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Here, the control is used to drive the levels of the oscillators (and noise) harder than they ordinarily would before hitting the filter. The mixer's Load control is an extra knob and it has appropriated the lamp associated in the Mini with external signals. Feedback is quite brash and aggressive at its extremes, with its second setting providing a more subtle variation. This provides a positive feedback in two flavours (A and B), with the first closest to the effect of routing the Mini's headphone output back in again. Next, because this is a Minimoog, I instantly looked for a way to feed external signals into the filter but, amazingly, this key feature has been omitted! Instead, the mixer has a Feedback control in place of the Mini's external input. The result is a particularly natural‑sounding resonance and one of the best modelled filters I've ever heard. Like U‑he's Diva beforehand, Zero‑Delay Feedback technology is employed, aided by careful listening then further fine‑tuning. Even the triangle has genuine presence, which isn't always the case for modelled oscillators.Ĭontinuing in time‑honoured fashion, the filter is a smooth and deep delight. Continuing with the 'attention to detail' theme, each oscillator isn't merely a replication of the others its waveforms have subtly different harmonic content.
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That nit‑picking aside, these are full, rich and vibrant oscillators and an order of magnitude more alive than previous software Minis I've tried. Inevitably, this idea was doomed, but with further experimentation I realised that fine resolution is obtained by using the mouse and shift key together. Indeed, for a few moments after start‑up, I'd swear it was slightly out of tune! One of the special joys of the Minimoog is in how the oscillators never perfectly lock together, and since it felt more natural to adjust tuning with knobs rather than a mouse, I drafted in the controls on my master keyboard, aiming for a comparable level of subtlety. The Moogįrom the first notes I played, it was obvious that Monark has had a great deal of attention lavished upon it. I had no performance issues at all and felt no need to explore lower rates. It's possible to override this manually, but you're strongly advised not to do so to avoid aliasing and other obvious artifacts. Monark is designed for a sample rate of 88.2/96kHz, which should be set automatically in Reaktor. Fortunately, this is a famously easy synth to tweak, and as every tweak is stored in your DAW, it's arguably faster to dial up something new each time anyway.
Reaktor native instruments full version#
Therefore, if you don't own the full version and have to rely on the 'Player' instead, you can't save snapshots (ie. There are a few other differences between Monark and Minimoog panels, mostly due to extra switches or knobs with values cleared away, which doesn't help those of us doing A/B tests.Īnother oddity is the fact that Monark isn't a virtual instrument in its own right, but relies on Reaktor. Although its layout corresponds to the Mini's, there's only a passing attempt to copy the style, which seemed odd but also in keeping with the nod‑and‑wink presentation. Grey or not, Monark is one of the more visually distinctive Minimoog impersonators.
Having dragged the Monark ensemble into the main screen you can feast your eyes on the grey panel with its grey knobs (what's the universal fascination with grey these days?). Having activated Monark via the Native Instruments Service Centre, you click Reaktor's Player button and locate it in the browser. Whether or not you have a Moog‑sized gap in your virtual studio, Monark offers a fascinating glimpse into the ongoing exercise to analyse and replicate the subtle behaviour of classic 40-year-old electronics. It's steadfastly monophonic and steers well clear of the extras sometimes added to a Mini by enterprising technicians (or crazy wreckers, depending on your point of view).
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Monark is not a stand‑alone virtual instrument, but runs either within Reaktor 5 or the free Reaktor 5 Player.
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Now the time and technology are ripe for Native Instruments to have a crack, although their web site and manual deliberately omit the words 'Moog' or 'Minimoog', preferring 'king of monophonic analog synths' instead. Oddly enough, one of the most convincing wasn't even specifically a Minimoog, it just copied key sections such as the oscillators, envelopes and filter. So yes, we've seen countless software Minimoogs already, each edging gradually closer to the sound of the real deal. Just because something's been done before doesn't mean it can't be improved upon, as anyone who sat through Ralph Bakshi's 1978 film of Lord Of The Rings will testify.
The Minimoog is not exactly short of software tributes.
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