Moog Minitaur


Part I: Review

The Moog Minitaur is one of the very few modern synthesizers that truly gets it. Unlike the gutless Arturia Minibrute or the slew of other modern synthesizers that just don't sound as ballsy and "in your face" as the revered synthesizers of days past, this little black box will knock you on your ass.

This synthesizer is the sound people are talking about when they say "Moog bass" or "that bass sound that changed my life that one time I was rolling my face off at the club." This box is Rush's Taurus sound, it's the bass sound from "Thiller," it's like 50% of the funk in Parlament records (okay, maybe not). The way the VCOs beat against each other is heavenly, the filter resonance will make hair stand on end, and the envelopes are so punchy that they gave me a black eye. What more do you want? Everything about this synthesizer's tone is vintage, warm, musical, blah blah blah. Stop reading this damn review and buy one already.

Yes, the software editor and "page two" functions are a bit buggy. However, one doesn't buy the Minitaur because they want to use different glide curves from the editor or some other shit no one cares about - one buys the Minitaur because they want to move enough air to blow up ladies' skirts or trigger the Yellowstone Caldera's world-ending eruption.

Part II: Audio Samples

Some audio samples for your listening consideration are provided below. These files show off elements of the Minitaur that I happen to like best. These recordings were made by plugging the Minitaur's output directly to a preamp on a KMI K-Mix, feeding REAPER via USB. A touch of reverb (hitting approximately -20dB peak) was added to each recording to provide a more realistic example of what the synthesizer might sound like in a real song, but no EQ or compression was used at all.

EBM Bassline 01:

New Wave Bassline 01:

EBM Bassline 02:

Berlin School 01 (delay provided by the Alesis MidiVerb II):