Arturia caught our attention with Storm, the virtual studio suite, but of late they've diversified into emulating classic hardware instruments. We see how they fare in their attempt to capture the mighty Minimoog in software. Arturia have been making quite a name for themselves of late. Notwithstanding their endeavours in the field of studio software, they have perhaps become best known for three software synths: Moog Modular V, the Yamaha-inspired CS80V, and the subject of this review, Minimoog V.

This appeared in 2004, but it is in its latest incarnation, version 1.1, that it has supposedly reached maturity, with a number of minor bugs eliminated, as well as claimed improvements in its emulation of the original Minimoog's filter. The software works on OS 9 and OS X Macs and under Windows, with minimum spec for all platforms of a 500MHz processor and 128MB of RAM. It's also compatible with many plug-in host types: VST, DXi (only on PCs), RTAS, HTDM, MAS (only on OS 9 Macs) and AU (only on OS X Macs). As its name explains, Minimoog V is not designed to be 'Minimoog Five', but is instead a Virtual Minimoog, imitating its physical design, emulating its features, and claiming to duplicate its sound almost perfectly. If so, this means it is based on the architecture of the original Minimoog, shown opposite. The signal path begins with the Oscillator Bank, which offers three audio-frequency oscillators, one of which — Osc3 — also doubles as a low-frequency modulator for vibrato and growl, and as an audio-frequency modulator for FM sounds (all three oscillators have 'Lo' settings, but Osc3 is special, because of its routing capabilities, and because you can disconnect it from the keyboard CV).

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The outputs from the oscillators pass to a passive Mixer, where you can select which of them are permitted to travel down the signal path, and also add white or pink noise, as well as audio presented to the external signal input. Next comes the Minimoog's fabled filter. This is a single 24dB-per-octave low-pass device, with controls for cutoff frequency and 'Emphasis' (or, as we'd now usually describe it, resonance). There's also a knob to set the amount of the ADS (Attack, Decay, Sustain) envelope applied to the cutoff frequency.

A Decay On switch determines whether the Decay time is also applied as a Release time. The final filter controls are three switches. Two of these provide keyboard tracking at rates of 0, 33, 67 and 100 percent, while the third applies modulation, provided by the Controllers section, or not. The amplifier structure echoes that of the filter envelope, with three controls — Attack, Decay and Sustain — and, likewise, the Decay On switch allows you to create an ADSD (Attack, Decay, Sustain, Decay) contour if you wish. Finally, the Controllers section allows you to mix the output from Osc3 and the noise generator to create a modulation signal, apply glide (portamento), and tune the instrument. Beneath these controls lie the pitch-bend and modulation wheels, the aforementioned Decay On switch, a second switch to determine whether Glide is on or off, and pedal inputs that duplicate the actions of those switches.

A representation of the Minimoog, based on the diagram in the Moog service manual. And that's all there is to it. Except that on Minimoog V, it isn't — because Arturia have added numerous features that extend the original specification. This means that we have to judge Minimoog V in two ways: firstly as an imitation of the monophonic original, and secondly as an enhanced polysynth. I'll therefore start by making a direct comparison between Minimoog V and Minimoog #11235, which I've owned since the 1980s.

The first test with any evaluation of this nature is to compare the naked sounds of the oscillators. As this is not possible, the best we can do is open the filters of both synths fully, defeat their resonance and filter envelopes, create 'organ' envelopes for the VCAs, and make sure that all the modulation is inactive. Setting Osc1 to a sawtooth wave on both instruments and matching the output levels at settings of around '5' (to prevent filter input distortion), I found that the two are — with careful tuning and adjustment — almost indistinguishable from one another. The same is not true of the square waves. The Minimoog V is far the 'squarer'-sounding of the two. However, this is not a criticism.

I have long felt that the pulse width on my Minimoog needs a tweak to return it to its original 'hollow' tone. On Minimoog V, pressing the Shift key while dragging the mouse over the Waveform knob allows you to change the duty cycle of any of the pulse waves from 0 to 100 percent. I discovered that the duty cycle of my Minimoog is closer to 47 percent than 50 percent, which accounts for the difference in tone. Similar calibration inaccuracies in the vintage synth also result in timbral differences between the two instruments for the narrower pulses — not that these matter, given the ability to adjust the square wave's duty cycle. The triangle waves exhibit a far greater difference in tone, with Minimoog V being much the 'woodier' of the two. But now we come to the mixed triangle/ramp wave.