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Moog Minimoog Voyager Performer Edition with Blue Wheel   

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The Moog Minimoog Voyager Performer Edition with Blue Wheel incorporates essentially all of the functions of the first Minimoog synthesizer offered f...Read More

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OVERVIEW

There's nothing like the real thing, baby!

The Moog Minimoog Voyager Performer Edition with Blue Wheel incorporates essentially all of the functions of the first Minimoog synthesizer offered from 1971 to 1984, and adds loads of new features to bring the Voyager Performer Edition into the 21st century. The Minimoog Voyager, all-analog performance synthesizer, has been designed to last and enjoy for a lifetime.The signal path begins with a collection of three wide-range, high-stability voltage controlled oscillators, a noise source, and an audio preamplifier for externally-applied audio signals. Sound modifiers include one stereo VCA (Voltage Controlled Amplifier) and two Moog filters. Modulation sources consist of two ADSR (Attack Decay Sustain Release) envelope generators and a multiwaveform LFO (Low Frequency Oscillator). Control devices consist of pitch bend and modulation wheels, three dimensional touch surface, loads of control/pedal input jacks, and a 44-key keyboard with velocity and afterpressure outputs. Additional features include: three ultrastable oscillators, flexible modulation buses, dual Moog filters, 4-stage analog envelope generators, and loads more. If THE Moog sound is what you are after, this is it without question. The Moog Minimoog Voyager Performer Edition has Bob Moog' world renowned synthesizer design knowhow in its circuits. It sounds amazing, looks terrific, and feels remarkable.


Put a piece of electronic music history into your performances. Order the Voyager today!

SPECIFICATIONS

Minimoog Voyager Performer Edition with Blue Wheel

  • Oscillators Module
    3 wide-range, high-stability VCOs (Voltage Controlled Oscillators) with continuously variable waveforms.

    FREQUENCY controls (2) vary the frequencies of Oscillators #2 and #3 over a +/-7 semitone range with respect to Oscillator #1.
    OCTAVE selectors (3) set the frequency ranges of the oscillators in six octave steps.
    WAVE controls (3) provide continuous control over the waveforms of the oscillators, from triangular, to sawtooth, to square, to narrow rectangular.
    1-2 SYNC switch synchronizes the Oscillator #2 waveform to the frequency of Oscillator #1, for dramatic timbral effects.
    3-1 FM switch provides linear frequency modulation of Oscillator #1 by Oscillator #3.
    3 KB CONT switch disconnects Oscillator #3 from control by the keyboard, thereby enabling it to function as a drone.
    3 FREQ switch lowers the frequency of Oscillator #3 into the sub-audio range, thereby enabling it to function as a low frequency audio or modulating oscillator.

    Mixer Module
    Five-input mixer for combining the audio sources prior to filtering.

    Input Level controls (5) adjust the relative levels of the oscillator, noise, and external audio input signals.
    Input switches (5) enable the player to quickly switch individual audio signals in and out.
    External Level LED enables the player to set the correct external audio signal level.


    Filters Module
    Dual mode filter module includes dual lowpass and highpass-lowpass filtering. Dual lowpass mode consists of 2 Moog lowpass-resonant filters in parallel, one per output channel. Highpass-lowpass mode consists of Moog lowpass filter in series with a highpass filter.

    CUTOFF control sweeps the frequencies of both filters throughout the audio range.
    SPACING control sets the spacing between the frequencies of the two filters, over a +/-3 octave range.
    RESONANCE control adjusts the resonance of both filters, from none (pure lowpass response) to filter oscillation.
    KB CONT AMOUNT control sets how much the filters open and close as the player presses different keys on the keyboard.
    Dual Lowpass/Highpass-Lowpass switch selects between dual lowpass operation and highpass-lowpass operation.


    Envelopes Module
    The Envelopes Module generates two wide-range ADSR (Attack Decay Sustain Release) envelopes. The Filter Envelope sweeps the filter and is available for modulation shaping. The Volume Envelope shapes the overall volume.

    ATTACK controls (2) determine the attack times of the envelopes.
    DECAY controls (2) determine the decay time constants of the envelopes.
    SUSTAIN controls (2) determine the sustain levels of the envelopes.
    RELEASE controls (2) determine the release time constants of the envelopes.
    AMOUNT TO FILTER control determines how much the filter envelope will open and close the filter, from full negative (inverted envelope) to full positive (non-inverted envelope).
    ENVELOPE GATE SWITCH selects whether the envelopes will be triggered by the keyboard, on, or by an externally-applied gate.


    LFO Module
    Low Frequency Oscillator generates triangular, square, Sample & Hold, and smoothed Sample & Hold waveforms for use as modulating signals.

    RATE control sets the LFO rate over the range 0.2 Hz (one cycle every five seconds) to 50 Hz (fifty times a second).
    SYNC selector selects LFO synchronization source to be from the keyboard gate, external envelope gate, external gate, or off (no synchronization).
    RATE LED provides visual indication of the LFO rate.


    Modulation Buses Module
    Selects the sources, destinations, and shaping signals for the MOD WHEEL bus and the EXT PEDAL/ON bus.

    SOURCE selectors (2) selects the modulation source from the LFO triangle or square waveforms, Oscillator# 3, sample and hold, the external modulation input (MOD2) or noise.
    DESTINATION selectors (2) selects the modulation destination from all the audio oscillators, just Oscillator #2, just Oscillator #3, the filter cutoff frequencies, the oscillator waveforms, or LFO Rate.
    SHAPING selectors (2) selects the key pressure signal, filter envelope, note-on velocity or on to shape the modulation signal on that bus.
    AMOUNT controls (2) sets the overall modulation amount for each bus.


    Output Module
    MASTER VOLUME control sets the overall level of the instrument's audio outputs.
    HEADPHONE VOLUME control sets the overall level of the headphone output.
    HEADPHONES jack: 1/4" tip-ring-sleeve phone jack for regular headphones.


    Glide and Fine Tune Module
    GLIDE varies the speed at which the keyboard voltage changes, from instantaneous to several seconds.
    FINE TUNE adjusts the overall tuning of the instrument.

    V 1.5 Software Capabilities
    Voyager Software developed by Rudi Linhard of Lintronics.
    Rudi is also responsible for the software development of the LAMM (Lintronics Advanced Memorymoog), the LMC (Lintronics MIDI Converter for minimoog and other vintage analog synthesizers), and the Ethervox MIDI theremin.
    Lintronics website is www.lintronics.biz
    FRONT PANEL STORAGE AND RECALL: Except for the Fine Tuning control, the settings of all front panel controls, selectors, and switches are stored in the nonvolatile digital memory. A total of one hundred twenty eight front panel presets may be stored for instant recall.
    TRANSMISSION AND RECEPTION OF KEYBOARD DATA VIA MIDI: Polyphonic note-on and note-off with velocity can be transmitted (Note numbers 53-96). The Voyager responds to note-on (0-127) messages monophonically user definable note priority. The Voyager's Front Panel Controls respond to MIDI CCs.
    UPLOADING AND DOWNLOADING OF BANKS OF SETTINGS VIA MIDI: Program banks may be uploaded and downloaded via MIDI System Exclusive. Individual Presets may also be transferred by this method.
    UPDATING OF OPERATING SOFTWARE VIA MIDI: The instrument’s operating software can be updated via MIDI files (.syx Sysex files) which will be available on Moog Music’s web site in the Support Docs and Software section.

    Player Control Interfaces
    44 KEY KEYBOARD produces Pitch, Gate, Velocity, and Pressure control outputs.
    WHEELS: Pitch Wheel bends pitch over a range of up to +/-1 octave. Mod wheel controls the gain of the MOD WHEEL bus.
    GLIDE and RELEASE switches provide real-time on-off control over the glide and release functions.
    THREE DIMENSIONALTOUCH SURFACE provides three continuously-variable control signals which are derived from the up-down and left-right position of the player’s finger, and the amount of area with which the player makes contact to the surface.

    Rear Jack Panel
    Listed below:

    Pedal/Control Inputs
    These ten jacks have red nuts. They accept either expression pedals or control voltages, and control the following performance parameters:

    VOLUME
    PAN
    FILTER CUTOFF
    WAVEFORM
    PITCH
    MOD2 - EXTERNAL MODULATION SOURCE
    MOD1 - EXTERNAL CONTROL OF THE PEDAL MOD. BUS
    SAMPLE AND HOLD IN
    ENVELOPES RATE
    LFO RATE

    Accessory Port
    The Accessory port delivers the Control Voltage and gat signals generated inside the Voyager to a standard DB-25 connector. This is designed for use with the VX-351 Voyager CV Expander.

    LFO Sync
    A footswitch or gate applied to this input will reset the LFO waveform to the beginning of its cycle.

    Envelopes Gate
    A footswitch or gate applied to this input will start the envelopes.

    Sample and Hold Gate
    A gate signal applied to this jack will trigger a new sample and hold voltage.


    Release
    foot switch plugged into this jack will have the same effect as depressing the corresponding switch on the left-hand controller panel.


    Mixer Ext In
    Plug any instrument-level or line-level audio signal in this jack to combine with the oscillator and noise signals prior to filtering.


    Mix Out/Filter Audio In
    The output of the audio mixer appears here, before being fed to the filter. Normally, the Mixer output is bridged directly to the filter input. If you plug something into this jack, that breaks the normal connection. Using a standard insert cable (1/4" TRS plug to two 1/4" TS plugs) this jack can be used as an effects loop for external processing of the Mix before it goes to the filter.


    Left(Mono) and Right Audio Outputs
    The audio outputs are 1/4 " unbalanced outputs. The two output channels are summed to mono when only the left(mono) output is used.


    12V Lamp
    The BNC Lamp Socket provides 12VDC for a gooseneck lamp.


    MIDI In, Thru, and Out Connectors
    Standard MIDI connectors for interfacing with other MIDI gear.

    Power Input
    The Voyager's power input accepts a standard power cable. The Voyager works from 100-250 VAC, 50-60 Hz.


    Dimensions and Weight
    30 1/2" Wide X 18" Deep X 3" High (when flat) 12" High when fully upright.

    40 lbs.

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Minimoog Voyager Performer Edition with Blue Wheel
 
5.0

(based on 4 reviews)

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  • 5 Stars

     

    (4)

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Reviewed by 4 customers

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(9 of 9 customers found this review helpful)

 
5.0

Best Analog Experience Ever

By goodnoize51

from Santa Fe, NM

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Comments about Minimoog Voyager Performer Edition with Blue Wheel:

I've been around for quite a while to see many developments in musical instrument technology over the past 30 years. In the 70's guitar players had amps and effect pedals. In the 80's digital rack unit processors came out. And in the 90's multitrack recording went to digital harddrive machines, and in the 2000's computer recording software was developed. True, it is nice to play and make music with new technologies, but a certain appreciation and a certain satisfaction can be experienced when making music with older instruments, and earlier electronic music processing devices. This can certainly be said of the Moog Voyager. It came from the design of the Minimoog Model D developed in the early 70's, and today it is still made with the same fine craftsmanship and analog circuitry as the 70's model was! And so. I wanted to see what all the fuss about this timeless synth was about. The Moog Voyager is to me, (hands down) the best analog synth ever. I am not going to go into the technical abilities and features of this amazing synth because there are too many to list. But I will say that this synth is housed in a beautiful handmade wood cabinet, that your fingers will dance up and down when playing the keys, which are semi-weighted and responsive, and that the control panel is like none other! It has big sturdy old style science fair knobs and rocker switches, there are no shift keys, the knobs and switches do only one specified function; and there are no endless dials, or data encoders on this synth. The only thing digital about the voyager is the lcd screen and five switches underneath, but all they are used for is to store patch banks (six patch banks, each with 128 presets) and to save user edits. And the sounds this synth makes cannot be duplicated by anything anywhere. I call it the "squiggly sound". It is moog's characteristic trademark tone of three ocillators playing together (one with a bass, one with a midrange and one with a treble frequency) while the filter modulates. Basses, leads, strings, wah wah, and science fiction movie effects can all be done with the Moog Voyager, and the touch pad can make all these sounds even more interesting. I was a bit sad when I found out that this synth could only play one note at a time (monophonic) and could not play chords, but it was developed strictly as a lead solo synthesizer. When Bob Moog was designing this synth, his concept was to give one single note the best sound and tone shaping capabilities possible. If this would have been done over a polyphonic range, the routing of the ocillators, modulation sources, and filters on the Voyager would not have been possible. All the famous greats in music have this synth. This synth has no onboard digital effects, arpeggiator, sequencer, or usb output. It doesn't need them! It is a genuine handmade analog circuitry synth. If you sit down and start to play the Voyager, you may not be able to quit. There is a certain magic and attraction to this synth which will keep you playing it for hours! The look and feel of this synth is too amazing. Moog's technical support is exceptional, too. Geddy Lee, Gary Numann, Joe Walsh, Jordan Rudis, Sting, and many famous musicians have a Voyager. It has been used on many famous albums more than any other synth in the world. Roger Linn of the Cure recently recorded an entire album using only the Voyager synth. It is titled "The Truth In Me", I read this in Keyboard Magazine. You should have a Moog Voyager of your own too. It costs a little more, but it will be well worth it!

(2 of 2 customers found this review helpful)

 
5.0

Review

By RainboWalrus

from New Jersey

Comments about Minimoog Voyager Performer Edition with Blue Wheel:

This thing is so amazing. I was saving up for a Les Paul, but not anymore. Every single musician NEEDS this synthesizer. Its so amazing for any style.

(4 of 6 customers found this review helpful)

 
5.0

Geddy

By Electronic Symphonic

from Philadelphia, PA

Comments about Minimoog Voyager Performer Edition with Blue Wheel:

Geddy Lee uses it... what more do you want? Having used it in the past (though not owning it) I can say that anything I wanted it to do, it did, and then some!

(1 of 3 customers found this review helpful)

 
5.0

The most amazing piece of equipment.

By Red Henchman

from Lake Forest, IL

Comments about Minimoog Voyager Performer Edition with Blue Wheel:

Amazing sounds that will blow your mind and spark your creativity.

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