I'm a bit skeptical here. The reason being that the Minimoog, the real one, used the essential filter circuitry from the Modular, as well as an updated oscillator. And while a Minimoog doesn't sound exactly like a Modular, the instrument which made its mark creating bass and lead sounds used over the past 40-plus years is the Mini.
I have the Moog Modular V, and haven't used it yet. I want to, but I don't have a dedicated music PC which can play it without lag. Plus, the sounds in the patch library are a bit underwhelming, to be honest. To me, though others are plenty happy with it. Now, maybe I'm an ace programmer or something, but there's not a sound on any album out that I haven't been either to nail or make better on the Origin. Being a lazy butt, and pinched for time, I'm putting off using it until a vacation opens up in August. I still have to install the SEM update, but expect to get lost in sonic experimentation all over again.
What's more, I've been able to get "that bass" on a number of synths from Viruses through Radiases, even romplers like the KORG M3 and Yamaha Motif. Even got close on a JP-8000. But the filters on the Origin are much better, and I have yet to play with the Oberheim SEM filter, which sounds superb in demos.
If someone with the MMV and an Origin can't recreate the patches from the Modular, something is wrong somewhere. Tweaking is everything, and in case you aren't aware, no two Minimoogs sound exactly alike, or a Mini and the news Moog Voyager. But you can get the Voyager to sound very much like the Mini if you adjust it carefully. This doesn't mean the Voyager is deficient in any way, just that it's different. Just as the Origin is going to be a little different from the MMV. For one thing, the Modular is a softsynth, and is most likely being recorded directly into a sequencer, isn't it? With the Origin, you have to have good Belden or better cables, you need a studio quality interface, or mixer to interface, or use good digital cables from the digital out to a studio quality interface. Sound levels need to be matched. If you aren't doing these things, the Origin will sound a little off, or a lot. If you're having trouble tweaking the Origin to your satisfaction, if you know any programmer friends who understand synthesizers, ask them to give it a try sometime. Offer beer or pizza as a bribe.
Another thing is, have you checked out the patch libraries available here on the site? Did you miss that there are libraries specific to artists such as Tangerine Dream, Klause Schultz, Tomita, Genesis and others?
In any case, for want of anything else to try, experiment. To me, the Origin is the most wonderful instrument I've ever experienced - though I haven't been exposed to the Sonic Core system or Solaris, which might be better, who knows. Regardless, I've never failed to create a wonderful sound with it that met or exceeded my desires. And as I said before, with a few OSCs and filters in a patch, if you can't create what you want, you just need to find someone who knows how to program and work with you.
Whenever my heart burns for something like a real Synthesizers.com or MOTM modular, it just takes a few minutes with the Origin to make me think it's not such a burning issue after all.