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Moog minimoog voyager xl.

• Synthesizers

There's no more revered name in the history of synthesis than Moog, and the Voyager XL aims to cement their reputation for top‑flight instruments. Is this the Rolls Royce of the synthesizer world?

If you're a keyboard player, there's a fair chance that you've lusted after a Minimoog at one time or another. Unfortunately, there are only a few thousand of these to go round, and the last was built in 1981, so there was huge anticipation when Bob Moog regained the rights to his own name and announced the forthcoming release of a new Minimoog, to be called the Minimoog Voyager. Yet when it arrived, in 2002, its impact on the keyboard world was less than one might have expected, perhaps because it was released too soon; the first versions required a flurry of software upgrades as well as some rather annoying hardware fixes before the initial specification was met. But if you still think of the Voyager in this fashion, your perceptions are out of date, because it has for some years been a well‑implemented and, as far as I am aware, bug‑free instrument. So, following our reviews of earlier limited editions such as the Signature (2002) and the Anniversary (2004), the release of yet another special edition — the Minimoog Voyager XL — seems the perfect excuse to re‑evaluate the Voyager and to see what it offers in 2011.

The Voyager XL is essentially a semi‑modular version of the standard Voyager, with a five- rather than a four‑octave keyboard, a ribbon controller and, most obviously, extensive CV routing options built into the front panel. But before we look at what's new, let's explore the common ground between the XL and its Voyager forebear.

The Standard Voyager's Architecture

Like the standard Voyager, the XL's sound sources comprise three oscillators, a noise generator and an external signal input, with oscillator sync and the ability to derive their waveforms from a continuum ranging from a triangle wave at one extreme to a tight pulse wave at the other. You can modulate the waveshapes of all the oscillators, for a wide range of PWM effects, you can use Osc 3 as a modulation source, as on the original Minimoog, and there's also a dedicated LFO with triangle, square and S&H outputs.

Next comes the five‑channel mixer. This offers an effects loop that allows you to insert external devices into the signal chain before passing the sound to the filter section, which comprises two resonant filters that can be configured either as parallel low‑pass filters or as a LP/HP pair in series. The difference between the two filters' cutoff frequencies is determined by a single spacing control rather than a pair of frequency knobs and, somewhere among the Voyager's numerous software upgrades, this became a programmable modulation destination, which is good news. Unfortunately, the filters in the review model don't track the keyboard at exactly 100 percent, nor do they track at the same rate as each other, nor can you modulate their resonances separately. But to analyse the Voyager's filters on the basis of what they can't do is (perhaps) to miss the point. Whether used in their 6, 12, 18 or 24dB/oct modes, they have the classy timbre that made the Minimoog so special and which remains almost impossible to obtain elsewhere.

The ADSR envelope generators in the XP are satisfyingly snappy and, as well as being hard‑wired to the filter cutoff frequency and the audio signal amplifier (which makes basic programming nice and straightforward), they can also be used as modulation sources for all manner of esoteric purposes. Unfortunately, and in common with another Moog product reviewed recently, the Release On/Off switch doesn't reduce the release time to zero, it merely curtails it, which seems wrong to me.

Modulation on the Minimoog was horribly limited, with just two sources and two destinations. In contrast, Voyagers offer two modulation buses on their control panels, with what appear to be eight sources, seven destinations, and four 'shaping' options. However, these buses are more flexible than they seem because they can draw upon an extensive range of additional options in the menu system (of which more later). In addition, the introduction of the strangely named — but in my view essential — Pot Mapping modulation matrices (see 'Pot Mapping' box) hugely expanded their modulation capabilities and eliminated some significant oversights in the original specification.

Moog made a big deal of the Voyager's Touch Surface Controller when it first appeared, but this was (initially) next to useless because it was permanently connected to the filter. Happily, Moog corrected this quite early in the synth's history, as well as the pad's inability to retain its CV information correctly when you lifted your finger from it. With 32 destinations for each axis, plus 14 Gate destinations, it has become an exceptionally flexible modulation source, so I was at first curious as to why a synth would require both a touch‑pad and a ribbon controller. I soon had my answer, finding myself patching them to do different things. Unfortunately, the pad's position to the right of centre on the XL's panel may render it less useful than it would otherwise be for the majority of (right‑handed) players.

The final elements in the standard Voyager's architecture lie in its editing system. In addition to programming the aforementioned Pot Mapping and filter cutoff slopes, this is where you'll find facilities such as the Alternative Gate sources, 43 additional Shaper sources for the modulation buses, and much more. It's also where you can organise your sounds into categories, stack multiple Voyagers into hyper‑expensive polysynths, choose from three user‑selectable velocity curves, and select from the available key priorities and trigger modes to tailor the way in which the XL will respond to your playing. You can even transpose the keyboard locally and separately with respect to incoming (or out‑going) MIDI note numbers, which is neat.

Ins, Outs & Voltage Processors

So far, I've described nothing that's not available on the standard Voyager, and although the patch points to the left of the XL look new, many of them are not. The original Voyager had 18 analogue inputs and outputs on the back of its control panel, but only four of these — the external audio input, the effects loop and the stereo audio outputs — have survived in that position on the XL. The other 14 (which are all CVs and Gates) have migrated forward and now appear as the CV Inputs section on the synth's front panel. Unfortunately, while these make it possible to control the Voyager using external devices, they aren't complemented by outputs that allow it to control those devices in turn, nor can you patch new control routings on the Voyager itself. So, for the original Voyagers, Moog released the VX351 CV Expander which — provided you were prepared to open your synth to install a piggy‑back board — derived a bunch of output CVs from the 25‑way connector on its rear panel and presented them to the outside world on quarter‑inch sockets. To be honest, I always felt rather cheated by the need to modify my expensive synthesizer in this way but, once attached, the VX351 proved to be indispensable. Happily, the XL now incorporates all the CV outputs from the VX351, and even offers two extra ones. These are the CV and Gate generated by its 500mm ribbon controller, and it's just as well that these are included because the ribbon isn't hard‑wired to anything so, without patching, it does nothing.

The final set of facilities on the XL are derived from the Moogerfooger CP251 Control Processor, which incorporates two attenuators, a simple LFO, a S&H generator, a slew generator, a noise generator, a mixer and a four‑way multiple. With the exception of the noise generator, these are all recreated to a greater or lesser degree on the XL.

For example, the XL's dual attenuators offer offset knobs as well as the CP's amount knobs, and these allow you both to attenuate the signal and apply a DC offset. What's more, their inputs are normalled to a new LFO and the XL's ribbon controller, which clearly wouldn't have been possible on the CP251. Demonstrating even greater differences, the CP251's LFO and dedicated S&H section have been replaced by LFO2, which offers six waveforms (including two forms of S&H), MIDI sync, a lowest frequency of around 0.02Hz for long sweeps, and the ability to output different frequencies and waveforms from its positive and negative polarity sockets. In contrast, the lag processor appears to be the same on the XL as on the CP251, as does the CV Mixer, which retains the CP251's high bandwidth and can be used for mixing audio signals as well as CVs.

The omission of the CP251's noise source on the XL is interesting. I seem to remember that the noise generated by the CP251 is richer in high frequencies than that generated by the Voyager itself, but taking the noise signal from the XL's patch panel and feeding it back into its external audio signal input demonstrates that it's the same signal as you obtain from switching noise on in the audio mixer. Strangely, the polarity is reversed, and by balancing the levels of the external input and the noise generator, I could cancel the two almost perfectly. I wonder whether this was intentional?

The final element in the CP251 is a four‑way multiple. At first sight, this appears to have gone AWOL, but given that there are three multis on the XL's CV panel, and the VX351 had just two, it's clear that the CP251's has simply moved north a few inches. Unfortunately, while the multis can all drive expression pedals, I suspect that they remain unbuffered, because voltages can droop when you send a single CV to multiple destinations. Not serious when using them to help create sound effects and complex modulations, this can be a problem when signals passed through them are used to control the oscillators' pitches.

Getting started with the XL couldn't be easier. Stick it on a sturdy stand, plug it in to your mixer or amp, plug in a standard mains cable, and switch on. Not only does it avoid the use of a wall‑wart (hurray!), it also incorporates a universal power supply so you don't even have to worry about voltages and mains frequencies. You may now be tempted to start working your way through the 1024 factory sounds, but I recommend that you first set up the keyboard priority and trigger modes to your preferred playing style. Now start playing.

Like the original Voyager, I found the XL's keyboard action to be entirely appropriate for monosynth duties, and I loved having the extra range available for soloing. More surprisingly, I found that the XL was equally suited for use as a five‑octave velocity‑ and pressure‑sensitive MIDI controller. It's fair to say that early Voyagers had numerous MIDI deficiencies, but those are now in the past. I tested the XL as a controller keyboard and it proved quite adequate, sending velocity and aftertouch messages correctly, as as well MIDI CCs from almost every front‑panel control. And, at the other end of the scale, I used a small Arturia controller keyboard to play and control the Moog without any problems.

But what if you're an analogue die‑hard and want to avoid MIDI? Back in 2003, I wrote, "I see no reason why Moog couldn't have made the Voyager a little larger, and incorporated everything into one case... if you were to add the VX351, and extend the synth even further with a Moogerfooger CP251 Control Processor, it starts to look as if [a modular synth] is the final target.” Hooking the XL up to my Analogue Systems RS8000 — both as the controller keyboard and as part of the sound generating mechanism — yielded excellent results as well as providing endless hours of fun. Nonetheless, please don't be confused about its underlying nature. Forget the fact that you can't insert or remove modules, as on a true modular synth. With the exception of a couple of fudges, there are no ways to tap the audio signal path, so the XL occupies the same semi‑modular territory as the Korg MS20. This may seem strange, because if there's one company that could make money out of selling genuine modular synthesizers, it should be Moog, but it seems that the company have decided not to go that route.

While reviewing the XL, I became aware of a couple of improvements over the original Voyager that are worth mentioning. On early models, you couldn't use the synth with its control panel laid flat because its weight rested on any cables that you inserted. Whether by raising the panel a touch or by shaving the wooden bar at the rear of the synth, this now seems to have been corrected. Another fault on early versions concerned the synth's response to the pitch‑bend wheel (which was asymmetric) and the fact that the whole thing went flat as you increased the maximum pitch‑bend interval. This was fixed when the Anniversary Edition appeared a few years ago, and is no longer an issue.

So do I have any concerns about the XL? Of course I do, and here's a short wish–list that would make it an even better synth. Firstly, please can we have the Minimoog's A‑440 oscillator back? This is almost essential on a synth that has no fixed tuning. My second wish concerns the filter topology. As it stands, you can switch the Voyager's filters between series (HP+LP) mode for single‑channel band‑pass effects, and parallel (LP+LP) mode, with the output of each filter passing to a separate output channel. But wouldn't it be great if the dual‑LP mode was also available in series? The Cwejman S1 MkII shows what can be achieved with slopes of greater than 24dB/octave, and slopes of up to 48dB/octave would allow us to create some powerful new timbres on the XL. Thirdly, I wish that the XL's voltage processors were not modelled quite so closely on the CP251's because this means that there's still no patchable VCA. I thought that this was daft on the original expander, and I still do, so can we have one (or more) please? Pretty please? Finally, I would like to moan about being asked to pay $79 for the Voyagers' editor/librarian. If I'm going to cough up over four grand for a synth, I don't think that it would be unreasonable for this to be included.

So, at last, we come to the sound of the XL. It might seem strange with such a huge library on tap, but I'm not a huge fan of the factory patches because too many strive to be big, fat, noisy and impressive. One of the great joys of early Moog synths was finding that a gentle waveform generated by a single oscillator could sound musical and involving, and so it is with the XL. Coaxing classic monosynth sounds from it is a pleasure, and then invoking facilities such as Pot Mapping to provide additional performance controls and extra modulation is even more so. Mind you, while the XL can sound like a Minimoog, it doesn't always do so, even if that's what you're trying to achieve. For example, the famous behaviour of the original, in which the amount of filter resonance decreases as the cutoff frequency decreases, is not replicated. But this is probably irrelevant because, when you start to use all the extra capabilities of the XL, the Minimoog can only watch as its descendant disappears over the sonic horizon. From common facilities such as PWM and sync, to the dual filters, to the selectable filter cutoff slopes (which make it capable of creating sounds reminiscent of other revered synths such as ARPs and early Korgs), to velocity and pressure sensitivity, to the myriad patching options and software-controlled modulation capabilities... the XL demonstrates the huge gulf between 1971 and 2011. What's more, it does so in a way that doesn't detract from its sound, which is greatly to Moog's credit.

Consequently, powerful bass and creamy lead sounds ooze out of it unbidden, while MS20‑style basses and all the squelches and farts of electronica and dance music are just a filter tweak away. It's pretty good at orchestral imitations too, and I was pleased by the quality of the flutes, solo strings and brass patches that I could coax from it. Then there are the noises and effects; start using the hardware and software patching and you'll create them effortlessly, although whether they'll be the ones you wanted is another matter! If money were no object and I was looking for a genuine analogue — umm, well, analogue/digital hybrid — monosynth (with all the strengths, weaknesses and limitations that that implies) then, short of a large cabinet of high‑quality synth modules, I'm not sure what I could buy that would do a better job.

Conclusions

Voyagers retail for between £2350 $3295 and £2600 $3570 depending upon which type of wood you prefer and which colour of LEDs you choose to light its controls and parameter values. (Maple Fire or Mahogany Indigo, sir?) Add to this a maximum of around £550 $763 for the VX351, the CP251 and their rackmount kit, and you have a total price lying between £2900 $4058 and £3150 $4333 . This means that the Voyager XL will cost you somewhere in the region of £1000 $660 to £1200 $900 extra for a ribbon controller, a 61‑ rather than a 44‑note keyboard, and the convenience of losing a couple of connecting cables. It's clear that — even allowing for the improvement in ergonomics when compared with the Voyager/VX351/CP251 combo — you can't judge the Voyager XL by any conventional price/performance criteria. But over the past few weeks I have shown the review unit to a number of experienced and gear‑jaded keyboard players and, without exception, their responses have centred around "Wow!” and "Oooooo!” In short, the Voyager XL does to keyboard players what catnip appears to do to cats. Nonetheless, most people would view you as certifiably insane if you were to consider spending more than £4000 $5000 on a semi‑modular monosynth, let alone one that offers no esoteric filters, sequencers, quantisers, frequency shifters, ring modulators or effects, and they could point out that there's nothing new here; the XL merely rehashes existing technology that can be obtained cheaper elsewhere. But they would have missed the point. So I'll repeat myself. You cannot justify the XL in terms of price, performance, convenience, or any other sensible criteria. A wise man once said, "Keep only that which you believe to be beautiful or know to be useful”. Few synthesizers have embodied both of those attributes and, despite the niggles, the Voyager XL is both gorgeous and sounds great. I couldn't justify buying one, but I'll lust after one nonetheless because it reminds me of why I wanted to play synthesizers in the first place.  

Pot Mapping

Pot Mapping comprises four modulation paths that can be used together with, or completely independently from, the modulation buses on the front panel. There are four parameters for each path — source, destination, polarity and amount — and with 40 sources and destinations (each of which can be used multiple times if desired), the range of routing possibilities is astronomical. Happily, setting everything up is simple — much simpler than the control-panel buses — and (for example) turning the Voyager XL into a synth with touch‑sensitive brightness, loudness, vibrato and growl takes just seconds this way. The Voyager became a hugely better synth when Pot Mapping was introduced; it's only a shame (although an entirely understandable one) that its destinations are confined to the standard Voyager facilities and have not been extended to the new modules added on the XL.

Digital Control

If you want evidence that the Voyager XL isn't a purely analogue synth, you need look no further than its edit menus, where numerous control thingies are routed from sources to destinations by software. If you want to prove it audibly, try sweeping two knobs rapidly while listening to the resulting changes in the sound. Whereas sweeping one results in a smooth 'analogue' response, asking the processor to handle two simultaneously results in a faint, but perceptible stepping. But don't worry. Nobody except you is going to hear it and, given that the audio path is analogue from start to finish, I don't think that you should give a damn.

Abridged Specification

Cv & gate connections.

CV & Gate Inputs

The Voyager's rear panel CV and Gate inputs are reproduced in full in the XL's CV Inputs panel.

The VX351's CV and Gate outputs are also reproduced in full on the Voyager XL.

Voltage Processors

Something akin to but not identical with the CP251's voltage processors are offered on the Voyager XL.

• It's as sexy as a sexy thing on a sexy day, and it will incite deep lust in many players...
• ... but given the price, it may be unrequited lust, I'm afraid.

The Voyager XL is a large and heavy lump of synthesizer that reminds me of gigging in the 1970s, in more ways than one! But it looks gorgeous and it sounds great. Unfortunately, I suspect that almost as many will end up in display cases as will find their way onto the stages of the world. You can't justify buying one on a price/performance basis, but as an object of desire it's possibly in a class of its own.

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Minimoog Voyager XL review

40 years after the release of the original, we meet the ultimate minimoog.

• £4084

MusicRadar Verdict

A terrifying price but a sound and feature list which will tug on your heart-strings. Truly sumptuous.

A Minimoog, a Voyager and more besides! The Patch Panel takes sound design possibilities to whole new level. As with all Moogs - the sound.

Only the fact that we can't afford to buy one!

MusicRadar's got your back Our team of expert musicians and producers spends hours testing products to help you choose the best music-making gear for you. Find out more about how we test.

Minimoog Voyager XL

Here's a playground moment we remember from childhood - see if this rings a bell with you too.

There are three kids, and one of them says 'I'm Spiderman and I can shoot webs, so I'm the coolest'. The next one says 'yeah, but I'm Batman which means I'm super-strong and every bad guy on earth is terrified of me, so I'm the coolest'. At the end, a third kid says 'well I'm Superman so I can fly, fire lasers out of my eyes AND turn back time by making the earth spin backwards.'

"It looks like someone designed the XL in Photoshop under the title 'Fantasy Moog'."

There's a brief moment of silence and the first two shuffle off defeated. This is what sprung to mind when we first laid eyes on the XL.

There are now several 'modern' analogue synths you can buy to enhance your studio with a 21st Century take on the sound of yesteryear and you can imagine them all like kids in the playground, arguing over who's got the most power.

But the Moog Voyager XL kind of settles the debate once and for all. It's effortlessly the coolest synthesizer we've ever seen, had the honour of switching on and writing words about.

There are several reasons why it ticks so many boxes at once - the first is that this is a Minimoog to celebrate the 40th anniversary of the original, still-loved classic, borrowing the brains and heart of that synth yet dragging it into the here and now.

Secondly, it adds features from the current Moog Voyager series instruments, including digital control and sound storage, a large touch surface, plus additional performance and MIDI controls.

The 'XL' bit, though, takes the biscuit, as this instrument also adds a full patch panel in the top-left-hand corner to take sound design to a new level, sticks an extended 61-note keyboard along the bottom and even adds an extra performance tool in the form of a long ribbon controller.

It's an instrument that simultaneously honours Bob Moog's legacy, offers a tool set relevant to modern studio techniques and provides a sound to die for. Oh and it costs a little over £4,000. Ahem, moving on…

Cast a greedy eye

The XL is a wonder to behold even before you've plugged it into your speakers. It looks like someone designed it in Photoshop under the title 'Fantasy Moog' as, once you've propped the control panel up to its famous 45-degree angle, you're greeted by an array of controls to make any synth lover salivate.

From left to right you'll firstly find the patchbay featuring no fewer than 65 ports to allow you to patch together the programs of your dreams, with rotary dials offering support where relevant.

Then, to the right, comes a collection of dials known so well to Minimoog enthusiasts. These are organised on either side of the central LCD display with the classic Minimoog three-oscillator architecture with waveform and octave choices across all three and independent frequency tuning dials for oscillators 2 and 3.

Below that, red switches enable controls including oscillator 1-2 Sync, frequency modulation of oscillator 1 from oscillator 3 and, with oscillator 3's capacity to act as an auxiliary LFO in mind, a rocker to disconnect it from notes played on the keyboard and a switch to toggle it between a Lo(w) or Hi(gh) frequency setting.

On the other side of the screen you're greeted first by the Mixer with five toggle switches to enable operation of the three oscillators, the external audio input and the separate Noise generator, with rotary dials to enable level control for those modules you activate.

Next comes the legendary filter section which sounds as good today as ever it did with cutoff control, a Spacing dial to determine the difference between the two filters in both the dual low-pass and the high/band-pass modes, a resonance control and a Keyboard Control Amount dial which opens the filter as you play higher notes. A Mode button at the bottom toggles between low-pass and high/band-pass options.

Pushing the envelope

Twin envelopes follow, one each for the filter and amplifier sections, with the former adorned with an additional dial to select the amount the envelope will affect the filter and the latter enhanced by an Envelope Gate toggle which can shift between Keyboard and On/External modes which determines whether the envelope is gated via notes played on the keyboard or from an external source.

A master output dial takes pride of place in the top right-hand corner, while a separate, smaller dial feeds level to the headphone port directly below.

Back panel ports are modest, with stereo audio outputs, a single audio input and a hybrid Mixer Out/Filter In port which lets you interrupt the Voyager XL's internal signal path by inserting an external source between the synth's Mixer and the filter stage.

Without this interruption, the Mixer receives input from the oscillators, the noise generator and/or any external audio input sources and passes this directly to the filter for tone control but the ability to output the signal before the filter, process it and then return it to the Voyager is very flexible and will appeal to those with MoogerFooger pedals, among others.

Elsewhere on the back panel you'll find the regular trio of MIDI ports, the power supply inlet and a toggle on/off switch as well as two ports where 12V lamps can be connected to complete the Moog look (disappointingly, these aren't supplied as standard).

The striking omission here, compared with Moog synths much further down the product line is the lack of direct USB connectivity - this reviewer is a Little Phatty owner and benefits daily from the instant integration its USB port provides and we were a little surprised to find one missing here.

Patch Me Good

There may be a digital brain at the centre of the Voyager XL, keeping oscillators in tune, allowing you to save patches and carrying out other essential tasks but be in no doubt that this is an analogue synth through and through.

One of the huge advantages of having true voltage control coursing through a system like this is that those voltages can be used to control all kinds of things and the addition of the XL's patchbay brings all of those possibilities to life.

The panel is split in two, with the upper section providing specific CV in and outputs, while the lower panel provides more general controls. In the upper section, there is a total of 20 CV and gate outputs, followed by a Mult(iple) section which provides three four-way powered multiples, with direct connectivity and sonic expansion via pedals, as an example.

The Ribbon control CV and Gate Outputs lie beneath the Mult panel, while there are 14 CV and gate inputs to the right. The bottom section provides two channels of Attenuation with Amount and Offset dials, a four-input mixer with both powered and unpowered CV inputs.

There's then a Lag processor with Rise and Fall dials to allow you to slow down the behaviour of quickly-changing waveforms, while LFO2's controls complete the line-up.

Touch The Surface

The Voyager XL's touch surface is such a powerful weapon in this synth's armoury that it's worthy of a few additional words, despite having featured on Voyager models before.

This generously-proportioned panel allows for four completely independent channels of controller data to be streamed from it, so that as well as more predictable X and Y axis parameter control there is, additionally, an 'A(rea)' signal which routes a control signal simply from the amount of the surface covered by your finger.

Lastly, touching the surface generates a Gate trigger signal, which can also be routed to your destination of choice.

Control signals generated by using the Touch Surface can be routed within the XL's Edit mode, accessed via the screen, with 32 assignable destinations for X, Y and A axes and 14 for the Gate.

CV/Gate outputs for these components also reside on the far left of the Patch Panel, so you can also connect these at will.

Ribbons at the ready

Performance-wise, the Voyager XL offers a couple of major additions not found on Voyagers to date. The first is an extended, 61-key keyboard with velocity and aftertouch response.

Above the keyboard is a long ribbon controller, with a central position directly above middle C and an octave and a half of travel in either direction above and below this point.

Unlike the Touch Surface below the LCD display, the Ribbon Controller has to be assigned via the Modular Patch Panel. The CV Out jack for the Ribbon controller can therefore be connected to any control input you like, with output running from -5V to +5.

This output voltage 'remembers' your last finger position, so you can play the Ribbon controller in a variety of ways - sweeping from left to right or vice versa, tapping at random points to create 'leaps' between parameter settings or 'running effects' using multiple finger taps.

It's powerful and effective and what's doubly great is that finger pressure movements can also be detected and converted into control data via the Gate Out port.

The Ribbon's voltage is also the default output choice at the Attenuator Channel 2 module stage within the patch panel, so unless you need this port for alternative patching, you can use the Ribbon to control a second parameter.

Bear in mind too, a Frankenstein XL could be created using an original Voyager, a Moog VX-352 CV expander and a ribbon controller with CV capabilities such as the Doepfer R2M.

That's not to suggest every Voyager owner is crying out for a ribbon controller or patch panel, but if you already own one, it's a nice way to integrate the concepts of the XL for only a few hundred quid. And if you're buying from scratch, you'll save almost £1,000 doing it this way, but you'll lose out on some patching capabilities, the extra octave and the self-contained good looks of the Voyager XL.

This is the Aston Martin of Minimoogs and, as such, it's not easy to sum up this instrument without resorting to hyperbole.

It's a fantasy synth for almost everyone reading this (or writing it!) in that we doubt too many of us will be lucky enough to legitimately spare £4,000 on a mono synth. (Yes, all those keys and just one note at a time.) As such, this may have to be added to the luxury list of items which will always be beyond our means.

That doesn't mean we can't love it, yearn for it, whisper about it, giggle like school-children about it, lust after it at trade shows and envy anyone who owns one. And if you do have the means we can't think of a more enjoyable and magnificent way to empty your wallet.

The one thing you should take away from this review is that if you're sold enough on the magic of analogue synths then the Voyager XL is every bit as good as you could ever hope for.

It sounds better than superb, it's a wonder to play and it's just glorious to program and listen to. We're in the privileged position of having many a synth pass through our door for review purposes but none have ever made us open-mouthed in appreciation of their sonic potential, build quality and sheer presence quite like this one.

The sound is simply so good it's almost beyond description and the new five-octave keyboard really lets you effortlessly explore the full range of the XL's capabilities.

It's also capable of producing cold sweats when you generate a rumbling bass sound and you realise you're playing C3. There's a dawning realisation that with two octaves further down to play, it might be time to protect your speakers.

If your mission is to track down the holy grail of analogue synths then it's time to board the good ship XL.

Now listen to our audio demos to hear some of the Voyager XL's sounds:

Filter Osc Percussion

Grinder Drone

Slow Attack Pitched Noise

Touch Surface Dubstep

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Best moog voyager year

Post by Seqpro3 » Mon Nov 21, 2022 5:24 am

Re: Best moog voyager year

Post by boscio » Thu Nov 24, 2022 6:48 am

Post by Seqpro3 » Thu Nov 24, 2022 8:02 pm

Post by CalvaryBand » Fri Nov 25, 2022 2:33 am

Post by Seqpro3 » Fri Nov 25, 2022 3:29 am

Post by DigitalNativeDunce » Fri Nov 25, 2022 3:45 am

Post by Seqpro3 » Fri Nov 25, 2022 1:08 pm

Post by CalvaryBand » Fri Nov 25, 2022 11:04 pm

Seqpro3 wrote: ↑ Fri Nov 25, 2022 3:29 am Wow that’s pretty cool to have had all those versions. Do you have interest in the 2022 Minimoog reissue? It seems that all the voyager prices are going up but maybe they’ll come down since the reissue might change the market dynamics. Some prices for voyagers are close to what the 2022 reissue is.although that’s at the high end of the market. You would be a good person to ask this question since you’ve had so many different versions of the synth. In your experience of having different voyagers did they tend to drift? Mine drifts I bought it used though ,the person brought it back to the store they had bought it from because it drifted. I’m not sure if it needs calibrated or if there’s something else that’s causing it. Nice to meet you take care.

Post by Seqpro3 » Sat Nov 26, 2022 4:22 pm

Post by GOM » Sat Nov 26, 2022 4:28 pm

Post by Seqpro3 » Sat Nov 26, 2022 4:43 pm

Post by BTByrd » Sat Nov 26, 2022 5:06 pm

Post by Seqpro3 » Sat Nov 26, 2022 5:06 pm

Post by Seqpro3 » Sat Nov 26, 2022 5:13 pm

Post by GOM » Sat Nov 26, 2022 5:21 pm

Seqpro3 wrote: ↑ Sat Nov 26, 2022 5:06 pm Sorry I think I replied out of order reading a former post thinking it was yours. What’s your asking price if you don’t mind me asking? I not sure how many presets are on that 2007 electric blue? What OS is that? I have the 3.5 OS on my lunar impact from 2015. It has 896 presets and the ability to quickly scroll through the banks 100s at a time it shares that function on the knob with the external input that people run thier stereo headphone out from . Your supposed to use a TRS cable but some people use TS cables which could fry your voyager because it doesn’t ground it properly. I tried it once it does overdrive it and sounds like another oscillator if you tune it to the others but I stopped doing that cause I didn’t trust doing it. And they tube video didn’t mention the TRS cable, I read that on a forum somewhere .

Post by GOM » Sat Nov 26, 2022 5:23 pm

BTByrd wrote: ↑ Sat Nov 26, 2022 5:06 pm Anyway, here's my Select Series Solar/Black in action.

Post by Seqpro3 » Sat Nov 26, 2022 5:53 pm

Post by BTByrd » Sat Nov 26, 2022 10:57 pm

Seqpro3 wrote: ↑ Sat Nov 26, 2022 5:13 pm I’ve heard spaceships for Bob before. Didn’t know that was you. You know how t get all those wild sounds. I think you used99 tracks didn’t you?

GOM wrote: ↑ Sat Nov 26, 2022 5:23 pm Not exactly the kind of thing I'm into but that's some great work with the Voyager, congratulations!

Post by Seqpro3 » Sun Nov 27, 2022 12:41 am

Post by Seqpro3 » Sun Nov 27, 2022 12:45 am

Post by seeasound » Sun Nov 27, 2022 10:31 am

Post by GOM » Sun Nov 27, 2022 10:50 am

seeasound wrote: ↑ Sun Nov 27, 2022 10:31 am for the sake of this topic ill have to say I think the voyager os is best hehe. But yeah I dig its minimal look thats what really sold me.

Post by The Real MC » Sun Nov 27, 2022 4:52 pm

Post by Seqpro3 » Thu Dec 01, 2022 12:04 am

Post by corkyburger » Wed Dec 28, 2022 8:22 am

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