This modern analog synthesizer takes the original Minimoog to the next level
By Craig Anderton
The Minimoog D was the analog synthesizer that put synthesis on the map. Before then, “Moog synthesizer” meant a giant, expensive modular system that looked like a cross between a telephone switching station and an airplane cockpit. Although some people used them live (perhaps most notably Keith Emerson), modular systems were big, bulky, and finicky.
One reason for the Minimoog’s success was that it provided a “greatest hits” of the Moog Modular. I have a restored Minimoog, and even convinced Bob to autograph it once when he was visiting. After he died, I created a Minimoog soundset for Cakewalk’s Rapture as a tribute to both the Minimoog and Bob, who influenced our musical world far more than most people realize.
But although I did a tribute, Moog Music has done a TRIBUTE. The 40th Anniversary Minimoog Voyager XL (click on any image to enlarge) combines the best of the Minimoog (including an all-analog sound engine) with a flexible patching system reminiscent of the Moog Modular, then folds in more of everything—more control voltage inputs, more control (keyboard velocity and aftertouch, ribbon controller, and X-Y+area touch controller), more filtering options, and more modules. This is “virtual analog” only in the sense that it’s virtually the only analog monosynth you’ll ever need. Yes, it’s expensive—definitely too rich for my blood!—but the price reflects the reality of an analog monosynth that pulls out all the stops.
MEET THE VOYAGER
The VXL is substantial and heavy, boasting a 61-note keyboard (with an excellent keybed) housed in a wood (yes, wood!) case. It looks freakishly like a Minimoog that went through an Enlarge-O-Ray, as it has the same style of knobs, blue and red rocker switches, and panel graphics. The right half (except for the touch controller, LCD, and preset/edit buttons) is pretty much a Minimoog—three oscillators, mixer, dual ADSR envelopes—with a few enhancements, like dual filters (whose frequencies can be offset for cool stereo effects), and FM as well as sync for the oscillators.
The left half is where it gets really interesting. There are two modulation buses that let you choose source, destination, shaping, and amount for modulation signals passed through the mod wheel or pedal, and the LFO has multiple sync options. Moving further left, there’s a comprehensive patch bay (the VXL ships with six 
patch cords) featuring multiple control voltage ins and outs, ribbon controller CV and gate out, multiples (i.e., paralleled jacks), sophisticated dual attenuators, four-input mixer, lag processor, and a second LFO. The back tilts up, just like the Minimoog, for more ergonomic access to the knobs, switches, and patch point.
Moving to the rear you’ll find stereo outs, an external input jack, effects loop located between the mixer out and filter in, IEC power jack for the “global” (100-250V, 50/60Hz) power supply, and 5-pin DIN MIDI in, out, and thru. There are also two jacks for 12V lamps. As expected, there’s no USB or similar computer interface jack, but I mention that only for those raised on digital synths, who assume this kind of feature.
THE SOUND
After a brief warm-up period (remember, it’s analog!), plugging in headphones and running through the presets was a joy. I don’t have a problem with digital synths or virtual analog ones; they have their own character, and that’s fine. But if you’ve never had the chance to hear a truly, 100% analog audio engine, the VXL is what it’s all about—the liquid, smooth, lush, velvety character that sounds like someone took a virtual analog synth waveform, sanded it with emery cloth, then buffed it to a shine. Take a listen, and you’ll understand why for some people the only “real” synthesis is analog synthesis.
THE EXTRAS
The seven banks of 128 user-editable presets provide a generous complement of sounds, and the keyboard offers both velocity and aftertouch. As a MIDI controller for external gear the keyboard is polyphonic for notes, although velocity and aftertouch remain monophonic. However, pretty much all the controls generate MIDI continuous controller messages, so you can do tricks like control an external sound module and if it has MIDI learn, change parameters on it that correspond to parameters on the XL. (Note that the touch controller and ribbon controller can’t transmit MIDI data, but offer control voltage and gate outputs.) You can do tempo sync for the LFO, and Moog sells librarian software for patch management. There are also a ton of little extras—too many to list here, but you can download the manual from www.moogmusic.com.
WRAPPING UP
This is the Minimoog of the Gods. It’s not cheap, but neither is the sound, design, construction, or feature set. Whereas many contemporary keyboards feel more like consumer electronics that do music, Voyager XL is 
every bit as much a musical instrument as an archtop Les Paul or, well, vintage Minimoog. I was fortunate to know Bob, and I’d bet he would have totally dug this instrument. If only he’d lived a little longer, he might even have designed it . . .
We all miss Bob, but we don’t have to miss those gorgeous sounds he created, without his even fully realizing how wonderful they were—and are. The Minimoog Voyager XL is indeed a fitting tribute.
Craig Anderton is Editor in Chief of Harmony Central and Executive Editor of Electronic Musician magazine. He has played on, mixed, or produced over 20 major label releases (as well as mastered over a hundred tracks for various musicians), and written over a thousand articles for magazines like Guitar Player, Keyboard, Sound on Sound (UK), and Sound + Recording (Germany). He has also lectured on technology and the arts in 38 states, 10 countries, and three languages.