Arturia minimoog mac os x

There's also the welcome addition of chromatic tuning.

Arturia Minimoog V v1.5

Hold down the Shift key while adjusting Osc2 or Osc3 tuning, and the pitch changes in precise semitone steps. No specification is included in Arturia's marketing documents or manual, so I have compiled the following abridged version. The next stage in the signal path is the Mixer. On the real Minimoog, this is passive, which means that the oscillators can albeit slightly interact with one another.

This is one of the subtle characteristics that make the instrument so warm and organic. However, Minimoog V 's mixer does not emulate this. If you have access to a copy of Minimoog V, try the following experiment. Set oscillators 1 and 2 to the same waveform and precisely the same pitch. Move to the Mixer, and balance the levels of Osc1 and Osc2. Now, switch Osc1 'On', and the other four sources 'Off'. Make sure that the filter is wide open. Next, play a note in the mid-range and switch on Osc2. A slightly louder sound with a different timbre is generated, and it's not hard to hear that this is because Osc1 and Osc2 are somewhat out of phase with one another.

When, as on the original Minimoog, you have free-running oscillators, this is bound to happen. Now switch off Osc2, and then turn it on again. You'll obtain a new timbre, quite different from the previous one. Now try again. A third timbre emerges or even silence if the two waveforms are completely out of phase with one another.

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However, if you hold the note indefinitely, the timbre never changes. There's no oscillator drift, just rock-solid waveforms separated by a random phase difference determined when you switch an oscillator on.

Arturia Mini-V Masterclass - Plug-in Tutorial

There is a way to change this in monophonic mode: the Detune knob that normally shifts Unison voices with respect to one another in polyphonic mode acts as an oscillator drift control in mono mode, introducing an additional random drift undocumented in the manual. A knob setting somewhere in the middle works best for the sustained notes.

Before leaving the Mixer, let's jump to the far right of the panel, where we find the Soft Clipping control. This — according to Arturia — recreates the soft clipping and distortion that occur when you dial in high levels in the Mixer on a real Minimoog. On the original synth, this is yet another characteristic that contributes to 'the sound' and, to be fair, Minimoog V 's emulation does a reasonable job of thickening the output.

Nonetheless, I couldn't understand why it was programmed such that the output level rose considerably whenever I switched soft clipping on, rather than diminishing as one would expect. The next major comparison is between the Minimoog's filter and the digital emulation on Minimoog V. The tool-tip on the Arturia's cutoff frequency knob claims minimum and maximum cutoff frequencies of 20Hz and 20kHz respectively.

However, the actual figures measured by making the filter oscillate are 21Hz and By way of comparison, the maximum cutoff frequency on my Minimoog is way over 20kHz — too high to measure at a sampling rate of But this isn't going to make any significant difference unless you're a bat. At the bottom end, however One of the key and distinguishing attributes of the Minimoog is the nature of its filter resonance. This diminishes with lower frequencies, and is important in creating the 'punch' of the Minimoog, because lower resonance at low frequencies means that more bass passes to the output as you play down the keyboard.

In contrast, the Arturia filter self-oscillates down to 21Hz, and the amplitude of this signal is greater at low frequencies than in the mid-range! It doesn't, therefore, emulate the Minimoog's filter.

Arturia Mini V3 Overview

I also noticed zipper noise. If you set the Emphasis to maximum and use the cutoff frequency control to sweep the frequency of the resulting signal, you obtain obvious zippering. At first I was not concerned by this because, if you hold the Shift key while adjusting many of the knobs you obtain finer movement, which should eliminate the problem. Indeed, when you hold Shift and turn the knob slowly, matters are much improved. But move the mouse rapidly and the zippering reappears. Nevertheless, I have some positive things to say about the filter.

Firstly, if we ignore whether it's supposed to sound like that of the Minimoog, and evaluate it in purely sonic terms, it's rather good, with a rounded and warm character that many users will like.

Team R2R | 2013.04.08 | WiN: 65 MB | OSX: 101 MB

Secondly, unlike many digital filters, it requires no input from the oscillators or noise generator to initiate self-oscillation, so you can play it as an oscillator if you wish. However, this is not the case, and a brief click results. Considered a fault by many people, the ability of the envelopes to click is another attribute of the original synth that contributes to its 'snappy' character. A single ADSD contour. Unfortunately, Minimoog V does not do this. So, to measure its envelope response, I fed some white noise into the mixer, opened the filter fully, and set the VCA contour generator to produce as instantaneous an envelope as possible.

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The resultant click lasted about eight milliseconds. A similar measurement from my Minimoog reveals a duration of four milliseconds. However, more important than the total duration is the Attack time.

ninggomisma.gq On Minimoog V, this is about 1. On my Minimoog, it is closer to 1. The slightly superior figure on Minimoog V will ensure that it produces the same snappy attacks as the analogue synth. However, when you play quickly and non-legato ie. If you play a typical ADSD envelope as shown right this means that each successive contour 'climbs upward' if you play quickly, as shown in the second diagram. This is a critical element in the playing characteristic of the Minimoog, but Minimoog V does not emulate this, and its envelopes respond as shown in the third diagram, below. The detrimental effect of this is not subtle; imagine the difference between the loudness and brightness of a sound contoured by filters and amplifiers responding to the curves in the last two graphs shown.


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This diagram shows the contour generated by a real Minimoog played rapidly. And here's the contour generated by Minimoog V, played in the same manner. The next section is the Controllers panel. Starting with the Glide, I found that Minimoog V has a maximum Glide time of approximately 13 seconds across its note keyboard, and a minimum that manifests itself as an almost instantaneous glitch the glide is without 'zippering', by the way, which is good.

The real synth, however, has a maximum Glide time of around five seconds and a minimum of zero, even with Glide 'on'. In contrast, generating FM sounds by modulating at audio frequencies does not, although the differences could possibly be corrected by changing the amplitude of the modulation signal, or by replacing some of the aged components in my 30 year-old synth. Either way, the Minimoog and Minimoog V sound different, but I'm not too concerned by this. The upward bend on my Minimoog's pitch-bend wheel is approximately seven semitones, while the downward bend is nearer to eight — a deficiency of the original design.

On Minimoog V, this has sensibly been corrected; in fact, you can set the pitch-bend to a precise interval of between zero and 12 semitones, in semitone steps. This is excellent news, but Minimoog V 's pitch-bend also seems to lag the physical movement of the controller by a tiny amount, which will upset some players.

As on the genuine Minimoog, the software synth has an external input, and although this accepts stereo signals rather than the monophonic signals accepted by the vintage synth, it sums them to mono, as you would expect.


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This configuration creates timbres similar to those generated by using CVs, Gates and S-Triggers to play a real Polysix through a real Minimoog. But the differences in Minimoog V 's filter and contour generators ensure that the timbre and response are not the same. This allows you to 'virtually' feed Minimoog V 's output back into its own External Input, and is included to replicate the old trick beloved of many Minimoog aficionados whereby, if you feed the Low output back to the External Input and monitor with the High output, you get a slight but very pleasant thickening of the sound.

If you feed back the High output and monitor with the Low, the feedback dominates at all but the lowest External Input volumes, and the synth takes off into the nether regions of sonic wobbledom. Minimoog V emulates the latter, and you can create some radical timbres if you set up the oscillators, filter and external input correctly. This sounds different to how it does on my Minimoog, but this point doesn't concern me too much; of the three Minimoogs I've owned, all have all responded to the High feedback loop differently from one another, so you could say that Minimoog V is just another variant.

Given the number of differences I've flagged between the Minimoog and Minimoog V, I expected the two instruments to sound very different from one another. Yet, creating simple patches on both, using a single sawtooth wave and fine-tuning the controls to be as close to one another as possible, I found the sound from the software synth to be surprisingly authentic. Moreover, in blind tests that I carried out on two knowledgeable friends, both could hear that there were two instruments present, but neither could reliably identify which was the year-old lump of wood and circuitry, and which was the software emulation.

But the more I introduced filter resonance, the easier it became to distinguish between them. If I then used different waveforms or introduced multiple oscillators, it became simple to identify which synth was which. And when I stopped playing individual notes in isolation, and started to play riffs and melodies, the incorrect envelope generation of Minimoog V made it obvious which was which.

This was when I also started to notice that the timbre would jump slightly after every handful of notes played. Playing rapidly with the Detune knob ie. As expected, there was no change when I held a single note indefinitely, just a quantised jump after a bunch of notes were played. This makes soloing an odd experience, and may be even more disconcerting for players who use their Minimoogs primarily for bass work.

The SH was released by Roland in but lost the mainstream battle with the DX7 and got discontinued in Unfortunately it comes with no presets and for Mac it comes as a bit version only, so you're going to have to use a program like 32 Lives to use it. Download the Ableton Live rack with this sound in our freebies section. Log in. Cart 0. Menu Cart 0.