Bo Deadly
Well-known member
Post your Model D or Minimoog patches here.
Boog Patches
- Thread starter Bo Deadly
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Bo Deadly
Well-known member
Logical Bass
Bo Deadly
Well-known member
Snare Drum
Very realistic. FILTER MODE HI is the key. Small adjustments that have a large impact on sound are EXT IN VOLUME (should be threshold of OVERLOAD) and LOUDNESS CONTOUR DECAY (~100ms). Adjusting CUTOFF FREQUENCY makes other drum sounds and a good wood block.
Very realistic. FILTER MODE HI is the key. Small adjustments that have a large impact on sound are EXT IN VOLUME (should be threshold of OVERLOAD) and LOUDNESS CONTOUR DECAY (~100ms). Adjusting CUTOFF FREQUENCY makes other drum sounds and a good wood block.
Ricardus
WILL SOLDER FOR FOOD
You should link to a soundcloud audio sample or something for us folks who don't play keys/don't have a minimoog, and would LOVE to hear them!
Bo Deadly
Well-known member
Nah. Too much work. But being monophonic, you don't have to be much of a key player to use a Boog. Knowing a little about modes is more than enough to do some bass lines or pads.
Amazing device though. Mint units regularly sell on Ebay for ~220 US. Why? I have no idea. I think the kids just don't understand the nuances of the various modulation paths. It's not just for big saws ya know.
Amazing device though. Mint units regularly sell on Ebay for ~220 US. Why? I have no idea. I think the kids just don't understand the nuances of the various modulation paths. It's not just for big saws ya know.
Bo Deadly
Well-known member
Piano
Surprisingly convincing for an octave around the middle E. Carefully tune OSC3 as close to unison as possible. Then it's just a 4' triangle with KEYBOARD CONTROL 1, some OSC3 FILTER MODULATION and DECAY-only contours. FILTER controls are critical to nailing it. Decay switches are damper pedal.
Surprisingly convincing for an octave around the middle E. Carefully tune OSC3 as close to unison as possible. Then it's just a 4' triangle with KEYBOARD CONTROL 1, some OSC3 FILTER MODULATION and DECAY-only contours. FILTER controls are critical to nailing it. Decay switches are damper pedal.
Bo Deadly
Well-known member
Rhodes Piano
This one is difficult. The Rhodes has such beautiful bell-like tones, it's not really possible to get even close to that with a few triangles. The Rhodes also has very different 3rd harmonic and string growl on the lower keys. But this is still worth posting because it does get about as close to a Rhodes as I think you can get on an ōg and it's a good foundation for more natural sounding electric piano patches.
The DECAY-only contours, KEYBOARD CONTROL 2 and filter settings are pretty standard for an electric piano. There's no FILTER modulation. The 3 oscillators compose the characteristic 1st, 2nd and 3rd harmonics respectively. The third harmonic is a little nicer switching to 4' and then tuning down rather than up. Switch off the 3rd for higher keys. The vibrato on the Rhodes has a tendency to flop about. Finally a chance to use square LFO! Back off both MOD MIX and MOD DEPTH a lot to limit the swing and intensity.
This one is difficult. The Rhodes has such beautiful bell-like tones, it's not really possible to get even close to that with a few triangles. The Rhodes also has very different 3rd harmonic and string growl on the lower keys. But this is still worth posting because it does get about as close to a Rhodes as I think you can get on an ōg and it's a good foundation for more natural sounding electric piano patches.
The DECAY-only contours, KEYBOARD CONTROL 2 and filter settings are pretty standard for an electric piano. There's no FILTER modulation. The 3 oscillators compose the characteristic 1st, 2nd and 3rd harmonics respectively. The third harmonic is a little nicer switching to 4' and then tuning down rather than up. Switch off the 3rd for higher keys. The vibrato on the Rhodes has a tendency to flop about. Finally a chance to use square LFO! Back off both MOD MIX and MOD DEPTH a lot to limit the swing and intensity.
Bo Deadly
Well-known member
Hammond Organ
This sounds more like a merry-go-round than a real Hammond but technically it does have the right harmonics for a Hammond. In this patch, the oscillators make the sub-fundamental, fundamental, and sub-3rd harmonics respectively and correspond to the first 3 drawbars of the Hammond. But you could do any 3 of the 9 Hammond drawbars (fundamental, 3rd and 6th has good organ character). Tuning is important but can be difficult when tuning down (to get to sub-3rd, 3rd, 5th and 6th). Even if you think it's right, switching on FILTER MODULATION can reveal beating. Adjust EXT IN VOLUME to get the OVERLOAD indicator to blink and then adjust the oscillators until the blinking slows down as much as possible. Then engage both KEYBOARD CONTROL 1 and 2, turn off all CONTOURs except LOUDNESS SUSTAIN to 10 and adjust the CUTOFF FREQUENCY so that there is no distortion (tonewheel organs are all sine waves mixed together so a triangle plus low pass makes a pretty great sine). The mixer gets overloaded easily with this patch (even though the OVERLOAD indicator does not turn on you can hear it distort badly) so keep all the levels way down. Play around with that until you have the basic organ sound. It can sound pretty rich if tuned well. To add the characteristic key-click of the Hammond, engage the EXT IN VOLUME switch and adjust it until it just barely stops making a tom drum sound. Adding some AMOUNT OF CONTOUR can really boost the click (even though all FILTER CONTOUR controls are off, it still makes a very audible pop in this case). For a more intense *oog sound, add some OSC3 FILTER MODULATION. For vibrato, you can turn on OSCILLATOR MODULATION and tweak MOD MIX slightly (but this will change the pitch and I think it thins out the sound a little).
Note: Some of the knobs can be hard to see because of reflections. For example the GLIDE control is completely off. Interpolate as necessary.
This sounds more like a merry-go-round than a real Hammond but technically it does have the right harmonics for a Hammond. In this patch, the oscillators make the sub-fundamental, fundamental, and sub-3rd harmonics respectively and correspond to the first 3 drawbars of the Hammond. But you could do any 3 of the 9 Hammond drawbars (fundamental, 3rd and 6th has good organ character). Tuning is important but can be difficult when tuning down (to get to sub-3rd, 3rd, 5th and 6th). Even if you think it's right, switching on FILTER MODULATION can reveal beating. Adjust EXT IN VOLUME to get the OVERLOAD indicator to blink and then adjust the oscillators until the blinking slows down as much as possible. Then engage both KEYBOARD CONTROL 1 and 2, turn off all CONTOURs except LOUDNESS SUSTAIN to 10 and adjust the CUTOFF FREQUENCY so that there is no distortion (tonewheel organs are all sine waves mixed together so a triangle plus low pass makes a pretty great sine). The mixer gets overloaded easily with this patch (even though the OVERLOAD indicator does not turn on you can hear it distort badly) so keep all the levels way down. Play around with that until you have the basic organ sound. It can sound pretty rich if tuned well. To add the characteristic key-click of the Hammond, engage the EXT IN VOLUME switch and adjust it until it just barely stops making a tom drum sound. Adding some AMOUNT OF CONTOUR can really boost the click (even though all FILTER CONTOUR controls are off, it still makes a very audible pop in this case). For a more intense *oog sound, add some OSC3 FILTER MODULATION. For vibrato, you can turn on OSCILLATOR MODULATION and tweak MOD MIX slightly (but this will change the pitch and I think it thins out the sound a little).
Note: Some of the knobs can be hard to see because of reflections. For example the GLIDE control is completely off. Interpolate as necessary.
