Up for sale, a 1979 Moog Model D Minimoog in excellent condition and in perfect working order. Freshly serviced, this early Rev 3 iteration of the Model D features improved oscillator and tuning stability, set apart from its predecessors with a fully redesigned oscillator board that utilizes a specialized UA726-integrated circuit for each oscillator. The chip features an internal heating element that maintains a stable, consistent temperature, effectively preventing pitch drifting while retaining the nuanced texture and dimension of the original Model D design. The sound is absolutely engulfing, with that signature, velvety warmth used to glue together countless tracks. The synth can produce intensely core-shaking and churning low end, with squishy, compressed cutting waves that rip through the air while never sounding harsh.

Created in 1970, the Minimoog Model D was the first synthesizer sold in retail stores, replacing the megalithic synths housed at university laboratories and recording studios, and offering a new frontier for the fingertips of on-stage musicians and session players around the world. Unlike the larger modular synthesizers of the day, the Minimoog Model D can be played instantly, with no cable-patching between modules, and everything the performer needs on the front panel. By grouping together related components including Controllers, Oscillators, and Modifiers, the front panel becomes an interactive flowchart that illustrates the audio synthesis path in real time. The Minimoog Model D has been embraced by a diverse roster of performers over the past five decades in virtually every genre of music, and remains one of the most highly regarded analog synthesizers to date.

The Minimoog Model D contains the basic components and features found on larger, studio-oriented synths in a portable and intuitive design. Its five sound sources include three oscillators for the production of pitched tones, one noise source for the production of unpitched sounds, and one microphone preamplifier for the introduction of live signals. Mixer controls are available for balancing these signals. Sound modifiers include a lowpass filter and an amplifier, both of which have their own contour generators. The control devices include a 44-note keyboard for use by the right hand, and two wheel controls and switches for use by the left.

Provision is made on the rear of the instrument for connecting external controlling devices such as sequencers, foot pedals, and two-dimensional joystick controllers. These may be used to control volume, pitch, and filter characteristics. Timing signals may also be introduced to trigger the contour generators.

Cosmetically, there are various marks of wear consistent with decades of use on the wooden enclosure. The graphics are pristine, and all of the original keys, knobs, buttons, and wheels are present.