high gain mode and master CV modes on the VCA and up / down/ both glide facility.
This was of course at a time when the Model D was a long forgotten, legacy product, and I like to think that we helped to generate some of the groundswell of interest that lead to the re-issue of the Model D by Moog. We have since added further modules to the MiniMod range, such as the Dual LFO/VCA and DH-ADSR envelopes which address the main limitations of the original Model D design and take it much nearer to becoming the ultimate Eurorack synth voice.
The Ring SM is unique in that it offers three separate circuits
we don't often see together. Ring Modulation, Sub Octaves and
a 5 channel mixer. Plus the Ring Mod has 3 inputs X, Y and Z.
Plus the sub octaves wave shape at different frequencies. Can
you tell us about that and how it came together?
Yes, I’d always had a fascination with Ring Modulators (or more
correctly Gilbert cell four quadrant multipliers, which is what the
Ring SM core actually is!), and I used to love to patch evolving
drone sounds; so I set about adding a -1 octave sub bass derived
from the carrier input, and then a second sub bass at 2 octaves
down. I built the first prototype with square wave subs, but later in
the development cycle I changed them to shaped sine subs of my
own design as they seemed to sit better with the purity of tone
from the Ring Modulator itself, and because of their lower harmonic
content they would still have plenty of punch but don’t muddy up a mix quite so much.