All songs created using Minitaur Analog Bass Synthesizer. 

Minitaur is a compact and powerful analog bass synthesizer that features a classic one knob per function design. It packs legendary analog Moog bass into a package designed to fit seamlessly into today's performance and production environments. 

Minitaur Demo Songs & Sound Samples

Moog

Moog music, Inc. Goodness

Patches performed live in one take.

Due to the expansive frequency content and harmonic complexity of the Moog Modular Synthesizer, studio monitors or high end headphones are required for the proper listening experience.

Suzanne Ciani Take 2

Holy Ghost Raw Sounds - Unmixed

The bulk of this piece comes from two loops made up from RME melodies played  into a Line 6 Echo Pro, mixed in and out from each other. The bass notes also come from RME. The slow-motion drum derives from mangled Dumbec loop, and the ending cloud comes from layers of PVC flute.

3.Not Lost But Hiding

Recently, Moog had the honor of sitting down with Nine Inch Nails’  Trent Reznor, the genre-defining music innovator, master synthesist and Academy Award winning composer. In the interview, Reznor recounts his intimate relationship with the Minimoog Voyager, which he feels “is the archetype of what a synthesizer is and should be.” Through personal stories, Reznor reveals his decades long history with the instrument and how it has shaped the way he views and creates music. 

The video is set to an original score by British electronic music producer, The Haxan Cloak, co-producer of Bjork’s Vulnicura.. Befitting the occasion, the artist used a Minimoog Voyager and a prototype Mother-32, Moog’s newest synthesizer, to create the score. 

"I made the track in a unique way that I never have before.

I have had modular synths for a long time, and consistently produced music with them, but purposefully never had a ‘keyboard-based’ setup because of not wanting to treat them in such a ‘traditional’ manner (purely for reasons of self-limitation).

Having the Voyager allowed me to utilize a more responsive approach of seeing the picture and essentially ‘playing’ along to it. I then took those results and used them to modulate other parameters and processed them further. The Mother 32 was used extensively as a sound source alongside also.

The Voyager is a synth I have always been fascinated by, but unfortunately never had the opportunity to own. I knew people that had them, but my first physical encounter was actually on the recent Bjork tour.  I used it for a lot for recreating basslines from her back catalogue, which it did effortlessly.
It’s such an incredibly versatile synth and has already become a uniquely indispensable backbone of my studio." - The Haxan Cloak

Archetype Of A Synthesizer - The Haxan Cloak

The Model 15 App is available on the App store here: https://itunes.apple.com/us/app/model-15/id1041465860

The Moog Model 15 App is an iOS version of the iconic 1970’s modular synthesizer. It is the first Moog modular synthesizer and synthesis educational tool created exclusively for iPad, iPhone and iPod touch.

Designed to evoke the joyous experimentation and sonic bliss of it’s predecessor’s vintage hardware, the Moog Model 15 App meticulously recreates the look, feel and sound of it’s highly expressive analog namesake. From the legendary Moog 921-series oscillators and 904A Low Pass Filter, to the coveted 907 Fixed Filter Bank; each module’s character, harmonic complexity and mystique have been painstakingly preserved.

Textural Points - Richard Devine

Symbiotic Equations - Suzanne Ciani

Utilizing 8x Mother-32 Synthesizers, Eila and Richard Devine arrange a warm composition dedicated to the mothers in their lives.

Watch the video here: https://www.youtube.com/watch?v=koflHAPX1yE&lc=z12gep5yqoj1c51k123ry55zzlyiut55404

Little Gift | Eila & Richard Devine

Techno-rhythmic emancipator Russell E.L. Butler adopted four Mother-32s and one week later, “Sirens From a Distance” was born.

Watch the video here: https://www.youtube.com/watch?v=slY-F8VJrg0

Sirens From a Distance | Russell E.L. Butler

Bobby Krlic approaches music and composition from a place of primal perception. Performing under the name "The Haxan Cloak", Krlic crafts haunting soundscapes by harnessing the power of shifting air molecules into brooding, undulating waveshapes.

Shortly after co-producing Goldfrapp’s "Silver Eye", the British synth mystic takes to his Los Angeles home studio to weave new aural patterns into a track called “Transposition #4”.

Watch the video here: https://www.youtube.com/watch?v=i4NAAilCD64

Transposition #4 | The Haxan Cloak

Moog Synthesizer IIIc (Or: Music For Riding Dragons) performed live in one take with no external effects. 

Watch the video here: https://www.youtube.com/watch?v=HFubiCmmEXc

Performance by Christopher Geissler (Moog Music Production Manager)

Moog Synthesizer IIIc (Or: Music For Riding Dragons)

This song was created using exclusively Minitaur, it demonstrates its more aggressive sonic abilities. For the snare, a Moog CP-251 Noise output was routed to the audio input of Minitaur for processing. For the kick the resonance was cranked with oscillators 1 and 2  reinforcing the bottom end.

Electro Grind

This textural song was created using exclusively Minitaur. It demonstrates Minitaurs sonic flexibility.  

Ur-mi-ni-ta-ru-ah

This Acid jam features Minitaur as the main bass synth; drums are a Roland TR-505 and Alesis SR-16, both circuit-bent.  The noise drone that comes in at about 00:20 is a Minimoog Voyager.

Minitaur Acid Jam

MegaMinitar is a short demo using just two drum loops and the
Minitaur. It features 6 layers of Minitaur no effects. This song uses a simple LFO
rate modulated bassline line mixed with some harmonic higher note
lead lines on top for a fun little dubstep style demo.  Mixing up to
4 layers for the baselin;. one sub like tone, then one wavy wobbly
tone, then a solid harmonic square wave line as the final layer.

MegaMinitaur (Richard Devine)

MoogDub2 - Slow heavy groover using just the Minitaur and two drum
loops. For the low baseline a dubby wobble baseline was sequenced and
then recorded with the LFO rate modulating the VCF LFO amt. The rate changes were recorded in logic and then the automation breakpoints were edited to
work on time with the beat. The higher synth tone are just one lead
line washed in reverb then panned left to right for another added
texture.

Ur-mi-ni-ta-ru-ah

moog music