In Part 1 we went through some of the basics of replicating the Minimoog. In Part 2 below we will add thVital Moog Template Part 1e more advanced features synonymous with the Mini Moog and cover the various modulations which really define its sound. Download the Free Mini Moog Template here. As previously mentioned if you can afford a Moog or other analog hardware synth it is really worth getting your hands on one to help you with your sound design.
Watch the video below or keep reading.
TIP 1 – The Model D has a triangle or pulse LFO which can modulate the Filter or Oscillators.
The Model D has a triangle or pulse LFO which can modulate the Filter or Oscillators. The easiest way to recreate this is to add a triangle or square wave in LFO1 to use as the modulator and then drag and drop LFO1 on to the OSC1, OSC2 and OSC3 transpose controls. To adjust the rate of the modulation see part 2 of the tip 5 below. See Tip 6 for Filter Modulation.
TIP 2 – Key Tracking
If you want to use key tracking on Filter 1 use the following values which are the values you can trigger on the Mini Moog by depressing the first, second, both or neither of the keypad control buttons.
Add Key tracking – 33% 67% or 100%
PS remember it should be a ladder filter!
TIP 3 Overload
Replicate the Model D Overload knob by adding Distortion from the Vital Effect window.
TIP 4 Use the Modulation Wheel
Drag and drop the modulation wheel on anything you are using as a modulation source. This will enable you to adjust the modulation depth just like the wheel on a real mini moog. This will enable you to really change the timbre on the fly!
TIP 5 FM Modulation
As well triangle and square modulation (see Tip 1) the Mini Moog lets you use Oscillator 3 to modulate OSC 1 and OSC 2. Remember OSC3 should use one of the following wave types: triangular, reverse sawtooth, sawtooth, square, medium pulse and narrow pulse. Try the following 2 ways:
1 Select your wave type in OSC3 then in OSC1 and OSC2 select FM < – OSC 3
2. Alternatively draw your chosen wave type as an LFO and then drag it onto OSC1 or OSC2 Transpose amounts. In the image below a reverse saw tooth (Saw Down) in LFO1 will modulate OSC1 and OSC2.
To adjust the frequency (speed of the modulation) I suggest changing the frequency to seconds as shown below and then add a Macro to adjust it.
TIP 6 Filter Modulation
The Model D lets OSC 3 modulate both the filter and OSC 1 & OSC 2 at the same time. To modulate the filter draw your OSC 3 in LFO1 and then drag LFO1 on to the Filter control. The matrix values should look like this. Combine this with creating a Filter Envelope using ENV 2 to shape the Attack Decay and Sustain of Filter 1 and you have a really powerful feature for shaping your sound.
TIP 7 Less is More
Remember the Mini Moog is a monosynth and yet created some classic sounds. Do not feel you have to use all 3 oscillators to build your sound; sometimes less is more (Listen to the surf lead in Part 3 of this series which is just a single triangle wave with a modulating Filter and some added overdrive (distortion).
TIP 8 Research
Find some old Moog patch books and see if you can recreate the sounds in Vital Synth based on the patch sheets. Listen to some classic songs which used the Moog for inspiration.
Free Moog Template
Putting all the Tips together I have created this Vital Synth template to help you to make Moog-like sounds. I hope you enjoy it. Click here for the Free Template Preset
Click here for PART 3 coming soon which introduces some more Moog style Presets.