
The Model D was first introduced at the NAMM convention in June 1971. It was Dr. Moog’s first exposure to the musical instrument industry - and the industry's first exposure to synthesizers. The reception was rather cold as, according to Bob 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.”
What we added
Making perfection better
While we were carefully modeling the characteristics of the sound, we also added some very imaginative options throughout the synth engine. To use the modulation matrix as an example, the Vocal Filter X and Y axes are available as independent destinations. There are two sources based on the Sample & Hold output, and you can even use an audio track from your DAW as a source. Another example: you can use the voice number itself as a discrete source when in polyphonic mode, which can be a very interesting way to control a parameter.
Did you ever dream of making a synthesizer talk? Well, we dreamed up a very exciting solution called the Vocal Filter. The sonic results can be spectacular, from digeridoos to interactive choirs, from sweet ‘oohs’ to the stuff of nightmares.
What if the original synth had offered automation - not as a control option, but as a sound design tool? Pick up to four parameters and record realtime changes within the preset. This gives rise to an entirely new sound palette, even if only the original synth parameters are used.
Here is an example of PWM with a simple oscillator:
We added some very useful enhancements to the original synthesizer, of course - polyphony, for one thing, and many other simple and powerful features. These are easily accessed through a dedicated panel in the mini V window.
Wait, polyphony? That was the dream of an entire generation of synth users! But that’s part of the beauty of software-based synthesizers, and we bring this modern capability to you with mini V.
We also added the following features, always with keeping in mind the simplicity of the original synth:
- Delay & chorus: simple parameters, but rich sound. The chorus was carefully engineered to have a "creamy" sound without blurring the natural attack transients of the synthesizer.
- Modulation matrix: provides up to 8 modulation routings constructed from your choice of 15 sources and 35 destinations.
- LFO: an extra oscillator is available for modulation purposes. This frees the third oscillator to add further depth to the sound or be available as an independent source in the modulation matrix.
- Arpeggiator: hold a note or chord on your keyboard and they will repeat while playing arpeggios and transposing according to the settings you select.
- PWM: The pulse width of any oscillator waveform can be modulated through the modulation matrix. This feature is unique to mini V, and allows you to make sounds that were impossible on the original synth.
The mini V ladder filter emulation delivers a powerful and rich bass sound. Activate the Soft Clipping function for an even warmer tone.
As the first portable synthesizer ever, the original synth was widely used as a lead instrument on stage. But it sounded so good that it spent a lot of studio time making lead sounds, too.
Thanks to the modulation matrix, mini V can be a powerful sound design tool. It will take you to crazy sonic territories that could not be reached with the original instrument.
Mini V includes an arpeggiator, which is a useful addition for real-time playability.
The added polyphony and effects make it easy to create pads and textures. This was something that could only be achieved back in the day through multiple recording passes with the original instrument.
- : Win 7+ (64bit) PC: 4 GB RAM; 2.5 GHz CPU.
1GB free hard disk space
OpenGL 2.0 compatible GPU
- : 10.10+: 4 GB RAM; 2.5 GHz CPU.
1GB free hard disk space
OpenGL 2.0 compatible GPU
Works in Standalone, VST 2.4, VST 3, AAX, Audio Unit, NKS (64-bit DAWs only).
The software is protected by the Arturia Software Center. You can learn more about it here.
- All the parameters of the original Mini V
- 3 voltage controlled oscillators with 5 waveforms
- 1 amazing 24 dB/octave filter
- 2 ADSR envelopes
- LFO with 7 waveforms
- 1 Noise Generator
- 1 VCA
- 1 Mixer
- 1 external audio input and 1 external oscillator and filter modulation input
- Modulation matrix with up to 8 connections (15 sources and 35 destinations)
- Vocal Filter: a fully automatable, formant-based effect with its own LFO
- Up to 32 voices of polyphony
- Unison mode option
- More than 450 presets created by an international team of top-notch sound designers
- Stereo effects: chorus and delay
- Soft clipping function
- Advanced automation mode