If you feed it straight into a track, it feels way too heavy. There's no oscillator drift, just rock-solid waveforms separated by a random phase difference determined when you switch an oscillator on. Furthermore, if your host application supports automation, the panel controls of Minimoog V will respond to this. This switches between single-triggering Legato On and multi-triggering Legato Off , and is best used in conjunction with the Playing Mode setting in the tool bar, which offers high-, low- and last-note key priorities. Summary Aside from some operational oddities, some bugs, and its propensity to digitally overload, Minimoog V is a fine software synth in its own right, and is capable of some excellent polyphonic sounds.
Next comes the Minimoog's fabled filter. In the Preferences window, you can specify that knobs respond to mouse movements in a circular, relative circular, or linear fashion — an option I always appreciate. A very talented group of programmers created the factory Presets, and some are much better than others. You can also easily control how much of this effect you want, since the noise effect is on its own layer that can be controlled from the Trilogy Mixer. 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.
But the differences in Minimoog V 's filter and contour generators ensure that the timbre and response are not the same. Of course, you might be asking whether you should care if it sounds authentic. The inaccuracies in the emulation are then irrelevant. This takes you into some wild audio territory more usually the preserve of modular synths. Tilting forward is simply a gimmick, however, because hiding the controls doesn't save any screen space; when they're tucked away, blackness occupies the same area. There are thousands of samples used in these instruments, mapped with multiple dynamics for amazing expression.
Whether you're looking to anchor your mixes with a giant vault of amazing Bass presets, or you're searching for a versatile instrument to create your own unique Bass sounds…there's no other Bass instrument out there with the tone, variety and flexibility of Trilogy -it's simply in a class by itself. I can't see any reason for this restrictive clash of functions. Which brings me to the next point — Minimoog V is, of course, not monophonic like the original Minimoog. In addition to gigabytes of high-resolution sampled vintage synth waveforms, and thick multimode resonant filters for each layer, Trilogy has the rare feature of smooth analog synth-style Legato triggering and Glide that software samplers lack. But every Christian land on earth people decorate little trees which are the main visual symbol of Christmas. Arturia should at least offer a view without the keyboard; screen space is precious when you're producing music with a computer.
Installation was a snap, without the copy-protection issues that plague most music software. Finally, the Controllers section allows you to mix the output from Osc3 and the noise generator to create a modulation signal, apply glide portamento , and tune the instrument. This was when I also started to notice that the timbre would jump slightly after every handful of notes played. Because the delay time is displayed as you change it, it's easy to set up relationships between the left and right delays. This is one of the subtle characteristics that make the instrument so warm and organic.
The final filter controls are three switches. I'm waiting for version 1. For example, try using Osc3 as an amplitude modulation source for either Osc1 or Osc2 to create ring modulation. Nonetheless, its powerful, rich sound has more than stood the test of time, keeping second-hand prices sky high, and inspiring several developers to build software revivals of it. 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.
However, Minimoog V 's mixer does not emulate this. However, the actual figures measured by making the filter oscillate are 21Hz and 18. The only way to hear the synth again was to either turn off the Arpeggiator or select another Preset. There's also an additional master filter for quick tone shaping. This is a simple stereo delay with left and right channel outputs, but no cross-delays, and no way to balance the channels independently.
This means that we have to judge Minimoog V in two ways: firstly as an imitation of the monophonic original, and secondly as an enhanced polysynth. This makes soloing an odd experience, and may be even more disconcerting for players who use their Minimoogs primarily for bass work. Make sure that the filter is wide open. While I had the oscilloscope running, I decided to check the other waveforms. Playing the sounds and making them come alive requires some techniques that were developed on the original MiniMoog.