2026-09-02
Bob Moog's 1965 patent (US 3,475,623) defined the sound of analog synthesis with a deceptively simple structure: four identical stages, each a differential pair of BJTs driving an emitter capacitor, cascaded with global feedback for resonance. Every subtractive synth voice you've ever heard through a "Moog filter" is a descendant of this topology.
The core stage is a long-tailed pair whose emitters share a capacitor to ground. The differential input voltage steers current through the capacitor, and the output is taken differentially from the collectors. Because the pair is biased by a common tail current Ibias, the transconductance gm = Ibias/(2VT) is linearly proportional to bias current. That's the whole trick: change Ibias, and every stage's -3dB frequency shifts together.
Cutoff frequency per stage: fc = gm/(2πC) = Ibias/(4πVTC). At room temperature VT ≈ 26mV. With C = 1nF and Ibias = 10µA, fc ≈ 30kHz. Drop Ibias to 100nA and fc falls to 300Hz. Since bias current is set by a control voltage through an exponential converter (a translinear V-to-I), you get 1V/octave tracking — the standard synthesizer control law.
Four stages cascaded give 24 dB/octave rolloff. Feeding the final output back to the input inverted, scaled by a resonance knob (typically 0 to 4), creates a peak at cutoff. At feedback gain = 4, the filter self-oscillates, producing a pure sine wave — the classic Moog resonance sweep.
Real-world example: the Minimoog Model D uses PNP pairs (2N3906-style) with 470pF caps and a bias current range of roughly 100nA to 20µA, giving 20Hz to 20kHz sweep. The exponential converter uses a matched dual transistor (LM394 or a monolithic pair) to hold 1V/oct across temperature — without matching, the top octave drifts wildly as the die warms.
Design gotchas:
Rule of thumb: for a ladder VCF with capacitor C, choose bias current Ibias ≈ 4πC·VT·fc,max. For 20kHz max with 1nF, that's about 6.5µA — a comfortable operating point.
