moog voyager serial numbers

First Minimoog Voyager Ever Sold Now on Display In New Moogseum Exhibit

The Bob Moog Foundation is excited to unveil a special new exhibit opening at the Moogseum: Minimoog Voyager Signature Edition serial #002 signed by Bob Moog.  In addition to being signed, this legendary synthesizer was hand-built, was the first ever sale from the current Moog Music, Inc., and was recently donated to the Bob Moog Foundation Archives by the Board of Directors President, David Mash, who has been its sole owner.

The new  First Minimoog Voyager Ever Sold exhibit is part of the Moogseum’s  Bob’s Workbech exhibit focusing on modular synthesis and featuring a legendary modular that includes prototype modules from the late ’60s.

David Mash, President of the Bob Moog Foundation Board of Directors, with Minimoog Voyager serial #002

“We are thrilled to have this unique synthesizer within the Bob’s Workbench exhibit in the Moogseum,” remarked Michelle Moog-Koussa, Executive Director of the Bob Moog Foundation. “Alongside the 1967 Moog modular synthesizer, the Voyager represents one of the first, and one of the last of Bob’s synthesizer designs.”

Minimoog Voyager serial #002

Considered to have been Bob Moog’s crowning achievement, the Minimoog Voyager is a handcrafted, all-analog performance synthesizer that incorporates the features and vast sonic range of the original Minimoog, while adding an exstensive number of new functional improvements to its design. 

In addition to the synthesizer, the new exhibit includes a Certificate of Authenticity signed by Bob Moog, a written reflection about working on the development of the Minimoog Voyager from former Moog engineer August Worley, and a letter from President/CEO of Moog Music, Inc., Mike Adams, detailing the instrument’s origin. The back panel of the Voyager has been carefully removed, and the exhibit has been backed by a mirror to allow visitors to visually explore the intricacies of the synthesizer’s circuitry. 

Minimoog Voyager serial #002 signed by Bob Moog

“In 2002, Berklee awarded Bob an Honorary Doctorate in Music for his lasting contribution to the world of sound and music,” recalls David Mash. “To further honor Bob, Berklee put on a student concert that featured music inspired by Moog synthesizers. I called Bob to ask if he wanted us to use some vintage instruments on stage, and he preferred that we use his latest synthesizer design, a new Minimoog that would be called the ‘Voyager.’ He sent me the instrument in an early stage of completion, including boards labelled ‘Big Briar’, and we used it in the concert. After purchasing the instrument, I sent it back to the factory so it could be completed and brought up to production standards (including replacing the Big Briar boards with updated Moog Music, Inc. boards).”

David Mash with Minimoog Voyager serial #002

“This year, I decided that this special instrument should have a special home,” continues Mash, “and where better than the Moogseum, for all to see? It is a small way for me to give back to Bob’s legacy, for all he did to impact my life for the better. It’s a way for us to honor all he did to inspire countless musicians to create new music with his instruments, and all the other synthesizer creators who were moved to design and build their own, furthering the art of electronic sound. I am grateful to have called Bob a friend, and to serve as President of the Bob Moog Foundation Board—whose mission is to ignite creativity at the intersection of music, science, history and innovation.”

A birthday wish to Bob from Board of Directors President, David Mash, reflecting on their friendship and detailing his donation of the Voyager

Certificate of Authenticity

David Mash with Bob Moog

“As someone who worked alongside Bob to develop the Minimoog Voyager, It is a great pleasure to me that David Mash has graciously donated this first-run MiniMoog Voyager S/N:002 to the Moogseum and that this instrument has come home to Asheville. This instrument is an excellent example of the meticulous craftsmanship that goes into creating a Moog synthesizer, and it is an instrument that should be shared with the patronage of the Moogseum as a tribute to Bob Moog and his timeless legacy.” – August Worley, former Moog engineer

David Mash with Minimoog Voyager serial #002 in the Moogseum

Make advance reservations to visit the Moogseum: https://bit.ly/moogseumtickets

Support the Bob Moog Foundation: http://bit.ly/ContributeBMF

FROM THE BLOG

• Bid on a Limited Edition Signed Rick Wakeman Photograph April 17, 2024
• From the Bob Moog Foundation Archives April 8, 2024
• The Sounds of Innovation: The First In-Person Listening of the Entire Abominatron Tape April 2, 2024

MOD WIGGLER

Skip to content

• Home Board index Other Music Gear General Gear
• Board Rules
• New Posts (Non-Market)
• Test! (Don't panic!)

Moog Voyager potential problems?

Post by mousegarden » Wed May 10, 2017 9:23 am

Post by Iridite » Wed May 10, 2017 10:45 am

Post by Stark Ravine » Wed May 10, 2017 1:04 pm

Post by Just me » Wed May 10, 2017 1:11 pm

Post by EMwhite » Wed May 10, 2017 2:27 pm

Post by motormenace » Wed May 10, 2017 2:38 pm

Post by Stark Ravine » Wed May 10, 2017 4:54 pm

Post by ignacio » Wed May 10, 2017 8:27 pm

Post by mousegarden » Wed May 10, 2017 10:57 pm

mmp wrote: I should mention that some people have claimed to have the same issue in serials predating the ones above, so safer to buy later numbers.

Return to “General Gear”

• ↳   Announcements - Please read!
• ↳   Ways you can support the site
• ↳   Forum Discussion & Requests
• Modular Synths
• ↳   1U & 3U Eurorack Modules
• ↳   4U Format Modules + EMS
• ↳   5U Format Modules
• ↳   Fractional Rack Modules
• ↳   Modular Synth General Discussion
• ↳   Play Out! Performance Modulars
• ↳   Synthesis Techniques
• ↳   Synths in Education
• ↳   Educators Only
• ↳   Public Access
• Other Music Gear
• ↳   General Gear
• ↳   Guitars, Basses, Amps & FX
• ↳   Music Software
• ↳   Music Tech DIY
• ↳   Video Synthesis
• ↳   Artist Discussion
• ↳   Production Techniques
• ↳   Synth Noise
• ↳   Your Tunes Here
• ↳   Your Social Media Channels Here
• ↳   Artist Challenge 20XX Reboot!
• ↳   Synth Drone
• ↳   Sound Art
• General NON-SYNTH discussion. NSFW.
• ↳   Off-Topic - NSFW
• ↳   Gatherings, Events & Meets
• The Market - Must have 100 posts
• ↳   For Sale/Trade
• ↳   Want To Buy
• Official Company Forums - Proudly Hosted by ModWiggler!
• ↳   ADDAC System
• ↳   Animal Factory Amplification
• ↳   Antumbra
• ↳   Audiospektri
• ↳   Black Noise Modular
• ↳   BugBrand Devices
• ↳   Ciat-Lonbarde
• ↳   Circuit Abbey
• ↳   ELBY Designs
• ↳   Expert Sleepers
• ↳   Extralife Instruments
• ↳   Flight of Harmony
• ↳   Folktek
• ↳   fonitronik
• ↳   Fred's Lab
• ↳   Future Sound Systems
• ↳   Hexinverter Electronique
• ↳   I Dream Of Wires
• ↳   Keen Association
• ↳   KOMA Elektronik
• ↳   Konstant Lab
• ↳   Magpie Modular
• ↳   Metasonix
• ↳   Michigan Synth Works
• ↳   Music From Outer Space
• ↳   Noise of Antimatter
• ↳   Nonlinearcircuits
• ↳   Northern Light Modular
• ↳   nw2s
• ↳   Oakley Sound Systems
• ↳   OXI Instruments
• ↳   PAratek
• ↳   Ross Lamond Designs
• ↳   SNAZZY FX
• ↳   soundmachines
• ↳   STG Soundlabs
• ↳   Stochastic Instruments
• ↳   Super Synthesis
• ↳   Synthesizers.com
• ↳   Synthetic Sound Labs
• ↳   Tenori-On
• ↳   The Harvestman
• ↳   TouellSkouarn
• ↳   Tubbutec
• ↳   Wiard
• ↳   Wirehead Instruments
• ↳   Zerosum Inertia
• Archived Company Forums
• ↳   Aether Machine
• ↳   Amazing Machines
• ↳   Alyseum
• ↳   AMSynths
• ↳   AniModule
• ↳   DAEDSound
• ↳   Dwarfcraft Devices
• ↳   Epinasty
• ↳   Macro Machines
• ↳   Mattson Mini Modular
• ↳   Mobula Mobular
• ↳   Muse Electronic Instruments
• ↳   OMG Instruments
• ↳   RackPlanner
• ↳   Soundtronics (M²Synth)
• ↳   Studio.h Software
• ↳   Totalmusik
• ↳   Trouby Modular
• ↳   Volta
• Home Board index
• All times are UTC

Powered by phpBB ® Forum Software © phpBB Limited

phpBB Two Factor Authentication © paul999

Privacy | Terms

You are here

Moog voyager old school.

• Synthesizers

The Voyager Old School sees Moog returning to their roots, but is there a place for an all–analogue, 1970s–style synth in the 21st century?

In 2001, rumours began to circulate of a revised, regenerated Minimoog, followed by a competition to name Bob Moog's latest progeny. The resulting Minimoog Voyager answered the prayers of many. It was, after all, a monophonic analogue synthesizer from Moog featuring Moog oscillators, Moog filters, wood, MIDI, a responsive keyboard, patch memories and knobs and components that were shiny and new. Throw in patch points for extra control, a dedicated LFO, oscillator sync and waveform modulation and you'd think all the boxes had been ticked. However, some amongst the analogue community worked themselves into a lather, convinced that grafting menus onto a Mini was tantamount to nailing a humbucker pickup to a Stradivarius. Some saw it as cheating to dial up a patch from memory rather than making your own, on the spot, every time. Not even Bob Moog, it seemed, could please everyone.

Well, the beardy types' wailing and gnashing of teeth can cease, because there's another new Moog in town — one that rejects all things digital. Ladies and gentlemen, let me present the Moog Voyager Old School!

As the two synths are so intimately related, I'd advise you to revisit Gordon Reid's comprehensive review of the Voyager from June 2003's SOS. Here, like some twisted dentist, I'll ponder the impact of the extractions — and will doubtless wallow in nostalgia along the way. After all, merely glancing at the Old School takes me back to my youth — to a time when what you saw really was what you got. This Moog is that rarest of creatures: a modern synthesizer built with ergonomics, layout and style in mind. This is no exercise in feature cramming!

Weighing in at a hefty 18kg, the Old School is a serious contender. If you admired the standard Voyager, I think you'll agree its latest sibling wins any posing contest between them — without even needing to pout. The wood finish is superb, the feel of the knobs top–notch, and the 44–key (F to C) keyboard is a delight — it certainly beats any vintage Model D I've played for both speed and responsiveness.

On first power–up, the solitary pulsing LED of the Low Frequency Oscillator is understated in comparison to the extravagant light-shows of other Voyager models. This reserved façade blends more naturally amongst older synthesizers, and the lack of a backlit panel or glowing mod wheel should banish any fears of extraneous electrical noise.

No Minimoog would look right without its familiar tilting panel. This one offers five operating positions, although (as Gordon observed in his original review), the wooden case is too close to the rear jack sockets to allow you to use them when the panel is laid flat. Looking closely, you'll see that the panel is actually a printed laminate affair similar to those seen on Dave Smith's recent instruments — all very clear and logical. Scanning from left to right, we find the modulation section, consisting of an LFO and two modulation busses. Then the three VCOs, mixer, dual filters, envelopes and, finally, a big, friendly volume knob. Being both right–handed and a compulsive tweaker, I'd love to encounter a panel laid out in exactly the opposite direction, since the filter and envelope knobs seem to be where my left hand travels most often. Fortunately, the angled panel negates any crossed–arm obstructions!

Adjacent to every control is a pale–blue mark. This is your designated safe escape route, presumably for when it all goes horribly wrong. Once upon a time we patiently learned to program our synthesizers with patch–book examples and cardboard overlays. Frankly, Moog are the last company I'd have expected to print a 'default' patch on one of its synths — an indelible set of 'L' plates!

Mildly exasperated, I turned to the rear (or upper) panel, which is largely the same as the Voyager's. This means lots of quarter–inch voltage inputs (11 in total) for interfacing with expression pedals, or modular gear such as Moog's own Moogerfoogers. An effects loop insert point is provided too, ideal for plumbing in external effects after the mixer section and before the filters. This is one of those simple additions that prove to be genuinely worthwhile in practice and had me digging out a wide collection of old effects processors. Adjacent to the insert point, the external audio input is on hand to process any source you fancy — including the Old School's own headphone output. This version of the Minimoog trick sounds a trifle different in this incarnation; indeed, with the levels cranked up it threw up some of the most extreme (and occasionally scary) noises in the Old School's repertoire.

Cape Capers

Familiarisation with the controls took literally seconds, after which I started to get the kind of buzz that took me back to my earliest days discovering synths. The first area I turned to was modulation — perhaps the most significant upgrade from Minimoog architecture. This consists of two identical modulation busses, each offering six modulation sources routable to six destinations via any of a list of six controllers. I thought this synth was a beast, but I didn't realise it was The Beast! The sources available differ from those of a standard Voyager; they include the three VCOs, the LFO, the noise generator and an external modulation input. These may be routed to overall pitch, the pitch of Oscillator 2 or 3, filter cutoff, oscillator wave or LFO rate.

Wave modulation is something you couldn't do at all on a Minimoog, and the only drawback here is that it affects all oscillators — or none; you can't specify a single VCO wave to be modulated. If this isn't as flexible as you might like, it does at least keep things simple. The controller component of the modulation bus has the usual suspects: mod wheel, velocity, aftertouch and both envelopes, plus an external CV or expression pedal.

Lacking the menu options of the standard Voyager, the Old School benefits from more modulation controllers on its panel. But as there are only two busses and three main performance controllers, you might not be able to do everything you want in a single patch. For example, if you route velocity to the filter cutoff and aftertouch to wave modulation, you can't then bring the mod wheel into play — the two busses are already fully booked. Here's where that optional VX351 CV Expander (see 'CV Concerns' box) starts to look anything but.

LFOs & VCOs

I'm sure we all agree that a dedicated LFO is a vital thing to have. This one has a base range of approximately 0.2Hz up to 50Hz, but can be extended considerably by means of a positive or negative voltage at its CV input. There are just four waveforms available: triangle, square, sample-and-hold and smoothed sample-and-hold. Oddly there's no sawtooth — but sawtooth hunters will be pleased to know that, as per the Minimoog, you can draft in one of the three main oscillators for additional low–frequency duty. There's even a switch to deactivate it from the keyboard too, just like old times.

In stark contrast to my own (now departed) Mini, the VCOs behaved impeccably, stabilising after just a few minutes and staying that way. Oscillator 1's pitch is set by the main fine–tune control, with the other two oscillators detunable over a range of seven semitones, up or down. The oscillators sound great — from their lowest 32' setting right up to 1', an octave that comes into its own when you start to explore another 'post Model D' trick — Frequency Modulation. At the flick of a switch, VCO3 becomes the FM source for VCO1, serving up wild excesses of discordant metallic tones, adding bite to any solo.

Speaking of bite, I was recently impressed by Moog's Freqbox and its rich oscillator sync, and I'm even happier with the Old School's implementation. Draft in a modulation bus giving aftertouch control over Oscillator 2's frequency, and you're in sync heaven. I'm guessing Moog improved the aftertouch response after the original review, because I found it played very well, second only to Korg's Prophecy in my own 'pressure hit parade'.

Filters & Envelopes

The original Minimoog's single low–pass filter was enough to make it legendary. The Old School has two of them and a switch that determines which configuration you want: parallel low–pass mode or serial high– and low–pass. Choose parallel and each filter is routed to a separate audio output; choose serial and audio is sent equally to both.

As has been said before, Moog don't provide a way to access each filter's cutoff frequency individually. Instead, a spacing control sets the interval between them over a range of +/– three octaves. Switch into High–pass/Low–pass mode and you enter thin and raspy territory; if you're looking to break away from blatant Moog power, this could become a favourite, with filter spacing acting as a direct thin/fat control.

The ADSR envelopes are positioned vertically and offer a snappy response rated between one millisecond and 10 seconds. I wasn't particularly taken by the way the knobs are calibrated. In the case of attack, the bulk of the knob's travel is occupied by the fastest attacks, and in the case of release, a large portion of the knob's movement translates to very short release times; only the last sliver of pie is available to set a range between one second and maximum. On the review model, this maximum was over 20 seconds, so finding accurate release times proved rather finicky. It's likely that my solos are just too slow and 'new agey', but this is something to be aware of when you audition an Old School.

As with the Minimoog, the envelopes default to single triggering. This suits my noodly style perfectly — but could be troublesome if you need fast, articulated phrasing. In such cases, multi triggering is available, but is activated by powering on while holding down the top two keys of the keyboard. Not something you'd want to do live! You must also do this every time multi–triggering is needed, as the status is not remembered. The keyboard employs last–note priority rather than the Minimoog's low–note bias, which I think is an improvement. Lastly, a switch will deactivate keyboard triggering of the envelopes — handy when processing external signals via the filters.

If, before the release of the first Voyager, you had asked me what I would hope to find in a modern Minimoog, it wouldn't have been a hundred miles from the Voyager OS. Its full title, 'Minimoog Voyager Old School', is a bit of a mouthful, though; how nice it would have been to simply say Minimoog Model E! This synth is just as comfortable in a lead performance role as the Model D was all those years ago. One look at the panel and you know exactly where you are; its controls feel just right and they're ergonomically spaced for unimpeded access to a wealth of Moog tones. You're not stuck in the past, though: the Old School has way more to offer, thanks to a dedicated LFO, oscillator sync, FM and the dual filter arrangement. Factor in the twin modulation bus and rear–panel interfacing and the options seem to grow exponentially.

There are 896 patches in a V3 Voyager, but I warrant a skilled Old School performer should be able to rustle up the sound he or she wants in the time it takes to locate a favourite amongst that lot — with the advantage that each time it will be a little different. Don't go for an Old School if you insist on absolute repeatability in your music; without memories to draw from, the synthesizer player is forced not to memorise (or write down) each favourite patch but to understand the instrument so deeply that it becomes intuitive. At £500 less than a Voyager Performer, the Old School could be both a money saver and an education.

Not everything in the garden is rosy, however. Dropping MIDI seems a cut too many when faced with the challenge of sequencing the Old School via the CV input. A lesser gripe is the difficulty of setting long attack and release times accurately. Admittedly, this could be more about my preference for a particular style of flowing solo than a serious complaint. Actually, if I had to name just one thing that genuinely bugged me, it's those 'default' patch markings. They really spoil an otherwise elegant panel. Yes, I'm a grumpy old man to get fixated on such things — but have we really dumbed down so much in the space of 30 years that this is necessary?

To sum up, the Voyager's digital bits were never part of its signal path anyway, but if you feel that this new–fangled MIDI lark and patch memories are cheating, or if you simply dream of a modern, reliable, simple–to–use Moog, the Voyager Old School is exactly what the doctor ordered.

Alternatives

Genuine alternatives to the Voyager Old School are thin on the ground, not least because monophonic analogue synthesizers (with or without MIDI) aren't exactly hurtling off production lines. If we peer into the future a little, the forthcoming MacBeth X–Factor promises to be a serious contender, and the Analogue Solutions Leipzig also looks interesting. But for the time being, it's probably another US company that offers Moog the most serious challenge — in the form of the Prophet 08 from Dave Smith. This eight–note polyphonic analogue has MIDI, knobs, a sequencer, patch memories and much more. Admittedly, the endless rotaries don't offer the same instant visual feedback as an Old School and modulation is set via menus, but Dave Smith packs a lot into a compact, affordable synth. Or, for much less cash, Dave's Mono Evolver keyboard with its mixture of digital and analogue technology can't be ignored.

If you turn to digital, the Access Virus TI series still sounds fabulous to these old ears although, granted, there's a little menu–hopping to do. Clavia's Nord Wave fares better in that respect, but its mono mode doesn't handle like a true analogue. Like many digital synths since the Korg Prophecy, its envelopes restart at zero on each keypress, reducing my flowery synth solos to something more like an accordion or melodica! Thankfully, the Virus gets that bit right — something to note if you share my fondness for a certain Schulzian Moog style.

CV Concerns...

Despite the Old School's diverse connectivity, a few desirable features failed to earn a place amongst the throng. There's a dearth of voltage outputs, although, as an optional extra, these can be added courtesy of Moog's VX351 CV Expander. This hooks up via a small multi–pin connector and provides access to voltages produced by the keyboard's velocity and aftertouch, as well as the mod wheel, and more. Be aware that this expander was created for the original Voyager, so some of its outputs (for example, that of the Touch Surface) don't apply to the Old School or, in the case of the keyboard pitch and gate outputs, duplicate what is there already.

It's fortunate that CV and Gate interfacing are on board, since, with MIDI cast aside, the Old School needs some way to interact with the outside world. In my own tests I found that the keyboard's output voltage was scaled much lower than that of my Roland SH101. Oddly, all notes below the keyboard's bottom C sent the Roland into a spin — although three octaves (C–C) worked reliably. Investigation revealed that the Old School puts out negative voltages for any notes below the lowest C, which some synths (such as the 101) can't cope with.

Unfortunately, it was the incoming pitch–CV response that caused me real problems. Driven by the SH101 or by my Kenton Pro 2000 MIDI–to–CV converter, the Old School did not track accurately at all. Moog inform me they decided to omit CV input calibration from the design, and I am advised that the best solution is to use an attenuator from either a VX351 or a Moogerfooger CP251 Control Processor (or a similar module, if you have a modular synth) to tweak the incoming voltage until the Old School plays in tune.

Personally, I can live without patch memories and MIDI control of knobs — but without basic MIDI note reception, I can't drive those chuggy Moog basses from a sequencer without added cost or complication. At this point my nostalgia transferred briefly to the dawn of MIDI: the solution to exactly this kind of voltage incompatibility.

Off The Menu

Obviously, there are tricks a digitally–empowered Voyager can do that are beyond the remit of the Old School — without a menu system, much has to be simplified. Thus, the Old School has no way to transpose the keyboard or set different velocity curves. The pitch–bend range is preset at the factory via an internal jumper, and so is not programmable per patch. The review model was set at seven semitones up or down, but you can change it (from +/– two semitones up to +/– one octave) by following instructions provided on Moog's web site.

There's no equivalent of the Voyager's menu–based mod wheel and pedal destinations (or pot mapping), but it was another of the Voyager's hidden aces that I missed the most: other Voyagers let you freely select the number of poles used by each filter, from one, two, three or four. Both the Old School's filters are fixed at four poles, the Moog standard.

• Fabulous Moog sounds.
• Handles like a dream .
• Stunning good looks.
• MIDI is gone and the pitch CV input doesn't guarantee accurate tuning without external hardware attenuation.
• Those 'default' patch markings! Do you really want someone else's idea of a default patch forever etched into your pride and joy?

Priced between the Little Phatty and the various Voyager models, the Old School represents Moog's purest successor to the fabled Model D. Its WYSIWYG approach is direct and intuitive, and the synth is a pleasure to play. Although not designed to exactly emulate a Minimoog, it has Moog oscillators, envelopes and filters, so can cover the same ground and much more.

information

Arbiter +44 (0)20 8207 7880.

[email protected]

www.arbiter.co.uk

www.moogmusic.com

Moog +1 828 251 0090.

[email protected]

New forum posts

• Re: Plectrum choices BJG145 > 28 Apr 2024, 18:16 Guitar Technology
• Re: HUM Audio Devices N-Trophy console Hugh Robjohns > 28 Apr 2024, 18:09 Recording: Gear & Techniques
• Re: An interesting rehearsal space BJG145 > 28 Apr 2024, 18:08 Live Sound & Performance
• Re: HUM Audio Devices N-Trophy console Matt Houghton > 28 Apr 2024, 17:50 Recording: Gear & Techniques
• Re: HUM Audio Devices N-Trophy console Studio Jiimaan > 28 Apr 2024, 17:40 Recording: Gear & Techniques

Active topics

• The New Loops Spring Sale Ends in Two Days!
• New Breadcrumbs annoying
• Eaw sb1000 to amplifier connection
• Saturation Plugins
• Thanks - for SOS, the various publications
• I designed a macro dynamic plugin and need some feedback
• What is the magic behind the UAD Ampex ATR 102?
• An interesting rehearsal space
• Afro House Sample Pack (Alex Wann,Rivo,Black Coffee Style)
• Equipment repairs in Manchester/Sheffield

Recently active forums

• Recording: Gear & Techniques
• Mixing, Mastering & Post Production
• New Products & Industry News
• Music Business
• Windows Music
• Apps & Other Computers/OS
• Guitar Technology
• Keyboards & Synthesis
• DIY Electronics & Studio Design
• Live Sound & Performance
• Music Theory, Songwriting & Composition
• User Reviews
• Remote Collaboration
• Self-Promotion

Create an account

Evolution of Moog Synthesizers 1964-2002

A timeline tracing the evolution of moog synthesizers from the moog modular prototype to the voyager..

By Bob Moog Foundation / Moogseum

Bob Moog with Minimoog and Moog Modular Bob Moog Foundation / Moogseum

As one explores the lineage of the synthesizers created by Moog, common threads of trademark sound and innovation tie the instruments together. Their evolution is tied to Bob Moog’s ongoing technological advancements, as well as those from the company's staff of engineers.

This exhibit presents a brief overview of many of the Moog synthesizers, and, through listings of basic components, traces the changes as synthesizers evolved from large, expensive, academically-oriented systems into more affordable, portable musical instruments.

The Core Specifications being used for comparison comprise the key ingredients in a synthesizer’s “voice”, or architecture. The number of components and the routing flexibility offered determine the depth and breadth of any particular synthesizer’s palette of potential sounds.

The Core Specifications presented throughout Moog's evolution are: • VCOs (Voltage-Controlled Oscillators) - responsible for the basic pitch of the sound, and the initial waveform, which determines basic tonal content

• VCFs (Voltage-Controlled Filters) - responsible for further refining the initial waveform from the VCOs. The most common VCF is a Low-pass Filter (LPF), and Bob Moog is responsible for the most famous and popular LPF in the history of synthesizers

Fundamentals Of Synthesis - Filter (1980) Bob Moog Foundation / Moogseum

• VCAs (Voltage Controlled Amplifiers) - as the name suggests, primarily responsible for the amplitude (volume level) of the output from the VCF. A VCA is always at the end of the signal path in a synthesizer’s voice, but additional VCAs can be used to control the amplitude of other signals within the architecture

Fundamentals Of Synthesis - Amp (1973) Bob Moog Foundation / Moogseum

• LFOs (Low Frequency Oscillators) - oscillators typically tuned below human hearing range. Instead of being used as an audio source, they are used for their voltage content to control (“modulate” in synthesizer terminology) other components. The most common LFO application is to impart vibrato, sending a continuous sine or triangle wave to control the pitch of the VCOs

Fundamentals Of Synthesis - LFO (1979) Bob Moog Foundation / Moogseum

• EGs (Envelope Generators) - also called Contour Generators in some Moog models. EGs are responsible for adding “shape” to sounds by sending rising and falling voltages to VCFs and VCAs for tone and volume changes over time. These voltage events can also be routed to other components in the synthesizer. The most common type of EG is the ADSR (Attack Decay Sustain Release), but there have been numerous combinations of those 4 characteristics in different EG circuits over the years

• Polyphony - the number of voices (notes) that a synthesizer can play simultaneously

1964 Moog Modular Prototype Bob Moog Foundation / Moogseum

The Moog Modular Prototype, 1964

The early breadboard stage of the Moog prototype was referred to as "The Abominatron" in the first communications between Bob Moog and Herb Deutsch. At that point, the instrument could play chords. But the complexity of some sounds generated by modulating the two sound sources against each other led to Bob's decision to make it a monophonic instrument instead. That decision was manifested here, in Herb's monophonic prototype instrument. Core Specifications: 2 VCOs, 2 VCAs

R.A. Moog Modular 1967 Bob Moog Foundation / Moogseum

Moog Modular Synthesizer, 1967

The earliest moog modulars.

While the first several Moog synthesizers sold were custom instruments, eventually the most common components would be combined into three different configurations, with different sizes intended for different players. There were studio and portable versions available for each size, with the former housed in wooden cabinetry and the latter in suitcase-like enclosures.

In addition to the core components presented throughout this exhibit, early Moog modulars included a Fixed Filter Bank, revered for its precision in shaping sounds, and oscillators which could function as either audio sources or as LFOs. These oscillators were combined with Oscillator Driver modules which provided an expanded range of control compared to the self-contained VCO modules.

R.A. Moog Synthesizer IP Bob Moog Foundation / Moogseum

The Synthesizer IP, 1969-1973

Moog Synthesizer 1C (1967) Bob Moog Foundation / Moogseum

The Synthesizer 1C, 1967-1973

Synthesizer I Offered limited complexity, meeting basic compositional needs. The components for the Ic (the studio designation) were housed in a single, wedge-shaped wood cabinet. The Ip (for portable) had room in its two suitcase-style cabinets for additional components. Core Specifications: 1 VCO with mixable waveforms, 2 oscillators under the control of an Oscillator Driver, 1 Fixed Filter Bank, 1 VCF, 2 VCAs, 2 EGs (ADSR), Monophonic

Moog Synthesizer 2P (1968) Bob Moog Foundation / Moogseum

The Synthesizer 2P, 1969-1973

Moog Synthesizer 2C (1968) Bob Moog Foundation / Moogseum

The Synthesizer 2C, 1967-1973

Synthesizer II Designed for moderately complex applications, including electronic music studios and university labs. An extra rectangular cabinet was added to the Synthesizer Ic to house the added components in this expanded version. Core Specifications: 1 VCO with mixable waveforms, 5 Oscillators under the control of 2 Oscillator Drivers, 1 Fixed Filter Bank, 2 VCFs, 2 VCAs, 2 EGs (ADSR), Monophonic

Moog Synthesizer 3C (1972) Bob Moog Foundation / Moogseum

The Synthesizer 3C, 1967-1973

Moog Synthesizer 3P (1978) Bob Moog Foundation / Moogseum

The Synthesizer 3P, 1969-1973

Synthesizer III Fully-implemented with first generation Moog components, Synthesizer III added a third suitcase cabinet in the portable version. The studio version presented the now-iconic look of a Moog modular system with its fully-loaded wedge and rectangular cabinets. Core Specifications: 1 VCO with mixable waveforms, 9 Oscillators under the control of 3 Oscillator Drivers, 1 Fixed Filter Bank, 2 VCFs, 3 VCAs, 3 EGs (ADSR), Monophonic

R.A. Moog Model D Minimoog Bob Moog Foundation / Moogseum

The Minimoog Model D, 1970-1981

The original Minimoog Model D is arguably the most iconic and revered synthesizer of all time. Its design incorporated hard-wiring of the most common synthesizer routings, making for a more portable and cost-effective alternative to its larger modular predecessors.

Launched in late 1970, it would be the first production model synthesizer to be sold by musical instrument dealers. Over the years, Minimoogs would wind up on thousands of recordings and concert stages, offering that unmistakable warm, robust Moog sound each and every time.

Core Specifications: 3 VCOs with selectable waveforms (the third oscillator could be switched to function as an LFO), 1 VCF, 1 VCA, 2 EG’s (ADS with a switch to add Final Decay, a version of Release), monophonic

The Model 10 Synthesizer, 1971-1973

Moog Model 12 Synthesizer Bob Moog Foundation / Moogseum

The Model 12 Synthesizer, 1972-1973

Second-generation moog modulars.

The early ’70s saw the release of five new synthesizer systems from Moog, starting with the Model 10 , the smallest Moog modular to date, housed in a single suitcase-style cabinet. It would be superseded by the Model 12 , with the same mix of components, but featuring a new VCO design with greater pitch stability, and a new keyboard design.

Core Specifications: 1 VCO with mixable waveforms, 2 Fixed-Frequency Oscillators under the control of an Oscillator Driver, 1 Fixed Filter Bank, 1 VCF, 1 VCA, 2 EGs (ADSR), monophonic

Moog Music Modular System 15 Bob Moog Foundation / Moogseum

The Moog Model Synthesizer 15, 1973-1981

The Model 15 offered a basic synthesizer voice in a portable, suitcase-style enclosure, with a complement of modules similar to Synthesizer I. Core Specifications: 1 VCO, 2 Oscillators under the control of an Oscillator Driver, 1 Fixed Filter Bank, 1 VCF, 2 VCAs, 2 EGs (ADSR), monophonic

Moog Music Modular System 35 Bob Moog Foundation / Moogseum

The Moog System 35 Synthesizer, 1973-1981

Using a similar wedge-shaped wood housing to the Synthesizer II , the Moog System 35 offered a broader complement of modules to meet the needs of advanced studio and educational installations. Core Specifications: 1 VCO, 4 Oscillators under the control of 2 Oscillator Drivers, 1 Fixed Filter Bank, 2 VCFs, 3 VCAs, 3 EGs (ADSR), monophonic

Moog Music Modular System 55 Bob Moog Foundation / Moogseum

The Moog System 55 Synthesizer, 1973-1981

Presented in a two-cabinet package similar to Synthesizer III, the Moog System 55 represented the largest complement of modules ever offered in a Moog production instrument. Core Specifications: 1 VCO, 6 Oscillators under the control of 2 Oscillator Drivers, 1 Fixed Filter Bank, 2 VCFs, 5 VCAs, 5 EGs (ADSR), monophonic

Moog MuSonics Sonic V - courtesy of Encyclotronic Bob Moog Foundation / Moogseum

The Moog muSonics Sonic V, 1972

Moog Music Sonic Six Bob Moog Foundation / Moogseum

The Sonic Six, 1972-1979

This education-oriented Moog had several unique aspects when compared to the rest of the Moog synthesizer family. Its original design was not by Moog. The original Sonic V, designed by former Moog engineer Gene Zumchek, was a product from muSonics, a company that wound up buying out the original R. A. Moog Co. After that transaction, the Sonic V was reimagined to the portable suitcase version, the Sonic Six, with its built-in amp and speaker making for simplified classroom instruction.

It was also duophonic, allowing its 2 VCOs to each be controlled by a different key, and the temperament of the VCOs could be adjusted for creating microtonal scales. Perhaps the most interesting difference was the Sonic Six’s LFO implementation. It offered two dedicated components, with a variety of waveforms, and a mixer that blended their signals before they were routed through the instrument.

Core Specifications: 2 VCOs, 1 VCF, 1 VCA, 2 LFOs, 1 EG (AR with a switch for Sustain on/off), Duophonic

Moog Music Satellite Bob Moog Foundation / Moogseum

The Satellite, 1973-1979

As synthesizers became more mainstream, a need developed for a simpler way of delivering new sounds, especially to the home organ market. Numerous manufacturers offered preset synthesizers, including Moog, with their Satellite. It featured pre-wired sounds available at the flip of a switch instead of the typical control panel full of knobs and switches for crafting sounds. The presets could be edited somewhat with left hand controls wired to some of the most common synthesizer functions.

Core Specifications: 1 VCO, 1 VCF, 1 VCA, 2 EGs (ADSR), 1 LFO, Monophonic

Moog Music Micromoog Bob Moog Foundation / Moogseum

The Micromoog, 1975-1979

As synthesizers grew in popularity so did the need for manufacturers to offer instruments at more affordable price points. By scaling down the Minimoog’s feature set, Moog was able to offer the Micromoog for considerably less, making their instruments available to more musicians.

Costs were managed by using a smaller keyboard, a single VCO (with a sub octave function), replacing some variable controls with simpler switches, and by using a mostly plastic housing compared to the wood and metal used in the original Minimoog.

Core Specifications: 1 VCO (with Sub-Oscillator providing a signal 1 or 2 octaves below the VCO pitch), 1 VCF, 1 VCA, 2 EGs (AR with a switch for Sustain on/off), 1 LFO, Monophonic

Moog Minitmoog Bob Moog Foundation / Moogseum

The Minitmoog, 1975-1979

A rare preset synthesizer from Moog, the Minitmoog was a souped-up version of the Satellite, available for a limited time within its predecessor’s lifespan. The Minitmoog featured two oscillators, with an oscillator sync function that made for an edgier sound quality.

The Minitmoog was one of the first synthesizers to offer a force-sensitive keyboard, allowing for extra expression by pressing on the keys after a note was played. Core Specifications: 2 VCOs with Sync, 1 VCF, 1 VCA, 2 EGs (ADSR), 1 LFO, Monophonic

Moog Music Polymoog Bob Moog Foundation / Moogseum

The Polymoog, 1975-1980

The original Polymoog, for the most part, was the brainchild of Moog Music engineer Dr. Dave Luce. As synthesizers became more mainstream, the demand for increased polyphony grew, but it outstripped the available technology. In an effort to offer a Moog synthesizer capable of playing chords, Luce received a patent for his unique approach to a divide-down oscillator, a component utilized in traditional organ technology.

While this made it possible to play chords (or all the notes of its 71-note keyboard at once if so desired), it did not offer discrete tone generators for each voice, making for a departure from traditional designs. A custom chip was used for each key to provide discrete filter, amplifier and envelope generator functions. Additionally, the Polymoog was the first Moog to feature velocity sensitivity, allowing the instrument to respond to a player's dynamics with changes in volume and timbre.

The Polymoog featured eight preset sound categories, with the ability to edit the sounds further, and it allowed two sounds to be played at once, in either split or layered applications.

The original Polymoog came out with a list price of US$5,500, and, as with its Moog predecessors, demand for a more affordable version soon surfaced. The Polymoog Keyboard 280a, introduced in 1978, was less expensive than the original, and offered more presets, but with fewer user parameters available for editing sounds.

While both versions gave keyboardists the ability to play chords with the iconic sound of the Moog Low-Pass Filter, with the release of the Sequential Circuits Prophet 5, the first polyphonic, programmable synthesizer, Polymoogs wound up fading away.

Core Specifications: 2 Divide-down Oscillators, 71 VCFs, 71 VCAs, 142 EGs (ADSR), 1 LFO, Polyphonic

Moog Taurus I Pedal Bob Moog Foundation / Moogseum

The Moog Taurus Pedal I, 1975-1981

Drawing inspiration from the organ market, the Taurus is a pedal-controlled Moog that wound up being extremely popular in the progressive rock genre. Originally it was part of a proposed ensemble system called the Constellation, which included the Lyra monophonic synthesizer and the polyphonic Apollo, which represented the roots of the Polymoog.

The Taurus featured three preset sounds, with a variable control panel under a protective lid for a fourth sound. A pair of slider controls with large foot pads allowed for the control of its Moog filter and amplifier volume. Core Specifications: 2 VCOs, 1 VCF, 1 VCA, 1 EG (ASR), Monophonic

Moog Music Multimoog Bob Moog Foundation / Moogseum

The Multimoog, 1978-1981

An expansion on the original design of the Micromoog, it used its predecessor’s circuit board combined with an additional circuit board incorporating additional features. The keyboard was not only larger than the Micro’s, it represented Moog’s second implementation of force sensitivity.

While it would be some time before synthesizer keyboards effectively responded to a player’s dynamics, the ability to add extra expression by pressing a key after playing greatly expanded the range of available sounds at the time. Core Specifications: 2 VCOs with variable waveshapes, 1 VCF, 2 EGs (AR with a switch for Sustain on/off), 1 LFO, Monophonic

Moog Music Prodigy Bob Moog Foundation / Moogseum

The Prodigy, 1979-1984

This small but mighty Moog was ground-breaking in that it offered a dual oscillator design at a price point comparable to other single oscillator instruments. By doing so the Prodigy offered sonic capabilities comparable to the Minimoog, but at a fraction of the price. Core Specifications: 2 VCOs with selectable waveshapes, 1 VCF, 2 EGs (ADS with a switch to add Final Decay), 1 LFO, Monophonic

Moog Music Opus 3 Bob Moog Foundation / Moogseum

The Opus 3, 1980

Conceptualized by Herb Deutsch, Bob Moog's inspiration in the creation of his first synthesizer, the Opus 3 was an ensemble instrument, combining multiple electronic music technologies into a single keyboard. With sections for Strings, Brass, and Organ, the Opus 3 was fully polyphonic, making for some complex layering possibilities. The Strings and Brass components each had their own classic Moog Low-Pass Filter for extensive sound shaping.



Core Specifications: 3 divide-down oscillators, 1 multi-mode string filter, 2 VCFs, 1 EG (ADS with a switch for Final Decay), Polyphonic

Moog Music Liberation Bob Moog Foundation / Moogseum

The Liberation, 1980

A unique strap-on synthesizer (known as a keytar in modern parlance), the Liberation was an early production model of a device that previously had only been available on a custom (i.e. very expensive) basis. It combined the equivalent of a souped-up Prodigy with a divide-down oscillator to provide a Polysynth section.

In a slight departure from previous Moog designs, the Liberation included more sliders than rotary knobs, and toggle switches instead of the slide switches found on previous Moog synths. Core Specifications: 2 VCOs, 1 divide-down oscillator, 1 VCF, 1 VCA, 1 LFO, 2 EGs (ADS with a switch for Final Decay), Monophonic + Polyphonic

Moog Music Rogue Bob Moog Foundation / Moogseum

The Rogue, 1980-1983

Realistic MG-1 Bob Moog Foundation / Moogseum

The Moog Concertmate MG-1, 1981-1983

Another low-cost dual oscillator design, the Rogue offered a more limited sound palette compared to its Moog brethren. While waveshape and octave range were selectable, both oscillators shared the settings. There was also a single EG for controlling both the filter and amplifier functions.

Many classic Moog sounds, especially synth basses, were possible with the Rogue, but other classics were not possible due to these design decisions. The Rogue circuitry was licensed to Tandy, parent company of Radio Shack, and was incorporated, along with some additional features, into the Realistic Concertmate MG-1, the first synthesizer targeted towards home enthusiasts.

Core Specifications: 2 VCOs with selectable waveshapes, 1 VCF, 1 EG (AR with a switch for Sustain on/off), 1 LFO, Monophonic

Moog Taurus II Pedal Bob Moog Foundation / Moogseum

The Taurus Pedal II, 1981-1983

As with their keyboard synthesizers, the popularity of the original Taurus pedal synthesizer created demand for a more affordable version. Not only did the Taurus II readily meet this need, it did so with a change in design concept which made for a more versatile instrument. The circuitry in the Taurus II was essentially the same as the Rogue, which was extremely well-suited for bass sounds despite being less flexible than its bigger brothers.

The Taurus II design comprised two components: a pedalboard controller (capable of outputting signals for controlling other synthesizers) and a control panel that mounted to the pedalboard with a microphone stand. This made it much easier for the performer to manipulate sounds while playing, and it included pitch and modulation wheels a la the Minimoog to provide even more sound control.

An auto-trigger function enabled the Taurus II to generate sequencer-like synthesizer bass with the single press of one of the pedals. An external audio input opened up access for other instruments to be processed through the classic Moog Low-Pass Filter. Core Specifications: 2 VCOs with selectable waveshapes, 1 VCF, 1 EG (AR with a switch for Sustain on/off), 1 LFO, Monophonic

Moog Music Source Bob Moog Foundation / Moogseum

The Source, 1981-1985

Monophonic Moogs entered the microprocessor age in 1981 with the release of the Source, and it made for a radical departure from earlier Moog look and feel. The legendary Moog sound was there, but the array of knobs and switches was replaced with touch switches and one data wheel. And while the Source did have wooden side panels, its colorful control panel of switches on a brushed aluminum chassis made for a futuristic look compared to the vintage style of the rest of the Moog family.

Core Specifications: 2 VCOs, 1 VCF, 1 VCA, 2 EGs (ADSR), 1 LFO, Monophonic

Moog Music Memorymoog Bob Moog Foundation / Moogseum

The Memorymoog, 1982-1984

By the late ‘70s computer chips were powerful enough to manage the processes needed to deliver polyphonic, performance-oriented synthesizers, and the demand for such instruments was great. For all intents and purposes, the Memorymoog was a six-voice Minimoog, exactly what the marketplace wanted.

It featured computer memory for storing 100 sounds, and a unison mode for stacking all its oscillators on a single key. The Memorymoog Plus model added a sequencer, rudimentary Musical Instrument Digital Interface (MIDI) implementation, and a more stable oscillator design. Core Specifications: 
 18 VCOs, 6 VCFs, 6 VCAs, 6 LFOs, 12 EGs (ADSR), 6-voice polyphonic

The Minimoog Voyager, 2002-2015

The last synthesizer designed by Bob Moog, Voyager represents a fitting culmination to his career arc. Combining the best aspects of the vintage Minimoog design with modern concepts, the Voyager brought Moog synthesizers into the 21st century, with computer memory for storing sounds, MIDI (Musical Instrument Digital Interface) implementation, a touch-sensitive control pad, and an updated version of the famous Moog filter, capable of stereo output.

A unique feature, pot mapping, allowed for the re-assignment of any of the Voyager’s knobs to suit the performer’s needs. Re-routing the headphone volume knob, a feature rarely used when performing live, was its most common use.

The familiar and revered Mini-style panel layout provided instant access to the most often-used functions, and an on-screen editing system gave Voyager users expanded access to deeper synthesizer parameters and component settings. A multi-pin connector allowed the Voyager to be combined with other Moog devices to create a system with modular synthesizer capabilities.

Core Specifications: 3 VCOs with variable waveshapes, 1 Dual VCF (configurable as High Pass/Low Pass or stereo Low Pass), 2 EGs (ADSR), 1 LFO, Monophonic

Special thanks to Tone Tweakers for assistance with images.

Blacktronika (Part 1)

Bob moog foundation / moogseum, blacktronika (part 2), discovering moog in jazz/rock fusion, the birth of the minimoog, the big briar theremin years and beyond, 1978 - 2004, discovering moog in funk and r&b, discovering moog in pop & rock: the second decade, bob moog: an inspired life in sound, timeline of synthesis, part 1.