Moog Minitaur (2012)

At 2.2 lbs and barely larger than a paperback, this wedge of analog circuitry delivers subterranean bass that feels like it was pulled straight from a Taurus pedal’s DNA.

Overview

The Moog Minitaur isn’t a synth you noodle melodies on—it’s a purpose-built analog bass machine, stripped of keys and packed into a compact, wedge-shaped chassis that demands a spot on any serious modular or MIDI rig. Released in 2012, it arrived as one of the first instruments developed after Bob Moog’s passing, carrying the weight of legacy while carving its own niche. Though it lacks a keyboard, its monophonic engine is deeply rooted in the Taurus family, specifically evolving from the thunderous MK1 Taurus bass pedals that once anchored prog-rock stages. Unlike its foot-controlled ancestors, the Minitaur was designed for hands-on control and studio integration, making it the first in the Taurus line without built-in pedals. It was designed to sit front and center, not underfoot, blending vintage Moog filter character with modern connectivity.

Despite its small footprint—just 5.9" x 7.1" x 2.4"—the Minitaur houses two voltage-controlled oscillators, each capable of sawtooth and square waveforms, with level control managed via dual mixer VCAs. The signal then feeds into the legendary 20Hz–20kHz Moog ladder filter, the same topology responsible for decades of growling, resonant basslines. Modulation comes courtesy of a flexible LFO offering triangle, square, sawtooth, and sample-and-hold waveforms, with a rate range from 0.1Hz to 100Hz, allowing for everything from slow sweeps to aggressive tremolo. An ADSR envelope shapes amplitude and filter response, giving players precise control over attack and decay—critical when dialing in punchy, percussive low end.

Connectivity is a mix of modern and modular: MIDI In and USB handle note and control data, while CV/Gate inputs for pitch, gate, filter, and volume make it a natural fit in analog setups. A 1/4" audio output delivers the full signal, and Amazon listings confirm the inclusion of a headphone amp—though the exact implementation isn’t detailed in official specs. The unit runs on a 9V DC power supply drawing 500 mA, a standard voltage that avoids the need for specialized bricks.

Specifications

Manufacturer	Moog
Model	Moog Minitaur
Type	Analog Bass Synthesizer
Introduced	2012
Polyphony	Monophonic
Oscillator Section	Oscillator 1: Sawtooth/Square. Level: 0 to 100%. Oscillator 2: Sawtooth/Square. Level: 0 to 100%
Filter	20Hz-20kHz Moog Ladder Filter
LFO	Triangle, Square, Sawtooth, S&H; Rate: 0.1Hz to 100Hz
Envelope	ADSR (Attack, Decay, Sustain, Release)
Connectivity	MIDI In, USB, Audio Out (1/4"), CV/Gate Input (Pitch, Gate, Filter, Volume)
Power Requirements	9V DC, 500 mA
Physical Dimensions	5.9" x 7.1" x 2.4" (150mm x 180mm x 60mm)
Weight	2.2 lbs (1 kg)
Art.No.	40MINITAUR
Presets	128

Key Features

Two Oscillators with Sawtooth and Square Waveforms

At the heart of the Minitaur’s sonic character are two VCOs, each generating sawtooth and square waves—classic analog waveforms that form the foundation of Moog’s fat, harmonically rich bass tones. The ability to mix and match these waveforms across both oscillators gives users a wide palette, from smooth sub-bass to gritty, nasal leads. Level control is managed via two dedicated mixer VCAs, allowing precise balancing between oscillators. This setup avoids the complexity of a full keyboard synth but delivers maximum low-end impact with minimal interface.

20Hz–20kHz Moog Ladder Filter

The filter is where the Minitaur earns its pedigree. The 20Hz–20kHz Moog ladder filter is —warm, smooth, and capable of extreme resonance without breaking up. It’s the centerpiece of the instrument, responsible for the sweeping, vocal-like qualities that make Moog basslines so expressive. Whether taming low-end mud or dialing in a resonant peak that sings through a mix, this filter behaves predictably and musically, responding to both envelope and external CV with authority.

Compact, Wedge-Shaped Design

Measuring just 5.9" x 7.1" and weighing 2.2 lbs, the Minitaur’s wedge shape is both functional and iconic. It fits easily on a desktop, in a rack tray, or alongside Eurorack modules. The layout prioritizes immediacy—knobs and jacks are spaced for quick access, and the lack of a keyboard keeps the focus on sound shaping. The physical design hasn’t changed in later revisions (Rev 2.2 remains visually identical), a testament to its effective, no-frills approach. It’s a synth built for integration, not showmanship.

ADSR Envelope with Full CV Control

The ADSR envelope provides complete control over amplitude and filter dynamics, a necessity for crafting everything from tight, punchy stabs to slow, swelling drones. What sets it apart in practice is the depth of CV integration—, making it highly adaptable in modular environments. This isn’t just a MIDI-controlled box; it’s a true analog voice that responds to the nuances of patching and voltage control.

Historical Context

Introduced in 2012, the Minitaur marked a shift in Moog’s product direction, emerging as one of the first instruments developed after Bob Moog’s passing. It drew direct inspiration from the original MK1 Taurus bass pedals, translating their massive, floor-shaking sound into a compact, modern format. Unlike its predecessors, which were played with the feet and , the Minitaur was designed for hands-on performance and studio use. It also broke tradition by being the first instrument in the Taurus family without built-in foot pedals, signaling a move toward broader synthesis applications beyond stage-bound bass triggers.

Collectibility & Value

The Minitaur launched at $529 USD, a competitive price for a fully analog Moog instrument with extensive CV capabilities. While current market prices aren’t documented in the fact sheet, its presence on repair parts sites like Syntaur indicates ongoing support and a user base invested in maintenance.