The Studio Electronics MIDImoog represents an ambitious resurrection of the legendary Minimoog synthesizer, reimagining the classic instrument for the modern era. Released in 1989, this rackmount unit takes the authentic electronics from original Minimoog Model D circuit boards and integrates them with comprehensive MIDI implementation, creating a bridge between vintage analog warmth and contemporary studio workflow.

At its core, the MIDImoog houses genuine Minimoog circuitry, maintaining absolute fidelity to the original design, components, and sound. Studio Electronics — already proven with their ATC-1 Tone Chameleon — approached this project with reverence for the source material, ensuring that the iconic Moog sound remained untouched. Blind listening tests confirmed that identical panel settings on both the MIDImoog and an original Minimoog produced virtually identical sounds, validating the authentic recreation.

The synthesis architecture features three powerful oscillators driving this monophonic analog beast, capable of producing the fat, warm synth basses, searing leads, quirky blip-bleeps, and sweeping sounds that made the Minimoog legendary. The classic 24dB/octave lowpass Moog filter remains the centerpiece of the sound design, delivering the same powerful tonal sculpting that defined countless recordings. One oscillator can function either in the audio range or as an LFO with an unusually wide range of modulation waveshapes, while a switchable white/pink noise source adds textural possibilities.

Studio Electronics made strategic enhancements beyond simple MIDI retrofitting. A dedicated LFO was added, solving a longstanding dilemma for Minimoog players who previously had to choose between using all three oscillators for sonic power or sacrificing one for modulation. Now both options exist simultaneously, and the dedicated LFO can even be mixed with oscillator three's six waveforms to create complex modulation shapes — though this came at the cost of noise modulation capability.

The physical design required careful consideration. Fitting the Minimoog's expansive control layout into a 4U rack space meant reducing the available width by eight inches while actually adding more controls. The result is a fairly crowded but perfectly useable front panel. The familiar layout remains recognizable, with smaller knobs and miniature toggle switches replacing the distinctive blue and orange rocker switches of the original. The panel design makes the instrument accessible to veteran Minimoogers while remaining reasonably intuitive for newcomers.

New performance features significantly expand the instrument's expressive capabilities. Seven toggle switches provide control over single/multiple triggering, dynamic velocity control of both the VCA and VCF, modulation of the filter, aftertouch control of the filter, oscillator octave selection, and oscillator syncing. Five additional rotary controls govern pitchbend limits, dynamic filter cutoff control, MIDI channel selection, oscillator two control via the filter transient generator, and the dedicated LFO frequency. A green MIDI activity indicator provides visual feedback.

The implementation of oscillator syncing deserves special mention for its creative approach. When engaged, oscillator two's pitch falls under control of the filter transient generator, with an unmarked knob determining the extent of the effect. Even with syncing switched off, oscillator two's pitch remains dependent on the filter envelope, opening up entirely new sonic families beyond the original Minimoog's capabilities.

The rear panel maintains the Minimoog's essential connectivity — high and low impedance audio outputs, audio input, and calibration pots — while replacing the pre-MIDI control voltage sockets with standard MIDI In, Out, and Thru connections. This allows seamless integration with modern MIDI controllers and sequencers, though early units experienced compatibility issues with certain Roland gear (addressed in later firmware version 3.2).

Notable artists and producers who embraced the MIDImoog include Fatboy Slim, Depeche Mode, Nitzer Ebb, Jean-Michel Jarre, and Glen Ballard (producer for Alanis Morissette), testament to its appeal in professional music production across diverse genres.

The instrument does carry limitations inherent to its authentic analog design. The use of original analog potentiometers and switch controllers made retrofitting patch memory technically unfeasible without major electronic redesign. Like the original Minimoogs, the MIDImoog offers no patch storage capability, requiring manual recreation of sounds. Studio Electronics also made the controversial decision to ship units without a manual, expressing confidence in the simplicity and clarity of the Minimoog's panel layout—a choice that drew criticism given the additional controls and modified features.

Despite commanding prices significantly higher than the original Minimoog's release price, the MIDImoog found its market among top producers, professional studios, and gigging musicians who valued both its authentic sound and modern functionality. The combination of rackmountability, MIDI implementation, and genuine Minimoog electronics in a compact form factor made it worth the investment for those seeking the famous warm Moog sounds without the limitations of pre-MIDI gear. These units have become rare and typically sell for several thousand dollars in the used market.

Technical Specifications

Architecture

• Type: Monophonic analog synthesizer
• Form Factor: 4U rackmount
• Circuit Design: 100% analog using genuine Minimoog Model D circuit boards

Sound Characteristics

• Fat and warm synth basses
• Powerful leads
• Blip-bleeps and sweeping sounds
• Identical sound to original Minimoog (verified by blind listening tests)
• Enhanced expressiveness through MIDI implementation

Oscillators

• Number: 3 voltage-controlled oscillators
• Oscillator 1 & 2: Audio range
• Oscillator 3: Dual function - audio range or LFO with wide range of modulation waveshapes
• Waveforms (Osc 3): 6 selectable waveforms
• Octave Range: Original Minimoog register plus 2 octaves up and 1 octave down (Oct HLM switch)
• Oscillator Sync: Oscillator 2 can be synced to Oscillator 1
• Sync Modulation: Oscillator 2 pitch controllable by filter transient generator when synced

LFO

• Dedicated LFO: Yes (newly added, separate from oscillator 3)
• Waveforms: Sine wave and triangle wave
• Modulation Mix: Can be mixed with oscillator 3 waveforms for complex modulation shapes
• Rate Control: Dedicated frequency control knob

Filter

• Type: Classic Moog 24dB/octave lowpass filter
• Cutoff Control: Manual knob control
• Resonance: Yes
• Envelope Control: Filter transient generator (envelope)
• Modulation Sources: Oscillator 3, dedicated LFO, aftertouch
• Dynamic Control: MIDI velocity control of cutoff frequency (Dyn VCF switch)
• Aftertouch Control: Filter cutoff frequency controllable by aftertouch (Aft VCF switch)

Amplifier

• VCA Type: Voltage-controlled amplifier
• Envelope: Dedicated contour controls
• Dynamic Control: MIDI velocity control (Dyn VCA switch)

Noise Generator

• Type: White/Pink noise switchable
• Routing: Audio or modulation source
• Note: Noise modulation removed (replaced by dedicated LFO in mod mix)

Additional Sound Sources

• Audio Input: External audio processing through filter

Envelopes

• Filter Envelope: Attack, Decay, Sustain (transient generator)
• Amplifier Envelope: Attack, Decay, Sustain
• Decay Defeat: Switch relocated from keyboard area to oscillator control section

Performance Controls

• Glide/Portamento: Rotary pot control (defeat switch removed)
• Pitchbend: With limit control
• Aftertouch: Filter cutoff and modulation control
• Triggering Modes: Single and multiple triggering (Mult Trig switch)

MIDI Implementation

• MIDI: In, Out, Thru
• MIDI Channels: 1-16 selectable via rotary switch
• Velocity Sensitivity: VCA and VCF control
• Aftertouch: Filter cutoff and modulation control
• Activity Indicator: Green LED
• Firmware: Version 3.2 released to address Roland MIDI compatibility issues
• Note: No MIDI/CV converter required - MIDI integrated at circuit level

Memory & Programmability

• Patch Memory: None (not programmable)
• Reason: Analog potentiometers and switches make retrofitting patch memory technically unfeasible

Connectivity (Rear Panel)

• Audio Outputs: Hi and Lo impedance outputs
• Audio Input: 1 input for external audio processing
• MIDI: In, Out, Thru
• Calibration: Calibration potentiometers

Control Interface

• Knobs: Smaller than original Minimoog
• Switches: Miniature toggle switches (replaced original blue/orange rocker switches)
• Switch Position: Up = On, Down = Off
• Toggle Switches: 7 new function switches
• Additional Knobs: 5 new rotary controls
• Panel Layout: Based on original Minimoog design (adapted for reduced width)
• Unmarked Controls: 1 knob (oscillator 2 pitch control amount) carries no explanation

Front Panel Controls

New Switches:

• Dyn VCA (velocity control of amplifier)
• Dyn VCF (velocity control of filter)
• Mod VCF (aftertouch modulation of filter)
• Aft VCF (aftertouch control of filter cutoff)
• Osc 2 Sync (oscillator syncing)
• Mult Trig (multiple triggering)
• Oct HLM (oscillator octave range)

New Rotary Controls:

• Pitchbend limit
• Dynamic filter cutoff control (DVCF)
• MIDI channel selection (1-16)
• Oscillator 2 control by filter envelope (unmarked)
• Dedicated LFO frequency

Physical Specifications

• Height: 4U (7 inches / 177.8mm)
• Width: 19 inches (482.6mm) - standard rack width
• Panel Density: Fairly crowded due to reduced space vs. original Minimoog