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Moog Voyager Performance Edition
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Since its introduction forty years ago, musicians have used the Minimoog, the world's first portable synthesizer to express their creative muse in li...Read More
Since its introduction forty years ago, musicians have used the Minimoog, the world's first portable synthesizer to express their creative muse in live performance and recordings. The Minimoog Voyager, designed by Bob Moog himself and released in 2002, is an updated version of the original Minimoog with 21st century advantages to carry the archetype into the future. The Voyager is the definitive American synthesizer, a lovingly hand-crafted, monophonic, monotimbral high performance instrument with enormous sonic range and possibilities.
The Minimoog Voyager Performer Edition is a handcrafted, all-analog performance synthesizer that incorporates the features and incredible sonic range of the original Minimoog, while adding a vast number of new functional improvements to its design, including a three dimensional touch surface, MIDI IN and MIDI OUT implementation, extensive patching facilities, and a large number of new panel features. And just like the original Minimoog, the Minimoog Voyager was designed and brought to life by synthesizer pioneer, Bob Moog.
The signal path starts with a bank of three wide-range, high-stability voltage controlled oscillators, one noise source, and one audio preamplifier for externally-applied audio signals. The sound modifiers are two Moog filters and one stereo VCA (Voltage Controlled Amplifier). Modulation sources are two ADSR (Attack Decay Sustain Release) envelope generators and one multiwaveform LFO (Low Frequency Oscillator).Control devices include a 44-key keyboard with velocity and afterpressure outputs, pitch bend and modulation wheels, a three dimensional touch surface, and many control/pedal input jacks.
The Minimoog Voyager Performer Edition is the traditional Minimoog Voyager. It is housed in a rugged steel chassis that is secured in a stunning, custom finished ash cabinet. It is fitted with a top of the line, 44-key Fatar keybed and comes stock with cool grey pitch/mod wheels.
Slimmed down version of an iconic synthesizer.
- 100% analog signal path
- Three ultra-stable oscillators
- Two legendary Moog ladder filters
- Two 4-stage analog envelope generators
- Two flexible modulation busses
- Assignable X/Y/A touch control interface
- Over 800 onboard presets
- CV/Gate expansion port
Pure analog performance, order the Minimoog Voyager Performer Edition today!
Voyager Performance Edition
- Oscillators Module
- Three wide-range, high stability VCO's (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 two 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 or 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 Busses 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.
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- Easy to Use
- Responsive / Good Action
- Electronic Music
Comments about Moog Voyager Performance Edition:
To make a thorough review, I should wait until I have played and tested this Minimoog for a year.
That being said, I will offer my initial impressions. I did a great deal of research, prior to deciding to purchase this Voyager. I was torn between the Voyager and the Sub 37. Both had appealing aspects, based on performance, features and of course, price point.
Going big isn't always better. But I landed on the Voyager, due to the extra oscillator. The Sub 37 is attractive and for the price, a great deal, in my opinion. I'm always trying to get the best sound and that is my primary motivation.
Before I got the Voyager, I had some ideas of what and how I would use it. I initially thought that I would plop it above my electric piano and have an Uber-cool, 70's looking setup, where I could play some RTF/Weather Report type changes and just have fun. Secondarily, I thought how cool it would look at a gig and I imagined all the admiration I would receive from the patron musicians.
Wrong, wrong and wrong again.
First, I will never take this to gig. NEVER. It's way too beautiful. Things happen, when you're moving gear and I want this board to remain pristine. I can cover any part I need live, with my other gear, this one stays in the studio. In fact, I'm going to re-arrange my home studio, a bit, to showcase it.
Secondly, this keyboard has much more sonic possibilities than I imagined.
I wasn't prepared for how much this would impact me. It is exponentially more musical and inspiring, than I ever imagined. Play it for an extended period and you'll be filled with ideas. Grinning ear to ear.
Let me repeat that. This keyboard blew me away. I thought I knew what to expect, I thought I knew the how when and why. I was wrong, it so much more.
I wish I hadn't waited so long. But the wait is over and now the fun begins. I feel energized.
It's fat. It's Funky. It's greasy. It's filthy. It's a Moog. There is simply no equal.