|
Not much to add but my two cents. I've owned around 30 different make and model of synth, whether they be FM, analog, PCM based or what have you. I've owned two mini's as well, one pre-temp. stabalized osc board and my current (S#111188) stable one. Very colourful tone characteristics, excellent harmonics. The filter allows for a seeming full sound to permeate even while cutting off many of the higher frequencies. The filter can be overdriven slightly by maxing the osc vol. and the 'LO' output re-routed back into the filter input for additional fuzz. The Mini's presence in the mid/bass end is punchy and solid. Nothing I've used has produced the combination of presence and character in the low end that I've achieved on a MiniMoog, not my ARP 2600, not a nice stable sine from the DX7, or emulations courtesy of K-2000S. It is head and shoulders above it's successor the Source for both modulation and sound and is second only for beefiness to larger modular systems.
My mini has also some RMS mods and the Lintronic advancement. With the stabalized osc board and MIDI advancements, it is the goto synth among the 15 or so I have on hand.
Short of carting a Moog modular to a session, the Mini is a pinnacle of power for space for those with a discerning taste in synthesisers, and lucky for it's original popularity, there were 13000 made, leaving a legacy we'll be able to enjoy for years to come.
(a brief comment on the previous post: Saying the Mini is lacklustre for not being multi-timbral, etc. Is like says Micheal Jordan actually sucks because he cannot also account or paint fences. He is the best at Basketball, whether or not he can even tie his shoes. The Mini is the premier analog mono in it's class, whether or not it can play a perfect piano sound over 16 channels and make you coffee at the same time. Your alternate opinion is respected, but perhaps the scope of your comparisons was skewed.)
|
listings
