Introduction

WELCOME

Welcome to the Minimoog Model D App, a mobile synthesizer that invites you to explore the fundamental elements of sound. Transmuted from the circuits of the world’s first portable synthesizer, the Minimoog Model D App connects you to a rich legacy and vast new realms of creative potential.

We hope you enjoy the new dimensions of sound that are now at your fingertips.

A BRIEF HISTORY

Created in 1970, the Minimoog Model D is the instrument that brought the synthesizer out of the university laboratories and recording studios and placed it in the hands of on-stage musicians around the world. Unlike the larger modular synthesizers of the day, the Minimoog Model D could be played instantly, with no cable-patching between modules. Everything the performer needed was right there on the panel. In fact, the true genius of the Minimoog Model D was the front panel design. By grouping together related components—Controllers, Oscillators, Modifiers, etc.—the front panel became a flowchart that made audio synthesis simple to understand. The Minimoog Model D was quickly embraced by a diverse roster of performers touching nearly every genre of music. In just over a decade, well over 10,000 Minimoog Model D synthesizers were sold worldwide. Today, the Minimoog Model D remains one of the most coveted of all synthesizers.

INSTALLATION NOTES

COMPATIBLE iOS DEVICES

The Minimoog Model D App has been optimized to run on all 64-bit iOS devices: iPad, iPhone and iPod Touch. To offer the best user experience, the app operates exclusively in landscape mode.

SETUP NOTES

The Minimoog Model D App functions as a standalone application that can also be used as an AUv3 plugin within GarageBand or other AUv3 hosts. Additionally, a Bluetooth, MIDI, or audio interface will allow you connect with other electronic musical devices. These connections are managed via the SETTINGS menu.

TIP: For optimum performance on any iOS device, be sure to disable Wi-Fi or activate Airplane Mode.

TIP: Keep your battery charged above 50%, or CPU performance may be reduced by the operating system, which can result in choppy UI and/or audio crackles.

USING THE TOP BAR

The Minimoog Model D App provides a number of features that extend beyond those found in a classic Minimoog Model D. These include onboard effects, polyphony, the ability to save and share Presets, and more. All of these features and settings are quickly accessed using the buttons in the Top Bar.

PRESET & BANKS

A Preset stores all of the settings used to create a specific sound in the Minimoog Model D App, so that they can be recalled and used again. Presets also provide an excellent starting point for sound design experiments. Banks are used as filing cabinets, allowing related Presets to be stored together, making it easy to recall them later.

Working With Presets & Banks

The ACTIVE PRESET area in the upper left corner displays the name of the currently selected Preset, and the Bank that it is assigned to. The adjacent ◄ and ► buttons allow you to quickly step through the Presets stored within an active Bank.

TIP: Tapping on the ACTIVE PRESET area will immediately navigate back to the location where the currently selected Preset is stored.

NOTE: If the ACTIVE PRESET area displays the name of an imported Preset that has not yet been saved, tapping on the ACTIVE PRESET area will have no effect.

NOTE: For iPhone users, tapping the ACTIVE PRESET area will open or close the Preset browser. This browser window opens in front of the Minimoog Model D control panel.

The BANK/PRESET browser is located below the Top Bar. Tap on any Bank to bring all of the Presets saved within it into view. 

Managing Presets & Banks

Use the options on the right-hand side of the BANK/PRESET browser to manage presets and banks.

New Preset

Clicking NEW PRESET will initialize all of the parameters saved within a Preset. Now you can begin creating your own sound from a clean starting point. If you like what you have created and want to save it as a Preset, follow the SAVE instructions below.

Random Preset

Clicking RANDOM PRESET will generate a completely random preset - including preset name.

Rename Preset

Clicking RENAME PRESET opens a dialog box allowing you to give your Preset a new name. Once changes have been made, press Save to confirm your new name.

Delete Preset

Clicking DELETE PRESET opens a window confirming that you want to delete the currently selected Preset. Press Delete to remove the current Bank or Preset from the Minimoog Model D App.

WARNING: Deleted Presets cannot be restored using the UNDO function.

New Bank

Clicking NEW BANK creates a new and empty bank ready for Preset population. Name your Bank and press Create to finish.

Rename Bank

Clicking RENAME BANK opens a dialog box allowing you to give the currently selected Bank a new name. Once changes have been made, press Save to confirm your new name.

Delete Bank

Clicking DELETE BANK opens a window confirming that you want to delete the currently selected Bank. Press Delete to remove the current Bank from Minimoog Model D App.

WARNING: Deleted Banks cannot be restored using the UNDO function.

SAVE

Tap the SAVE button at any time to open the "Save the active Preset as?" window. Enter a new name and press Save to save the active Preset under a new name. Pressing Save without entering a new Preset name will overwrite the active Preset to include any changes that have been made.

NOTE: When saving an edited Preset using an unchanged name, a second window will ask you to confirm that it is okay to overwrite the previous Preset data.

NOTE: Selecting a new Preset without saving will discard any edits you have made to an INIT Preset. If this happens by accident, simply press the UNDO button.

SHARE

Tapping the SHARE button opens a window where the current settings of your Minimoog Model D App can be shared with other users, regardless of whether they have been saved or not. Click any of the displayed icons to share these settings using that app.

UNDO & REDO

Tapping the UNDO button will undo the most recent change to a sound. Tapping it again will undo the change made before that, and so on. The REDO button allows you to reverse the effect of the most recent UNDO operation. If the UNDO or REDO buttons appear greyed-out, there is no operation to Undo or Redo.

NOTE: The number of Undo and Redo operations is limited by the available memory in your device. Undo and Redo history is cleared each time the Minimoog Model D App is launched.

EFFECTS


‍The EFFECTS modules are between the Top Bar and the Model D Panel. Tapping on each individual EFFECTS module -  Arpeggiator, Bender, Delay, Looper - will open the module and reveal all of the parameters available for that effect. Tapping on the effect name a second time will close the module. You may also swipe the effects upwards and downwards to open and close each effect module.

NOTE: A more detailed description of each Effect module is provided later in this manual.

PLAY

Tap the PLAY button to open the PLAY view.

The PLAY view focuses on the main sound design and performance parameters of the Minimoog Model D App. When PLAY view is selected, the CONTROLLERS, POWER/VOLUME, and portions of the LEFT-HAND CONTROL panels will be hidden, while the remaining panels are conveniently enlarged for increased accessibility. In addition, the keys will become wider, offering improved playability. Tapping the PLAY button in the Top Bar will open or close the PLAY view.

TIP: You can also open the PLAY view by simply double-tapping on any blank area of the panel. Repeat this operation to close the PLAY view.

TEMPO DISPLAY & TAP TEMPO

The TEMPO display shows the current tempo as a BPM (Beats Per Minute) value. Many of the Effects in the Minimoog Model D App are tempo driven. The Arpeggiator Rate, the Delay Time (when Sync is engaged), and the Looper Tempo are all derived from this tempo.

To change the tempo, touch the TEMPO display and slide your finger left or right to edit the value.

TIP: Sliding your finger up and down sets the tempo using a finer resolution.

The TAP TEMPO button to the right of the TEMPO display appears as a target of concentric circles. To change the tempo by feel, tap the TAP TEMPO button at least 3 times in a row.

For more options, tap the TEMPO display and a new menu will open.

From here you can manually enter a BPM value or take advantage of the enlarged TAP button.

Press the BPM number to type in a new BPM value, or rhythmically press the TAP button to enter a new tempo based on feel, and not by number.

Press HIDE to close this window.

NOTE: Tempo settings are saved with each Preset.

STORE

Tapping the STORE button opens the Minimoog Model D App Store. Here you can acquire new sounds and other enhancements to your Minimoog Model D App. This area will change as new content is added, so be sure to check in often and see what’s new.

SETTINGS

Tap the SETTINGS button to open the main Settings window.

Select an option to access that section. Each section offers access to additional parameters and functions that enrich the capabilities of the Minimoog Model D App.

ADVANCED

The ADVANCED section is divided into two categories – SYNTHESIZER and MODULATION.

SYNTHESIZER

These synthesizer parameters have been placed here to preserve the appearance of the Minimoog Model D control panel. These parameters are saved per-Preset.

Key Behavior

When RETRIGGER is selected, the Filter Contour will retrigger each time a new note is played.

When LEGATO is selected, the Filter Contour will only retrigger if all fingers are raised from all keys before a new note is played. If a key is held down as a new note is played, the Filter contour will not retrigger, allowing for exceptional trills, phrasing, and expression. 

NOTE: Legato phrasing is similar to how a string player can play different notes without initiating a new bow stroke, or how a sax player may play a new note without taking a breath or re-attacking the reed.

When POLYPHONIC is selected, the Minimoog Model D App can be played with up to four voices of polyphony. The original Minimoog Model D was monophonic, meaning that it only had the ability to play one note at a time.

NOTE: When Polyphonic is selected, the volume of the Minimoog Model D App is automatically lowered to prevent distortion from occurring when multiple notes are played together.

LFO Waveform

A dedicated LFO (Low Frequency Oscillator) was added to the left hand control section of the Minimoog Model D hardware synthesizer in 2016. By using this LFO as a modulation source, Oscillator 3 is now free to be used as an audio oscillator or as a second modulation source. You can select either TRIANGLE or SQUARE as the Waveform for the dedicated LFO.

TIP: The Triangle wave produces a smooth up and down modulation that is excellent for adding vibrato to the pitch of a sound. The Square wave alternates between the minimum and maximum modulation value, and is ideal for introducing multi-octave pitch jumps and tremolo-style effects.

Contour Shape

There are two options for the Contour Shape, CLASSIC and CLEAN. The CLASSIC shape behaves as the hardware Minimoog Model D synthesizer does - the contour curves tend to clip at their highest point when they entered the final output VCA (Voltage Controlled Amplifier). In addition, the Sustain levels could only achieve about 85% of the full range of the contour generator. The CLEAN shape provides Sustain levels that can reach the full range of the contour shape, and there is no clipping when entering the VCA. Choose your contour shape by highlighting one of these two choices.

MODULATION

These synthesizer parameters have been placed here to preserve the appearance of the Minimoog Model D control panel. These parameters are saved per-Preset.

Pitch Range

The depth of the effect provided by the PITCH wheel can be set in a musical semitone of 2, 3, 4, 5, 7, 12, 24, 48, 96, or Off (no effect). The value of the Pitch Bend Range parameter can be saved individually with a specific value for each Preset, or a global value can be chosen that will provide the same depth of effect on every Preset.

NOTE: To save the Pitch Bend value for an individual Preset, you must exit the SETTINGS window and click the SAVE icon to program the Preset using the current value.

Load From Preset

When this feature is On (highlighted), the Pitch Bend range can be saved and recalled per-Preset. If LOAD FROM PRESET is Off, all Presets will use the value currently shown in the PITCH RANGE value box.

TIP: The Minimoog Model D App supports RPN 0, which allows the Pitch Bend range to be set automatically by an MPE controller.

Velocity/Aftertouch

You can map Velocity and Aftertouch signals coming from a MIDI keyboard, DAW MIDI track, or any other source to the Minimoog Model D by clicking the dropdown menu for either Velocity or Aftertouch and choosing a destination - LOUDNESS, FILTER, OSCILLATOR, or MOD. SRC. (which replaces the NOISE in the MODULATION MIX). Choosing OFF will disable Velocity/Aftertouch.

Use the depth control to scale the Velocity/Aftertouch signals anywhere between 0% and 100%.

Mod Wheel

Use the depth control to scale the effect of the MOD. Wheel - setting the maximum depth of modulation when the MOD. Wheel is turned all the way up.

CONFIGURATION

The CONFIGURATION section is divided into two categories – AUDIO and AUDIO DEVICE.

AUDIO

Background Audio

When this feature is On (highlighted), the Minimoog Model D App will continue to make sound – and consume battery power - while it is running in the background.

Looper Beep

When this feature is On (highlighted), the RECORD function of the Looper Effect will produce an audible beep on each beat of the initial recording. No beep is heard when recording overdubs.

NOTE: The Looper will always provide a four-count before recording begins, regardless of the LOOPER BEEP selection.

Silent Preset Changes

When this option is selected, the Minimoog Model D App will momentarily mute as you change presets, and prevent the tails of any notes from continuing to sound using the newly selected Preset.

Ableton Link Disabled/Enabled

When this feature is On (highlighted and reading ABLETON LINK ENABLED), the Minimoog Model D App can match the beat and tempo of other Ableton Link enabled Apps. You can adjust the tempo on one device, and the other linked applications will follow. Players can drop out, stop their performance, restart and fall back in—and still be in sync. With Ableton Link set to DISABLED, the Minimoog Model D App will not share timing information with other Ableton Link enabled Apps.

NOTE: When activating Ableton Link, there is an option to turn on in-app notifications. This option will notify you when Apps join or exit your current session.

AUDIO DEVICE

In the AUDIO DEVICE section you can adjust the BUFFER size of the Minimoog Model D App (64, 128, 256, or 512 samples) and the SAMPLE RATE (44.1k, 48.0k, 88.2k, or 96.0k).

In this section you may also choose the audio device that will serve as the output for your Minimoog Model D App. Inside this box is a list of available options, click on your selection to make it active.

MIDI

These parameters allow the Minimoog Model D App to be used effectively with other MIDI devices. They include choosing a port, setting the input and output channels, creating a map to allow for MIDI control over any and all controls, setting up a MIDI connection via Bluetooth, and specifying the range of the Pitch Bend wheel, etc.

MIDI Input

This list shows the available MIDI input ports configured and recognized by the iOS system. Here you can chose the active MIDI Input port(s).

Input Channel

This parameter determines which MIDI channel will be used to receive data. Tap the CHANNEL box and set your channel by scrolling through the options from OMNI (all Channels); 1-16; or MPE (MIDI Polyphonic Expression).

MIDI Output

This list shows the available MIDI output ports configured and recognized by the iOS system. Here you can chose the active MIDI Output port(s).

Output Channel

This parameter determines which MIDI channel will be used to transmit data. Tap the CHANNEL box and set your channel by scrolling through the options from 1 through 16. 

NOTE: The Minimoog Model D APP always sends data to a virtual MIDI Output port named "Model D." This port can be accessed by any other App running on your iOS device to receive MIDI information from the Minimoog Model D App.

Panic

Tapping this button sends an “All Notes Off” command on every MIDI channel. This will clear any ringing notes or hung commands in your MIDI setup.

Bluetooth MIDI

Tapping this button begins a search for compatible Bluetooth MIDI devices. Available devices will appear in the "Bluetooth MIDI Devices window". Select the device you wish to use, then press Done to close the "Bluetooth MIDI Devices" window.

Send MIDI

When this feature is On (highlighted), the Minimoog Model D App will send MIDI data to other networked devices. When Off, no MIDI data is transmitted.

Map CCs

Tapping the MAP CCs option will open a Panel Map showing any current MIDI CC (Continuous Controller) assignments. MIDI CC Mapping is useful if you want to operate the Minimoog Model D App from a hardware controller, or for integration with a DAW. By creating and saving a MIDI CC Map, you can specify which MIDI CC numbers will affect which knobs and which features. MIDI CC Maps can be created to optimize a particular Preset for external control, or to provide the highest level of integration with a favored controller. MIDI CC Maps are saved and recalled independently of Presets.

NOTE: CC Maps can be saved, reloaded, and shared with other users.

If no MIDI CC is assigned to a specific parameter, the value displayed will be [ - - ]. To make a MIDI CC assignment, simply tap a knob or switch, and then operate the corresponding knob or switch on your MIDI controller. The first MIDI CC number that the Minimoog Model D App detects will be assigned to that parameter. Repeat this process for other knobs and switches.

To manually assign a MIDI CC, simply double tap a knob or switch. This will open the basic "MIDI CC Assignment" window. From here, you can enter the desired MIDI CC number. Press SET to save your change.

NOTE: MIDI CC Maps apply to all voices; they cannot be used by MPE to control parameters in a per-note manner.

NOTE: Parameters for all of the Effects can also be mapped to MIDI CC numbers. Due to the limited display space, open the Effects you wish to map first, and then open the SETTINGS menu, choose MIDI, and then select MAP CCs.

To edit a MIDI CC assignment, double-tap on a knob or switch with an existing MIDI CC value. This will open the "MIDI CC Assignment" window. From here you can Clear the current value, enter a new CC value, or change between 14-bit and 7-bit resolution. Once you have edited the CC assignment, press SET to save your change.

Save/Load CC Map

Tapping the SAVE/LOAD CC MAP option opens a list of all of the available MIDI CC Maps. Choose a MIDI CC Map from the list; the name will become highlighted.

Clear

Selecting CLEAR removes all MIDI assignments from the active MIDI CC Map. This way, you can begin building a new MIDI CC Map without having to un-assign any previous assignments individually.

Load

Selecting LOAD will cause the highlighted MIDI CC Map to become the Active MIDI CC Map.

Save

By selecting SAVE, you can add the active MIDI CC Map to the list of available MIDI CC Maps. The "Save the active CC map as?" window will open where you can give the current MIDI CC Map a new name. Name your CC Map and press Save to finish.

TIP: After performing any edits to the active MIDI CC Map, you can save it using the same name, or save it as a new MIDI CC Map using a new name.

NOTE: When saving an edited MIDI CC Map under the previous name, a second pop-up box will ask you to confirm that you wish to overwrite the previous data.

Delete

Tapping DELETE opens a window confirming that you want to delete the currently selected MIDI CC Map. Press Delete to remove it from the Minimoog Model D App.

TIP: Dragging Left on any CC MAP name in this list will reveal the Share, Rename, and Delete icons.

Cancel

Choosing CANCEL closes the MIDI CC MAPS window.

SHARE

The data you create using the Minimoog Model D App, including Presets, Banks, MIDI CC Maps, and Looper audio files, can be shared with other Apps and users. Sharing and swapping Presets is a great way to build up your sound library.

iCloud

If you have selected iCLOUD sharing on your device, then the Presets and CC Maps you have created will also be saved here. Presets and MIDI CC Maps saved to iCloud can easily be reloaded into the Minimoog Model D App.

Browse Presets

This option opens a list of the available iCLOUD PRESETS, sorted by Bank. Select any Preset from this list and it will instantly become the active Preset. Dragging Left on any Preset name will reveal the Delete (X) icon. Tap on the Delete Icon to remove it from the iCLOUD PRESET list. Dragging Left even further will select the Delete icon and remove the Preset from the list in one motion.

Browse CC Maps

This option opens a list of the available iCLOUD CC MAPS. Select any CC Map from this list and it will instantly become the active CC Map.

NOTE: Choosing a CC Map as the active CC Map does not commit these settings to memory. Save the active CC Map by going to the SETTINGS menu, selecting MIDI, and then selecting SAVE/LOAD CC MAP. Once the MIDI CC MAPS page opens, press SAVE, and follow the “Save the active CC map as?” command.

Dragging Left on any CC Map name will reveal the Delete (X) icon. Tap on the Delete Icon to remove it from the iCLOUD CC MAPS list. Dragging Left even further will select the Delete icon and remove the CC Map from the list in one motion.

PRESET SHARING

This list provides a convenient way to share all types of data from one location

Share Current Preset

Select this option to share the currently active Preset using AirDrop, Mail, and other messaging services.

Share Current Bank

Select this option to share the currently active Bank (and the Presets contained within it) using AirDrop, Mail, and other messaging services.

Share Current Map

Select this option to share the currently active MIDI CC Map using AirDrop, Mail, and other messaging services.

MANUAL

Tap here to open the in-app version of this manual.

ABOUT

Tap here to view the current software version and information regarding the Minimoog Model D App.

BATTERY

This icon displays the current battery level of your Apple iOS device.

UNDERSTANDING SOUND & SYNTHESIS

Exploring the Minimoog Model D App can be a rewarding experience, regardless of your level of synthesizer expertise. But to understand the synthesizer, it's a good idea to know a few things about sound, too.

UNDERSTANDING SOUND

The sounds we hear are vibrations in the air, caused by a vibrating source such as the string of a guitar, the reed of a clarinet, or the column of air in a flute. One of the things that makes each sound different is the speed at which it vibrates; this frequency determines the pitch of the sound, or the note. Now, obviously a flute and a guitar and a clarinet playing the same note at the same frequency don’t all sound alike, so there is more to it than that.

In addition to pitch, another factor is how the sound behaves over time. A note played on the guitar will begin to die away almost immediately. The flute and the clarinet will continue to sound as long as the player breathes air into the instrument. And while the guitar can continue to sound as it dies away, the flute and clarinet cease to sound right as the airflow stops. This change in dynamics over time is referred to as the loudness contour.

The last thing we can look at is the tonal content of the sound itself. In musical terms, this is called the timbre (pronounced tam’–br, as in tambourine, not tim’–br, as in a tree falling). Each instrument produces a different waveform, and different waveforms carry a different harmonic content. The flute in our example is very close to a pure sine wave, with little or no overtones. But the clarinet and guitar each have a much more complex waveform, with a distinctive harmonic content. By understanding the pitch, the contour, and the harmonic content of a sound, we can learn how to use the synthesizer more effectively.

UNDERSTANDING THE SYNTHESIZER

Every synthesizer – even an integrated synthesizer such as the Minimoog Model D App – is at heart a collection of individual modules. Each module contains specific circuitry to control a certain aspect of the sound being created.

Oscillators

The sound-generating circuitry has no physical moving parts like a guitar string or a clarinet reed. Instead, the Minimoog Model D App oscillators create an electronic signal that changes direction very rapidly. Connected to a loudspeaker, that electronic voltage moves the speaker to create the sound we hear. How smoothly the signal changes direction determines the waveform, or wave shape, which in turn determines the harmonic content.

The Filter

Minimoog Model D App uses a low-pass “ladder” filter design. Even though each waveform has a distinct harmonic content, using the filter changes that content by selectively removing some of the upper harmonics, which carry a higher frequency. Lowering the Cutoff Frequency of the Filter will cause more upper harmonic content to be filtered out.

Contour Controls (Envelope Generators)

The Contour controls determine how the sound changes over time. The Loudness Contour determines how the amplitude, or volume, of the sound changes over time – how fast the sound comes on (Attack Time); how fast the sound falls (Decay Time) to a preset level (Sustain Level) and how the sound dies out after the key, or note is released. The Filter Contour has the same parameters, but they are used to control the Cutoff Frequency of the Filter over time, and not the amplitude.

Modulation

Modulation paths allow the synthesizer modules to interact with one another to create more complex sounds. In addition, dedicated Modulation sources can be assigned to the Modulation wheel, and freely introduced as part of a performance.

Block Diagram Of The 2016 Minimoog Model D Hardware Synthesizer

This illustration shows the major synthesizer components, plus the audio and control pathways between them.

Features and Controls

The Minimoog Model D is a direct descendant of the Moog modular synthesizers that came before it. Although unified into a single body, the internal electronics still rely on individual circuits that perform a specific function. Arranged as an intuitive flowchart, the Minimoog Model D App groups similar components together by type – CONTROLLERS, OSCILLATOR BANK, MIXER, MODIFIERS, OUTPUT – and uses colored rocker switches in place of patch cords to create connections between these modules.

The Minimoog Model D App uses this same efficient panel design

OSCILLATOR BANK

The Oscillators are the primary sound source in nearly any synthesizer. The Minimoog Model D App provides three oscillators of almost identical design. This arrangement means each note played can sound up to three oscillators, each with its own Waveform and Frequency settings. The Mixer then controls the balance between the Oscillators.

Range

The RANGE knob selects the fundamental octave for each oscillator over a five octave range. A sixth LO setting brings the pitch down even further, allowing the Oscillator to be used for other purposes, such as modulation.

NOTE: If an Oscillator is set to the LO position and is set to ON in the mixer, it may sound like repetitive pops. This is normal as it is operating below the audio range.

Frequency

Oscillator–2 and Oscillator–3 are each equipped with a FREQUENCY knob that can be used to detune the Oscillator from the pitch of Oscillator–1. Slight amounts of detuning can create a rich, chorusing effect. Tuning the Oscillators to an interval (Perfect Fifth above; Perfect Fourth below, etc.) provides a powerful voice for playing lead passages or creating chords.

Waveform

The Waveform of the oscillator determines its harmonic content; harmonic content is in turn determined by the number, strength, and amount of overtones a waveform contains. Consider a vibrating guitar string. The entire length of the string vibrates at the fundamental pitch. Halfway down the string? Twice as fast, or an octave higher. One third the string length? Three times as fast, creating a perfect fifth above that, and so on. Not every sound caries the same numbered harmonics, in the same proportion, or at the same strength. The same is true for each Waveform; each one carries a unique harmonic content.

NOTE: The harmonic series is the basis for the pipe organ, the Hammond organ, additive synthesis, etc. The Minimoog Model D begins with a choice of harmonically rich Waveforms, and uses a low-pass filter to modify the tonal content using the process of subtractive synthesis.

Triangle

The Triangle wave has an extremely strong fundamental, yet contains only odd-numbered harmonics at very low levels. This makes the Triangle wave an ideal choice for creating soft, flute-like sounds that have a pure tone with little overtone activity.

Triangle/Sawtooth (Oscillator–1, Oscillator–2 only)

This waveform is a hybrid of the Triangle and Sawtooth waveforms. It contains more harmonic energy than the Triangle Wave and adds in some of the even-numbered harmonics, but it is not nearly as brash as the Sawtooth wave. This hybrid waveform can add a little more edge than the Triangle wave alone, allowing it to cut through the mix with a bit more clarity.

Sawtooth

The Sawtooth waveform is the most harmonically dense of the waveforms, containing all of the natural harmonics in relatively strong levels. In addition to creating thick, brassy sounds, the Sawtooth waveform lends itself to powerful lead and bass sounds as well.

Reverse Sawtooth (Oscillator–3 only)

The Reverse Sawtooth has a sound similar to the regular Sawtooth wave; it is included here as a waveform choice for when Oscillator–3 is being used as a modulation source.

Square

The harmonic content of a Pulse wave is based on the width of the top half of the wave in relation to the bottom half of the wave, also known as the duty-cycle. In the Square wave, the width of these two portions of the wave are equal. As with the Triangle wave, the Square waveform contains only odd-numbered harmonics, but with greater energy. A Square wave provides a rich starting point for string-like sounds.

Wide Rectangle

As the Pulse wave changes from Square to Rectangular, even numbered harmonics are introduced, but the overall harmonic mix is changed. The wide rectangle forms the basis for hollow, reedy sounds.

Narrow Rectangle

As the Pulse wave continues to get narrower, lower numbered harmonics—both odd and even—are emphasized. The resulting timbre takes on a more nasal tone.

TIP: Mixing a Triangle wave from one Oscillator with the more complex wave of another Oscillator allows you to emphasize one particular harmonic without adding unwanted overtones. Changing the relative tuning of the Triangle wave Oscillator can enhance this effect.

Osc. 3 Control

Oscillator–3 is unique. Normally, all Oscillators are controlled directly from the keyboard and Pitch wheel. Setting this orange rocker switch to Off releases Oscillator–3 from keyboard control, allowing it to run free as a modulation source.

Oscillator Modulation

Setting this orange rocker switch to On creates a connection between the Oscillator Bank and the Modulation wheel. The amount of modulation is controlled by the position of the Modulation wheel. Sources that can be used for modulation and assigned to the Modulation wheel include Oscillator-3, the Filter Contour (Filter Envelope Generator/EG), the Noise Generator, and the dedicated LFO (Low Frequency Oscillator).

Controllers

In addition to setting the Glide rate, this panel allows you to select two modulation sources, set a mix between them, and assign that mix to the MOD. (Modulation) wheel. In this way, the Modulation wheel can be positioned to introduce a set amount of modulation that is saved per Preset. In addition, the Modulation wheel can be used to vary the amount of modulation as a way of adding expression to any performance.

Tune

The TUNE knob sets the global tuning for the Minimoog Model D App.

Glide

Glide produces a smooth, continuous change in pitch between notes as you transition from one note to the next. This knob determines the amount of time required to transition between the two pitches. Increasing the value of this knob sets a longer Glide rate; lowering the value sets a shorter Glide rate.

NOTE: The white rocker switch controlling the Glide effect (located on the Left-Hand Keyboard panel) must be set to ON in order to hear the effect.

Modulation Mix

Two modulation sources can be selected using the two black rocker switches labelled OSC.3/FILTER EG and NOISE/LFO. The MODULATION MIX knob then sets the balance between these two modulation sources. With the MODULATION MIX knob rotated fully counterclockwise, only the modulation source selected by the OSC.3/FILTER EG switch is applied. With the MODULATION MIX knob rotated fully clockwise, only the modulation source selected by the NOISE/LFO switch is applied. In the center position, both selected modulation sources are applied equally.

NOTE: In order for modulation to be audible, the MOD. wheel must be set above its minimum position and the OSCILLATOR MODULATION and/or FILTER MODULATION switches must be set to ON (Right).

Osc. 3 / Filter EG

This black rocker switch is used to choose the modulation source that will be assigned to the counterclockwise portion of the Modulation Mix knob. In the OSC. 3 position, Oscillator-3 will be assigned as the modulation source. Oscillator 3 is an excellent modulation source, with six selectable waveforms and a wide frequency range. Unlike the other two Oscillators, Oscillator-3 can operate free from keyboard control by setting the orange OSC.3 CONTROL rocker switch to OFF. Using OSC.3 as a modulation source also opens the door for FM effects. In the FILTER EG position, the shape defined by the Attack Time, Decay Time, and Sustain Level knobs in the Filter Contour can be used as a modulation source. Filter EG is ideal for creating synthetic percussion and other sounds.

Noise / LFO

This second black rocker switch is used to choose the modulation source that will be assigned to the clockwise portion of the Modulation Mix knob. Setting this switch to NOISE allows the Noise Generator to be assigned as a modulation source. Choosing NOISE provides a constantly changing and non-cyclic modulation source that is totally unique. The NOISE switch located in the mixer selection determines what type of noise is used for modulation. When WHITE is selected, Pink noise is actually the modulation sources, and when PINK is selected, Red noise is actually the modulation source. In the LFO position, the dedicated LFO located on the Left-Hand Keyboard panel is used as a modulation source, with Triangle and Square waveform selections available via the SETTINGS menu. This dedicated LFO is ideal for adding vibrato and trills to a sound.

Left-Hand Keyboard Panel

Located to the left of the keyboard, this panel contains a number of controls that address performance related functions. The most important of these are the PITCH (Pitch Bend) wheel and the MOD. (Modulation) wheel. The PITCH and MOD. wheels may be used to add articulation and expression to any performance.

Glide

Glide produces a smooth, continuous change in pitch between notes as you transition from one note to the next. Setting this white rocker switch to the On position turns the Glide effect on. The Glide rate is determined by the Glide knob on the Controllers panel.

Decay

The Contour controls determine how the sound changes over time – how fast the sound comes on (Attack Time), and how fast the sound falls (Decay Time) to a preset level (Sustain Level). When this white rocker switch is set to ON, the Decay Time is also used to determine how the sound dies out after the key is released.

LFO Rate

The LFO RATE knob sets the speed for the dedicated LFO (Low Frequency Oscillator) modulation source that was added to the Minimoog Model D in 2016.

NOTE: The Default selection for the LFO is a Triangle wave. A Square wave can be selected by opening the SETTINGS menu, tapping CONFIGURATION, and under the SYNTHESIZER heading choosing SQUARE as the LFO WAVEFORM.

NOTE: The LFO WAVEFORM selection is saved per-Preset.

Pitch

Touch and drag the PITCH (PITCH BEND) wheel to bend the pitch of the oscillators up or down for as long as the wheel is held. When released, the PITCH wheel will return to its original position. The range of this control can be specified per-Preset via the SETTINGS menu.

Mod

Touch and drag the MOD. (MODULATION) wheel up to introduce modulation to the Pitch of the Oscillators and/or to the Cutoff Frequency of the Filter. The position of the MOD. wheel is saved with each Preset. Unlike the PITCH wheel, the MOD. wheel must be manually returned to its minimum position.

CRITICAL NOTE: With the OSCILLATOR MODULATION switch and FILTER MODULATION switch set to OFF (left), the MOD. wheel will appear to have no effect on your instrument.

Mixer

The mixer is where all of the sound sources within a synthesizer are blended together. All three Oscillators, the Noise Generator, and the External Audio Input have their own individual channel with a dedicated VOLUME knob and a blue On/Off rocker switch. The VOLUME knobs not only set the levels for each sound source, but also determine how hard the input of the filter is driven. The blue On/Off rocker switches allow you to quickly add and remove sound sources without having to change the individual volume levels.

Oscillator Volume

The VOLUME knobs for all three Oscillators line up on the left side of the mixer, while each On/Off switch is found in the center column.

External Input Volume

Just as on the Minimoog Model D hardware synthesizer, the Main Audio Output of the Minimoog Model D App is attenuated slightly, and then sent back to the External Input of the Mixer. By increasing the  EXTERNAL INPUT VOLUME knob setting far enough, the Mixer will overload, introducing varying levels of overdrive or distortion. When this occurs, the Overload indicator lamp will illuminate.

IMPORTANT NOTE: The EXTERNAL INPUT VOLUME control is located after the Main Output VOLUME on the Minimoog Model D App. This means that the Main Output VOLUME knob will also affect the overall amount of overload. Mixer overload is only audible if the External Input is set to ON.

Noise Volume

While most of us think of noise as just that – noise – the noise generator can be a very desirable sound source, either alone, or mixed in with other sound sources. It can be used to create anything from a rocket launch to the subtle breath of a flute sound. The NOISE VOLUME knob sets the level of the Noise generator.

White/Pink

In addition to the NOISE VOLUME knob, there is a blue rocker switch for selecting either WHITE or PINK noise as a sound source. White Noise contains all audible frequencies at equal amplitude levels, much like white light. Pink Noise contains equal energy in each band of the audio spectrum, and is perceived as having more low-frequency components. If you think of White Noise as TV static, consider Pink Noise more as a waterfall pounding the rocks below.

NOTE: When WHITE NOISE is selected, Pink Noise is actually the modulation source. When PINK NOISE is selected, Red Noise is actually the modulation source.

Modifiers

The Modifiers Panel contains three of the most important elements of any synthesizer – the Filter, the Filter Contour controls, and the Loudness Contour controls. Together and independently, these modifiers provide the tools you need to sculpt sound into a custom creation.

Filter

A Filter is one of the most crucial elements in synthesis and electronic sound design. The Minimoog Model D App employs a classic 24dB/Octave Moog Low-Pass Ladder Filter. The term "Ladder" stems from the hardware design of the original filter, which has transistors wired in a type of ladder configuration. Low-pass indicates that the filter is selectively removing harmonic content in the upper part of the audio spectrum, while allowing the lower frequencies to pass unaffected. Finally, the 24dB specification indicates how frequencies are attenuated above the Cutoff Frequency. In this case, harmonic content is rolled off at a rate of 24dB per octave.

Cutoff Frequency

Harmonic content occurring above the Filter Cutoff Frequency is reduced by the Filter at a rate of 24dB/Octave. Harmonic content, or sound, below the Filter Cutoff Frequency will pass unaffected. This is the foundation of subtractive analog synthesis. While the Filter Cutoff Frequency can be set manually using the CUTOFF FREQUENCY knob, the value is also affected by the Keyboard Control switches, Filter Modulation switch, Filter Contour controls, and the Amount Of Contour knob, which are discussed below. When closing the Filter by lowering the Cutoff Frequency, the sound will be perceived as darker, while increasing the Filter Cutoff Frequency will create a progressively brighter sound as more upper harmonic content is allowed to pass through.

Emphasis

Often referred to as resonance, the EMPHASIS knob takes a portion of the output of the Filter and sends it back to the input of the Filter, creating a resonant peak that occurs at the Filter’s Cutoff Frequency. By turning the Emphasis control up and lowering the Filter's Cutoff Frequency, the Filter can be coaxed into a self-oscillating state, acting as a sine-wave oscillator whose pitch can be controlled or played via the keyboard by using the Keyboard Control switches defined below.

Filter Modulation

When this orange rocker switch is set to ON (right), the Filter Cutoff Frequency can be modulated by the Noise Generator, Filter Contour, Oscillator 3, and the LFO (Low Frequency Oscillator). The modulation source and amount are defined by the CONTROLLERS settings and the Modulation Wheel position.

Keyboard Control 1&2

The KEYBOARD CONTROL switches allow the note played on the keyboard to affect the Filter Cutoff Frequency, a process also known as key tracking. This allows notes played higher on the keyboard to produce a brighter sound, while lower notes will produce a darker sound. Keyboard Control 1 provides 1/3 of the total amount of available key tracking. Keyboard Control 2 provides 2/3 of the total amount of available key tracking. By using both switches together, the full amount of available key tracking (1/3 + 2/3 = 1) is applied.

TIP: With KEYBOARD CONTROL switches 1 and 2 set to ON and RESONANCE set to maximum, the Filter Cutoff Frequency can be played from the keyboard similar to an oscillator.

Contour Controls

Sounds change over time. Some sounds begin abruptly, like the strike of a drum. Some sound build slowly, like a soft note on a cello. Some sounds end just as quickly, and some linger like a held chord on a piano. Some sounds begin with emphasis, and settle to a smooth, warm tone like a trumpet solo. In any case, the sound is changing over time. We call this the envelope, or the contour, of the sound. The Minimoog Model D App uses the Contour Controls to similarly change the sound over time. The Loudness Contour settings change the volume of the sound over time. The Filter Contour settings change the Cutoff Frequency of the Filter over time, creating a change in timbre, or tone. In either case, there are three main Contour controls: Attack Time, Decay Time, and Sustain Level.

FILTER CONTOUR

Attack Time

The ATTACK TIME knob determines the amount of time required for the Filter Contour to raise the Filter’s Cutoff Frequency from its manual setting to its maximum level (determined by the Amount Of Contour knob) once a key is pressed.

Decay Time

The DECAY TIME knob determines the amount of time required for the Filter Contour to lower the Filter’s Cutoff Frequency from the level achieved by the Attack stage to the Sustain Level. The DECAY TIME knob can also control the amount of time it takes for the Filter to return to its manual setting after a key is released. This second function of the Decay Time knob is activated by the DECAY switch, located on the Left-Hand Keyboard panel.

Sustain Level

After the Attack and Decay stages have been completed, the Filter Contour will hold the Filter’s Cutoff Frequency at the level determined by the SUSTAIN LEVEL knob for as long as a note is held.

Amount Of Contour

The AMOUNT OF CONTOUR knob determines how much of the control signal created by the Filter Contour will be applied to the Filter Cutoff Frequency over time.

LOUDNESS CONTOUR

Attack Time

The ATTACK TIME knob determines the amount of time required for the Loudness Contour to raise the volume from zero to its maximum level once a key is pressed.

Decay Time

The DECAY TIME knob determines the amount of time required for the Loudness Contour to lower the volume from its maximum level achieved by the Attack stage to the Sustain Level. The DECAY TIME knob can also control the amount of time required for a note to completely fade out after a key is released. This second function of the Decay Time knob is activated by the DECAY switch, located on the Left-Hand Keyboard Panel.

Sustain Level

After the Attack and Decay stages have been completed, the Loudness Contour will maintain the volume level determined by the SUSTAIN LEVEL knob for as long as a note is held.

Power/Volume Panel

The final panel of the Minimoog Model D App is the Power/Volume panel.

Volume

In addition to setting the output volume of the Minimoog Model D App, the VOLUME knob also provides soft saturation in the upper reaches of the Volume range. As you turn the VOLUME knob up, you may hear the tone change as the signal saturates the VCA (Voltage Controlled Amplifier). Depending on the settings of the active Preset, clipping may occur at higher VOLUME knob settings, which may or may not be desirable.

NOTE: In addition to setting the Output level, the main VOLUME knob also controls how much output signal is fed back into the Mixer via the EXTERNAL INPUT knob. Setting both Volume level high and the External Input level high can overload the mixer – not necessarily a bad thing.

Power

The POWER switch turns the Minimoog Model D App off so that no sound is produced. You may continue to operate the controls, organize and rename Presets, but the App will not output sound.

USING THE EFFECTS

The Minimoog Model D App includes a suite of effects modules that can be used by themselves or simultaneously. Experiment with different setting to truly unlock the sound of your Minimoog Model D App. To access the Effects, tap on each EFFECT to open the module and reveal all of the parameters available for sound manipulation. Click on the Effect name a second time to close the module.

Arp

The arpeggiator (ARP) takes the notes being held on the keyboard, and plays them one at a time in a rhythmic pattern. This is useful for creating swooping cascades of notes, building a rhythmic base, or creating computerized counterpoint. Turn the Arpeggiator On using the black rocker switch (the indicator lamp will light) and hold down a few notes on the keyboard to begin exploring the Arpeggiator effect.

Rate

The settings of the RATE knob are presented as note values – quarter notes, eighth notes, sixteenth notes, or thirty-second notes – derived from the current TEMPO setting.

1/4: Each step of the pattern will be played as a quarter note.
1/8: Each step of the pattern will be played as an eighth note.
1/16: Each step of the pattern will be played as a sixteenth note.
1/32: Each step of the pattern will be played as a thirty-second note.

Pattern

There are four arpeggiator patterns to choose from.

UP: The notes are played in an ascending pattern.       
UP/DOWN: The notes are played in an ascending and then descending pattern.               
ORDERED: The pattern is determined by the order in which the notes were first played.                   
RANDOM: The arpeggiated notes are played in a random sequence.

Octave

The arpeggiated pattern can be set to play over a range of octaves.

1: Only the notes played are arpeggiated.               
2: The arpeggiated pattern is played and then repeated one octave higher than the original.               
3: The arpeggiated pattern is played and then repeated one and two octaves higher than the original.

Arp Latch

With the blue ARP LATCH rocker switch set to ON, the notes played on the keyboard will continue to arpeggiate even after your hand is lifted from the keyboard. As long as one note is still being held on the keyboard, any new notes played will be added to the arpeggiator pattern. Notes played after lifting all fingers from the keyboard will begin a new pattern in place of the previous one. This allows you to change the notes in the arpeggiated pattern simply by lifting all fingers from the keyboard before a new set of notes is played.

Key Hold

With the blue KEY HOLD rocker switch set to ON, the notes played on the keyboard will continue to arpeggiate even after your hand is lifted from the keyboard. Unlike the Key Latch function, individual notes can be added or removed from the arpeggiated pattern as it plays. This can be highly useful for changing the melodic content of an arpeggiation (by adding, changing, or removing notes) as well as for impacting the rhythm of an arpeggiation (by purposefully changing the number of notes in the pattern) in real time as part of a performance. Keys being played as part of a pattern are visually displayed as being held; touch a currently held key again to release it and remove it from the arpeggiated pattern.

NOTE: If KEY HOLD is set to ON, even with the Arpeggiator set to OFF, all notes played will be held indefinitely until KEY HOLD is set to OFF or the currently "held" keys are released.

Gate Length

Gate Length determines how long a note is held in relation to the entire duration of a step. Lower Gate Length values will produce notes played with a short, percussive or staccato articulation; higher Gate Length values will produce smoother notes that are played for a longer duration.

TIP: The Loudness Contour and the white DECAY rocker switch on the Left-Hand Control panel will also influence how a note is articulated.

Bender

The Bender is highly-flexible, two-stage stereo time modulation effect inspired by classic Moog designs. It is comprised of two primary functions; the first is a short stereo delay, and the second is a modulation LFO used to add motion to the sound. Exploration and experimentation with this highly interactive design will unlock a wealth of effects including chorus, slapback delay, flange, rotary effects and more. Turn the Bender On using the black rocker switch (the indicator lamp will light).

STEREO DELAY

Mix

The MIX knob sets the balance between the dry, unprocessed signal and the wet processed signal.

Time

The TIME knob determines the speed of the delay time that is applied to the sound. Lower settings create shorter delay times which when modulated, are ideal for vibrato, chorus, and flange sounds. Higher settings will create longer delay times, which are good for creating slap-delays, metallic shimmers and more.

NOTE: The TIME and FEEDBACK knobs are highly interactive with one another.

Feedback

The FEEDBACK knob determines the amount of output delay signal that is fed back into the delay input. Lower settings will result in accentuated motion and slightly elongated delay trails, while higher settings will result in more metallic sounds that can be pushed into near infinite feedback loops.

MODULATION LFO (LOW FREQUENCY OSCILLATOR)

Rate

The RATE knob determines the rate of the modulation LFO. Lower settings will result in slow smooth sweeps, while higher settings will result in more rapid and rigid movements.

NOTE: The RATE and DEPTH knobs are highly interactive with one another.

Depth

The DEPTH knob determines the amount of modulation that is applied from the LFO to the Delay Time. Lower settings will have a subtle effect on the Delay Time, which results in gentle musical sweeps and pitch motion, while higher settings will produce more intense modulation and audible pitch shifting.

Delay

The Delay effect is a tempo-syncable, stereo ping-pong delay. Turn the Delay On using the black rocker switch (the indicator lamp will light).

Mix

The MIX knob sets the balance between the dry, unprocessed signal and the wet processed signal.

Time

The TIME knob determines the amount of delay time that is applied to the sound. Lower settings will result in shorter and more natural delay trails, while higher settings will result in more dramatic and drawn out decay trails.

Sync

Turning the orange SYNC rocker switch to the ON position causes the Delay Time to be derived from the current Tempo setting. With Sync On, the Time knob scrolls between delay time values that are clock divisions of the current Tempo. For example, if the Tempo is set to 120BPM and the Delay knob is set to a value of 10, the delay time will equal a quarter note; with the Delay knob is set to a value of 5, the delay time will equal an eighth note, etc.

Feedback

The FEEDBACK knob determines how much of the Delay-processed signal is fed back into the Delay itself. The result is the persistence of the Delay effect, or how many times the delayed signal is heard before it fades away. Lower settings will result in shorter and more subtle decay trails, while higher settings will result in extended decay trails that wash together and can even be pushed into an infinite feedback loop.

Looper

With the blue ARP LATCH rocker switch set to ON, the notes played on the keyboard will continue to arpeggiate even after your hand is lifted from the keyboard. As long as one note is still being held on the keyboard, any new notes played will be added to the arpeggiator pattern. Notes played after lifting all fingers from the keyboard will begin a new pattern in place of the previous one. This allows you to change the notes in the arpeggiated pattern simply by lifting all fingers from the keyboard before a new set of notes is played.

Play/Stop

Press the PLAY/STOP button to hear the current content of the Looper play from the beginning of the file. Press the PLAY/STOP button during playback to stop the Looper, or to end a recording.

NOTE: If no data is recorded in the Looper and the Play/Stop button is pushed, the button will flash green once to indicate the Looper's memory is empty.

NOTE: During playback and when recording overdubs, the PLAY/STOP button will light green, and a white ring will form showing the proportions of the elapsed time and the remaining time.

Record

To initiate a Looper recording, press the RECORD button. A four beat count-in will be heard before recording begins and the RECORD button will flash red on the beat. After the four count, the Looper will begin to record and the RECORD button will continue to flash.

To end the recording process, press the PLAY/STOP button, the RECORD button, or the OVERDUB button.

Pressing PLAY/STOP will stop the recording, and playback will begin. The RECORD button will go dark, and the PLAY/STOP button will light green. Press the PLAY/STOP button again to end playback; all buttons will go dark.

Pressing either RECORD or OVERDUB will stop the recording and enter Overdub mode. The RECORD button will go dark, the OVERDUB button will light red, and the PLAY/STOP button will light green. The Looper will continue to play as new overdubs are recorded. Press the PLAY/STOP to cease recording overdubs; all buttons will go dark.

TIP: The Looper can be set to record without an audible beep. Open the SETTINGS menu, select CONFIGURATION, and set the Looper Beep function to OFF.

Overdub

As long as there is recorded data in the Looper, the OVERDUB button can be pressed at any time to arm the Looper for Overdub recording. When the PLAY/STOP button is pressed, both playback and Overdub recording will begin.

NOTE: Pressing the RECORD button with the OVERDUB button armed will clear the memory of the Looper and begin the recording process again.

TIP: An unlimited number of overdubs can be performed. Try layering different Presets to create complex and intricate patterns.

Undo

If there is already recorded data in the Looper, and you create a second recording (not an overdub), you can switch between the two recordings using the Looper’s UNDO button.

Clear

The CLEAR button clears the Looper of any recorded data.

Share

To share audio recorded to the Looper with other Apps, press the SHARE button.

A window will open where you can share the file with friends or other apps. Tap any of the displayed icons to share these settings using that app. This data can also be saved to the files on your device.

AUv3 INTEGRATION

The Minimoog Model D App includes full support for AUv3, which allows it to be used as a plugin within applications that support AUv3.

Saving Sounds In A Project

All parameters for each Minimoog Model D App instance are saved within the host project, so it is not necessary to create a preset for the sound of each plugin instance.

CPU Performance Notes

AU hosts can run any number of other plugins alongside the Minimoog Model D App, which can cause CPU overload. To maximize performance, each AU host features a “buffer size” setting. Higher settings will increase system processing capabilities while also increasing latency. Lower settings will decrease latency while also increasing your CPU load. Running too many plugins at too low a buffer size will overload the processing capabilities of your device. When this happens, an audible crackling will occur and the number of plugins must be reduced or your buffer size increased.

iPad Air 1 Users

The Minimoog Model D App consumes a considerable amount of CPU. Running multiple instances of the Minimoog Model D App as an AUv3 simultaneously will result in crackling.

SUPPORT

Should you experience any issues with your Model D Application, please contact appsupport@moogmusic.com