Arturia MOOG MODULAR 2.6 User Manual
USER’S MANUAL
Version
2.6
ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 1
Programming:
Robert Bocquier
Nicolas Bronnec
Pierre-Jean Camilieri
Thomas Diligent
Sylvain Gubian
Xavier Oudin
Gilles Pommereuil
Cedric Rossi
Graphics:
Yannick Bonnefoy
Thomas & Wolfgang Merkle [Bitplant]
Manual:
Antoine Back (V2.5)
Silvère Letellier (V2.5)
Jean-Michel Blanchet
Tomoya Fukuchi
Tom Healy
Sadahiro Nakano
Xavier Oudin
Gilles Pommereuil
Cedric Rossi
Takashi Uesugi
Yuji Sano
Sound Designers:
Wally Badarou
Jean-Michel Blanchet
Celmar Engel
Michel Geiss
Christoff Harbonier
Mateo Lupo
Hideki Matsutake
Scot Solida
Katsunori Ujiie
Very special thanks to:
Robert A. Moog and Isao Tomita
Thanks to:
Michael Adams, Bruno Begani, Ned Bouhalassa, Geoff Downes, Clay Duncan, Pavle
Kovacevic, Roger Luther, Sadahiro Nakano, Fabrice Paumier, Ben Turl, Peter Willems,
and the numerous beta testers.
© ARTURIA SA – 1999-2011 – All rights reserved.
4, Chemin de Malacher
38240 Meylan
FRANCE
http://www.arturia.com
Information contained in this manual is subject to change without notice and does not represent a commitment on the
part of Arturia. The software described in this manual is provided under the terms of a license agreement or nondisclosure agreement. The software license agreement specifies the terms and conditions for its lawful use. No part of
this manual may be produced or transmitted in any form or by any purpose other than purchaser’s personal use,
without the express written permission of ARTURIA S.A.
Other products, logos or company names quoted in this manual are trademarks or registered trademarks of their
respective owners.
2 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
IInnttrroodduuccttiioonn ttoo vveerrssiioonn 22..55 ooff tthhee MMoooogg MMoodduullaarr VV mmaannuuaall
The first version of the Moog Modular V was commercialized in March 2003 having been
announced at the NAMM show of the same year.
It quickly became popular being the first to offer an emulation of a modular synthesizer.
The name Moog® was obviously a trigger as for many it remains synonymous with the golden
age of vintage synthesizers. But strong interest from well-known musicians such as Isao
Tomita, Klaus Schultze, Geof Downes, Stevie Wonder, Herbie Hancock and many others helped
create a real buzz around the launch of the Moog Modular V.
At Arturia, we have received many messages of congratulations as well as requests for the
evolution and modifications for upcoming versions of the synthesizer.
Version 2 of the Moog Modular V has taken many of these requests into account and brings
many unexpected developments.
Firstly, as you will see when you launch the program, is a new means of viewing the
synthesizer giving an overview of the entire instrument if your computer can support the
resolution. On screens with lower resolutions, by using the “scroll” command, it becomes
possible to access all of the modules on the same screen, a feature that will delight many
musicians.
We have also broadened the configuration possibilities for the synthesizer. Some modules can
now be interchanged, which brings the Moog Modular V closer to the original instruments that
could be configured by Moog Music upon order.
Improvements have also been made to the audio, making use of the evolution of our TAE®
technology which has seen improvements during the year. We have answered a frequent
request in relation to Audio-in so that you can now use the Moog Modular V filters or
sequencer on an external source.
Of course, we have also developed new modules, six to be precise. The 928 (Sample and Hold)
and 912 (Envelope Follower) were popular demands and can be found in this new build.
Also added are very rare modules such as the 1630 Bode Frequency Shifter – around a dozen
models produced - or completely new modules such as the Formants Filter
Last but not least is the addition of 200 new presets to this version. They make use of the new
options offered by the Moog Modular V, and will be a great starting point for those who wish to
discover this new version. Go to the last part of Chapter 7 if you wish to jump into using the
new modules offered.
Hoping that you enjoy this evolution, we wish you the greatest pleasure in your use of the
Moog Modular V 2.5
The Arturia team
ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 3
TABLE OF CONTENTS
1
What's new in Moog Modular v 2.6......................................................................... 7
2
Introduction........................................................................................................ 8
2.1
The birth of modular moog systems.................................................................... 8
2.2
A modular synthesizer, why? ........................................................................... 12
2.3
A better emulation thanks to TAE® .................................................................. 12
2.3.1 Aliasing-free oscillators: .............................................................................. 13
2.3.2 Better reproduction of analog wave forms:..................................................... 13
2.3.3 Better reproduction of analog filters .............................................................. 14
2.3.4 Implementation of soft clipping .................................................................... 15
3
Installation ....................................................................................................... 17
3.1
Windows Installation (XP, VISTA, 7) ................................................................. 17
3.2
Installation Mac OS X ..................................................................................... 19
4
Authorization .................................................................................................... 20
4.1
Registration................................................................................................... 20
4.2
License download ........................................................................................... 22
5
Quick Start ....................................................................................................... 25
5.1
The 4 sections of the Moog Modular V............................................................... 25
5.1.1 The synthesis section .................................................................................. 25
5.1.2 The other three sections .............................................................................. 26
5.1.3 Reduced view of the keyboard and the real time controllers ............................. 27
5.2
Using presets................................................................................................. 27
5.3
Modular synthesizer ....................................................................................... 29
5.3.1 First connections......................................................................................... 29
5.3.2 Description of the synthesis section modules .................................................. 33
5.4
The other sections.......................................................................................... 37
5.4.1 The sequencer............................................................................................ 37
5.4.2 The effects................................................................................................. 40
5.5
the virtual keyboard and its real time controllers................................................ 45
5.5.1 The keyboard ............................................................................................. 45
5.5.2 The keyboard controllers ............................................................................. 46
5.5.3 The play modes .......................................................................................... 47
5.5.4 The sound design controllers ........................................................................ 48
6
The interface .................................................................................................... 51
6.1
Using the presets ........................................................................................... 51
6.1.1 Choice of bank, sub-bank, preset .................................................................. 51
6.1.2 Creation of a bank, sub-bank, preset............................................................. 52
6.1.3 Saving a user preset ................................................................................... 53
6.1.4 Import / Export of a preset bank .................................................................. 53
6.2
Work pages ................................................................................................... 54
6.2.1 The complete view ...................................................................................... 54
6.2.2 The reduced usage page .............................................................................. 55
6.3
Using controllers ............................................................................................ 55
6.3.1 Knobs........................................................................................................ 55
6.3.2 Joysticks.................................................................................................... 56
6.3.3 Selectors ................................................................................................... 56
6.3.4 Keyboard ................................................................................................... 57
6.3.5 MIDI control............................................................................................... 57
6.4
Using cables .................................................................................................. 61
6.4.1 Audio and modulation connections ................................................................ 61
6.4.2 Modifying a connection ................................................................................ 63
6.4.3 Modulation level setting............................................................................... 63
6.4.4 Cable display options .................................................................................. 63
6.4.5 Trigger connections..................................................................................... 64
6.4.6 Synchronization connections ........................................................................ 65
4 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
6.4.7 Key follow or sequencer connections ............................................................. 65
7
The modules ..................................................................................................... 68
7.1
Programming section ...................................................................................... 68
7.1.1 Description ................................................................................................ 68
7.1.2 Oscillators.................................................................................................. 68
7.1.3 Filters........................................................................................................ 72
7.1.4 Modulation envelopes .................................................................................. 77
7.1.5 Output amplifiers (VCA)............................................................................... 78
7.1.6 Low frequency oscillators (LFO) .................................................................... 79
7.1.7 Controlled amplifiers / Mixers ....................................................................... 80
7.1.8 Trigger delay.............................................................................................. 81
7.1.9 Noise generator .......................................................................................... 83
7.1.10
7.1.11
7.1.12
7.1.13
7.1.14
7.2
7.2.1 Description ................................................................................................ 88
7.2.2 Resonant filter bank .................................................................................... 89
7.2.3 Chorus ...................................................................................................... 90
7.2.4 Phaser....................................................................................................... 91
7.2.5 Stereo Delay .............................................................................................. 92
7.2.6 Sequence generator .................................................................................... 93
7.3
7.4
7.4.1 Keyboard follow management ...................................................................... 97
7.4.2 General settings ......................................................................................... 98
8
8.1
8.1.1 The oscillator or VCO................................................................................... 99
8.1.2 The filter or VCF ........................................................................................102
8.1.3 The amplifier or VCA ..................................................................................106
8.2
8.2.1 The keyboard ............................................................................................106
8.2.2 The envelope generator ..............................................................................107
8.2.3 The low frequency oscillator ........................................................................107
9
9.1
9.1.1 Simple patch #1 ........................................................................................109
9.1.2 Simple patch #2 ........................................................................................110
9.1.3 Complex patch #1 .....................................................................................113
9.1.4 Complex patch #2 .....................................................................................117
9.2
9.2.1 Sequence #1.............................................................................................120
9.2.2 Sequence #2.............................................................................................122
9.2.3 Sequence #3.............................................................................................125
9.3
9.3.1 Creative use of key follows..........................................................................126
9.3.2 Creative use of triggers and trigger delays ....................................................128
9.3.3 Stereo without the effects ...........................................................................130
9.4
9.4.1 The Bode Frequency Shifter ........................................................................131
9.4.2 The Envelope Follower ................................................................................134
9.4.3 The sample and hold ..................................................................................137
Sample and hold ..................................................................................... 84
Envelope follower .................................................................................... 85
Ring modulator ....................................................................................... 86
Formant filter.......................................................................................... 87
Bode Frequency Shifter ............................................................................ 87
Second section .............................................................................................. 88
Third Section ................................................................................................. 96
Fourth section................................................................................................ 96
The basics of subtractive synthesis ...................................................................... 99
The three main modules ................................................................................. 99
Complimentary modules ................................................................................106
A few elements of sound design .........................................................................109
Modular sound synthesis ................................................................................109
The sequencer ..............................................................................................120
Bonus features .............................................................................................126
using the new Moog Modular V 2.0 modules .....................................................131
ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 5
10
Using the Moog Modular V in different modes.......................................................140
10.1 Stand-alone..................................................................................................140
10.1.1
10.1.2
10.2 Using your plug-in in a host............................................................................141
10.2.1
10.2.2
10.2.3
10.3 VST™ ..........................................................................................................142
10.3.1
10.3.2
10.3.3
10.4 Audio unit ....................................................................................................146
10.4.1
10.4.2
10.5 Pro Tools™ (RTAS) ........................................................................................150
Launching the application ........................................................................140
Configuration of an instrument: the tool bar ..............................................140
MIDI connection .....................................................................................141
Saving preset.........................................................................................141
Automation............................................................................................141
Cubase™ ...............................................................................................142
Ableton Live™ ........................................................................................144
Sonar™ .................................................................................................145
Logic Studio™ ........................................................................................146
Digital Performer™ .................................................................................148
6 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
1 WHAT'S NEW IN MOOG MODULAR V 2.6
Moog Modular V 2.6 includes the following new features:
• Support for 64-bit VST and Audio Unit
• Improvement for MIDI assignments
o MIDI assignment configurations can be saved and restored
o Controls can be assigned to multiple parameters
o Minimum and maximum ranges for an assigned parameter can be set
• Standalone program updated
• Bug fixes
System requirements:
• MAC OSX 10.5 and 10.6 Intel
o PPC no longer supported
o MAC OSX 10.4 no longer supported
• Windows
o Seven
o Vista
o XP
ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 7
2 INTRODUCTION
2.1 T
Robert A. Moog was born in May 1934 in New York. A passionate for music (he took piano
lessons for 12 years), he was introduced to electronics by his father, an engineer in this
domain. During his adolescence, he discovered the Thereminvox plan, invented during the 30’s
by a Russian engineer, Leon Theremin (or more exactly Lev Sergeivitch Termen). Seduced by
this instrument with its never before heard sounds, he began to produce his own models and
founded his own company in 1954.
Frequenting musical professionals, and in particular electronic and concrete music, R. Moog
realized that there was a real demand for electronic instruments of a higher quality.
One of the first clients to come to Robert Moog, the professor of music Herbert A. Deutsch,
asks him to listen to a song he had composed. Moog is immediately convinced and they decide
to associate their work. Their co-operation produced the first VCO.
In 1964, the first prototype of a Moog synthesizer was produced. It was a modular system with
a voltage controlled filter (VCF), an envelope generator, a white noise generator, a trigger and
two keyboards each with a generator module (sawtooth, triangle and impulsion) as well as a
voltage controlled amplifier module (VCA).
HE BIRTH OF MODULAR MOOG SYSTEMS
The first modular Moog system (1964) (Courtesy of Roger Luther, MoogArchives.com)
Then other musicians helped Robert Moog in creating different modules:
Walter Carlos (who later became Wendy) helped for elaboration of a sequencer. He also
pushed Bob Moog to lend his name to his machines.
Vladimir Ussachevsky, who was one of the professors of de W. Carlos, specified the 4 parts of
the envelope generator (ADSR), allowing the accomplishment of the VCA and gave him the
idea for the envelope follower.
Gustave Ciamaga helped with the creation of the first tension controlled low-pass filter.
8 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
A second prototype, regrouping the all of the new modules, was built during the summer of
1964 and was presented during the AES show (Audio Engineering Society), where Moog
worked from an unused stand. This new product generated a huge amount of interest, but
Moog did not yet realize the commercial punch of his machines. Two or three orders were
obtained at AES and kept Moog busy for several months. In 1965, after the success at the
show, Moog decided to release the 900 series for commercial sale.
The R.A. Moog Company at Trumansburg, NY
(Courtesy of Roger Luther, MoogArchives.com)
The first client to buy the full Moog system was choreographer Alwin Nikolais. Also among the
first users were composers Eric Siday and Chris Swansen. The first commercial uses of the
Moog synthesizers were done in advertising. They were also used for jingles and in recording
studios.
In 1967, Bob decided to release different machines each with a certain number of modules.
This marked the birth of modular systems I, II and III. This same year, Paul Beaver for the
first time used a modular Moog system on a record.
The modular system III (1967)
(Courtesy of Roger Luther, MoogArchives.com)
ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 9
In 1968, worldwide recognition came with the success of “Switched-On Bach” by W. Carlos.
This album, where classical music is played on a Moog, sold over one million copies as it was
bought both by classical music fans (it was in the American “Classical” charts for 94 weeks)
and fans of pop. It won three Grammy awards.
“Switched-On Bach” by W. Carlos
A little later, Keith Emerson, keyboard player for the groups Nice and ELP (Emerson, Lake and
Palmer), was he himself to become an ambassador for Moog synths. He was one of the first to
play a Moog modular on stage during a tour (A 3C system). Jan Hammer was also one of the
first users of Moog systems. Big groups like Tangerine Dream, the Beatles or the Rolling
Stones, would also become modular Moog owners.
The 3C modular system (1969)
(Courtesy of Roger Luther, MoogArchives.com)
10 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
In 1969-70, the company which now has around forty employees was building up to three
modulars per week and the order book was always full. The modular had 5 years of high sales,
and sold around 200 models in the United States.
Construction and testing of a modular Moog
(Courtesy of Roger Luther, MoogArchives.com)
In 1969, Bob Moog received demands for a more compact instrument that could be
transported more easily, directed more to stage than studio. With the help of an engineer from
Berkley, Jim Scott, and the advice from numerous musicians he was about to create another
mythic synth: the Minimoog…
System 55, the last version of the Moog modular (1974)
(Courtesy of Roger Luther, MoogArchives.com)
ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 11
2.2 A
Why create a modular synthesizer, that is to say comprised of independent modules that we
must connect ourselves, sometimes with difficulty, before obtaining a sound?
The answer, as you can imagine, is very simple: the modularity brings immense possibilities
for the creation of sound.
To convince you, let’s look at some basic concepts.
Sound synthesis is essentially based on the use of generators and filters. From these
components, the sound designer must create sounds that can be used by musicians. To
succeed, the different parameters that we have access to (height of note, filter cut-off
frequency, output volume, wave form…) must evolve in time. And for this, we must link
different modules between each other.
Let’s take an example: an oscillator, which has inputs to modulate each of its parameters.
Let’s connect the output of an envelope generator to the oscillator frequency modulation input,
and there we get a signal depending on the use of a keyboard. Now we’ll connect a low
frequency generator to the impulse width modulation input and here we have the waveform,
which will evolve in time.
But why not have internal cables, fixed from the start?
Here again, another example will help. Let’s take an envelope and two oscillators. The latter
possess three modulation inputs: a frequency modulation, an impulse width modulation and a
volume modulation.
Effecting every combination with fixed connections would oblige us to have six independent
buttons for the modulation of the parameters.
If we now take 9 oscillators, 6 envelopes, a modulation wheel and a velocity setting, we would
need… 216 setting buttons.
What can we therefore say for the Moog Modular V, which on top of this has three filters, a
noise generator, a sequencer and two control pads?
Connections in a modular synthesizer can sometimes seem difficult, but the often-unexpected
results are always a source of great musical inspiration.
Either way, don’t worry, the presets created by experienced musicians will allow you, if
necessary, a gentle introduction to the art of sound creation.
This new version presents new modules and a notable improvement to the sound quality and
synthesis possibilities. As was the case with the previous versions, it remains faithful to the
original Moog Modulars and offers the possibility to organize the arrangement of certain
modules. Ergonomically this version remains very close to the previous so as not to loose time
learning the different functions again.
MODULAR SYNTHESIZER, WHY
?
2.3 A
TAE® - standing for True Analog Emulation - is a new technology dedicated to the digital
reproduction of analog circuits.
When implemented in software code, TAE’s algorithms guaranty the respect of hardware
specifications. This is why your Moog Modular V offers an unparalleled quality of sound.
12 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
BETTER EMULATION THANKS TO
TAE®
In detail, TAE means:
2.3.1 Aliasing-free oscillators:
Standard digital synthesizers produce aliasing in high frequencies, and when using Pulse Width
Modulation or FM.
TAE® allows the production of totally aliasing-free oscillators in all contexts (PWM, FM…), and
at no extra CPU cost.
Aliasing
Linear frequency spectrum of an existing well-known software synthesizer
Linear frequency spectrum of the Moog Modular V oscillator made with TAE®
2.3.2 Better reproduction of analog wave forms:
Original analog oscillators used condensers’ unloading to produce common wave shapes (saw
tooth, triangle, square). This means that waveforms were slightly curved. TAE® allows the
reproduction of Condenser’s Unload.
ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 13
Temporal representation of a waveform on a Modular Moog 55
Temporal representation of the waveform of an existing Moog-like software synthesizer
Temporal representation of the Moog Modular V waveform thanks to TAE
In addition, original analog oscillators were unstable. Actually, their wave shape was always
slightly different from one period to another. In addition, due to analog hardware sensitivities,
new period trigger times varied with the temperature and other environmental conditions.
TAE simulates the instability of oscillators, helping to create warmer and fatter sounds.
2.3.3 Better reproduction of analog filters
TAE allows the emulation of analog-designed filters in a much more precise way than any
existing digital filter. In particular, TAE has managed to reproduce the legendary Moog 24dB
low-pass resonant filter with great respect towards the original.
14 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
Standard 24 dB digital low
Low-pass resonant filter
Input
Output
Current limiting
emulation
pass resonance filter for a
typical software
synthesizer
Very selective 24 dB
resonance filter of the
MiniMoog
TAE made Moog Modular
V resonance filter: First 24
dB resonance filter to be
that selective
Comparative response filters
2.3.4 Implementation of soft clipping
In analog synthesizers, the resonant filter uses a current limiting function, preventing the
signal from being too loud (soft clipping).
TAE reproduces this current limiting function, making the sound more natural. It also allows
filters to enter self-oscillation like original hardware synthesizers do.
ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 15
1,5
-1
0
1
1
0,5
0
0,2
0,4
0,6
-0,5
-1,5
-0,8
-0,6
-0,4
-0,2
-1
0,8
Soft-clipping transfer function
16 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
3 INSTALLATION
3.1 W
Insert the CD-ROM in the drive. Explore the CD-ROM content; double-click on the “Moog
Modular V 2 Setup PC.exe” icon
At the first step in the installation, choose the folder to install the Moog Modular V. It will be
installed by default in C:\Program Files\Arturia\Moog Modular V2. You can change the
destination with the Browse button.
INDOWS INSTALLATION
(XP, VISTA, 7)
Choice of installation folder
The Moog Modular V2.6 will be installed as a standalone application. The following step allows
you to install the Moog Modular V2.6 as a plug-in. To do this, choose the protocol(s) that you
use (VST, RTAS). For more information on these protocols, look at chapter 9.
ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 17
Choosing the protocols
For the VST and RTAS protocols, you need to choose the installation folder to allow the host
application to use the Moog Modular V2.6 as a plug-in. Selecting all is a good idea..
Installation folder choice for the VST plug-in
The installation program now has enough information to complete the installation. When the
installation process is completed, please proceed to authorization step (Chapter 3).
18 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
3.2 I
Insert the CD-ROM into the drive. Explore the content of the CD-ROM, then double-click on the
icon named “Moog Modular V2.6 Setup”.
Follow these steps:
When prompted, enter the administrator name and password of your computer in the
authentication window.
NSTALLATION MAC OS
X
Read and accept the End User License Agreement,
Select a destination.
Authentication window
The Moog Modular V2.6 will next be installed as a standalone application, but also as VST, AU
and RTAS plug-ins.
The installation program now has enough information to complete the installation. When the
installation process is completed, please proceed to authorization step (Chapter 3).
ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 19
4 AUTHORIZATION
Now your Moog Modular V 2.6 has been installed, you have to authorize the synthesizer.
Earlier versions used an “original CD + license number” protection scheme, however, the Moog
Modular V 2.6 uses the Soft-eLicenser full-software solution. Avoiding the use of a USB port by
default, this system allows using the synthesizer on one machine which must be connected to
the Internet during the authorization process.
To transfer your license on another computer, or simply use your synthesizer on several computers (one instance
at a time), you will need:
_ to use one USB-eLicenser hardware dongle (sold separately, also used by many other software editors);
_ in the eLicenser Control Center, to drag-and-drop your license from Soft-eLicenser to USB-eLicenser.
This transfer, requiring a valid Internet connection, can be done both ways:
_ from Soft-eLicenser to USB-eLicenser;
_ from USB-eLicenser to Soft-eLicenser.
For any further technical detail, please check our website www.arturia.com/elicenser.
4.1 R
EGISTRATION
The first step is to register your software in order to obtain the activation code that will enable
you to actually use the software.
You should have handy the Serial Number of Moog Modular V and the Unlock Code (these
are an integral part of the software and are printed on a small plastic card):
Connect your computer to the Internet, and go to this web page:
http://www.arturia.com/login
If you don’t have any Arturia account yet, please create one now, this will bring you to this
form:
20 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
Or if you already have an account, simply log in:
Once you are logged into your account, you can register your Moog Modular V and request
your activation code. Go to the “My Registered Products” section of your account and click
on the “Add” button:
In the form that appears, select “Moog Modular V” from the drop down menu, and type in
your synthesizer serial number and unlock code (as written on the registration card):
ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 21
Moog Modular V
Moog Modular V
You will then see the confirmation screen:
And finally there is a screen from which you can copy the eLicenser Activation Code,
which is needed for the next step. The very same information is sent to you by email as a
backup.
4.2 L
Now that you have retrieved the activation code, launch the eLicenser Control Center. This
under a Windows XP/Vista/7 environment. The same functions apply, only the graphical user interface slightly differs
and possibly also the language used. These little details should not prevent you from understanding the full process.
22 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
ICENSE DOWNLOAD
application has been automatically installed on your computer along with the Moog Modular
V; it is accessible here:
Windows: Start > Programs > eLicenser > eLicenser Control Center
Mac OS X: Finder > Applications > eLicenser Control Center
The screenshots below have been taken on a Mac OS X operating system; however the process is strictly identical
In the eLicenser Control Center main window you should see a Soft-eLicenser (SeL) virtual
Moog Modular V
2.5
dongle created onto your computer.
eLicenser Control Center main window, showing an empty Soft-eLicenser.
Click on the Enter Activation Code button, and enter the code when prompted. Simply
paste in the 32-digit code you’ve just copied from your account on the ARTURIA website:
Enter the activation code
ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 23
The eLicenser Control Center is now ready to download the software license that will allow
you to use Moog Modular V. Click on Start, the progress bar should anime until download
completion. A popup window will confirm completion, just click Close.
Now the main eLicenser Control Center window should show your Moog Modular V license
installed and activated.
License is installed and activated
It’s now time to launch the Moog Modular V synthesizer in standalone mode to check
everything runs just fine:
Windows: Start > Programs > Arturia > Moog Modular V 2 > Moog Modular V 2
Mac OS X: Finder > Applications > Arturia Moog Modular V 2> Moog Modular V 2
24 ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL
5 QUICK START
This section of the manual will allow you to learn the general principles of how the Moog
Modular V works. This will be a presentation of the different views available, the modules and
signals used while using the program for the first time. You will find a detailed and precise
description of all of the modules and controllers visible on the screen in the following chapters.
The Sound Design chapter located in the second half of this manual is also recommended for
users who have never used a modular system before, and who wish to learn the fundamentals
of this domain.
5.1 T
The Moog Modular V is made up of four distinct sections:
The first at the top holds a sequencer and a certain number of effects.
The second, underneath, is for working on the sound synthesis with the different inter-
The third is an extension allowing us to regroup the different external input-outputs and
The fourth holds the virtual keyboard, as well as a section dedicated to the key follows
It is possible to keep only the fourth section on the screen, by clicking on the Keyb icon on the
toolbar.
When the whole synthesizer is displayed, we can move it vertically by using the icons that
represent the different views or by clicking and dragging the background.
5.1.1 The synthesis section
HE 4 SECTIONS OF THE MOOG MODULAR
connectable modules.
some internal cables.
and essential controllers.
V
Visible as soon as the synthesizer is opened, it is made up of two parts (cabinets). It integrates
the 33 modules necessary for the creation of sounds. The modules in the upper part can be
exchanged via the menu that appears when their name has been clicked. It is thus possible to
replace an envelope with a ring modulator, a filter with a frequency translator.
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The first section composed of 2 cabinets
5.1.2 The other three sections
The first, situated at the top of the synthesizer, contains the step sequencer and 4 effects (the
right hand effect can be either a chorus or phaser). The two others are found under the
synthesis section. One is a small extension containing the internal cables, while the other holds
the virtual keyboard and its assignable controllers.
The second section composed of a sequencer and effects
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The virtual keyboard and extensions section
5.1.3 Reduced view of the keyboard and the real time controllers
You also have the possibility to only keep the keyboard and its assignable controllers visible on
the screen. The goal is to have quick access to all of the important real time controllers and
sound presets all while having a smaller work surface.
Reduced view of the keyboard
5.2 U
SING PRESETS
Using presets is one of the main areas of evolution of the Moog Modular V when compared to
its predecessor, which did not save sound.
A preset contains all of the inter module connection information and the different controller
settings needed to reproduce an identical sound.
To make you familiar with the different sounds contained in the Moog Modular V, we will select
the preset Bass1.
For this, click on the button above the LCD screen indicating “C.Engel” (this screen
presents the name of the bank currently being used). By clicking, you will see a scrolling
menu appear which will indicate a list of the available banks. Choose the bank named
“JM.Blanchet”. Now click on the button above the second LCD screen presenting the word
“Leads” (this screen indicates the name of the sub-bank currently being used). Choose
“Basses”. Do the same thing on the 3rd LCD screen and select “Bass1”.
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Select the preset bass1
The presets, located on the Moog Modular V toolbar, are classed in “banks” and “sub-banks”. Each bank contains a
certain number of sub-banks, which determine in general a type of sound: sub-bank “basses”, sub-bank “sound
effects”, etc. Each sub-bank contains a certain number of presets.
The Moog Modular V is supplied with 800 additional “factory” sound banks, which allow you to get acquainted with
more sounds and sequences of the synthesizer. A bank called “User” offers a selection of presets allowing you to begin
from a base configuration to start the programming of a sound (for example the sound “1 oscillator” comes with an
oscillator pre-connected to the first filter – a low pass-, the signal then goes to VCA1).
Now let’s modify this preset To do this, we will start with a simple manipulation. Modify the
cut-off frequency of filter1, the first module on the top left of the synthesizer (a low-pass
resonant filter). Turn the “frequency” button in the direction of the hands of a watch. The
sound becomes increasingly “brilliant”. Set this knob as it pleases you.
The setting of filter1 cut-off frequency
By performing this first setting, you have already modified the preset “Bass1”. We will now
save the sound that you have created.
To save this newly created sound among the user presets, click on the Save icon in the
toolbar: the sound setting being used will be saved in the currently selected preset.
If the current preset is a “factory” preset, the factory preset will not be replaced (the “save”
icon will not be available). To choose another destination for this sound, click on the “Save as”
icon and choose the location. Select, for example, “new” in the choice of banks (“bank”). 2
new bank and sub bank (“Sub bank”) locations and a new preset are created the names
“default0”, “default0” and “default0” will appear in their respective displays (if other default
names exist, then the number is incremented). Click on each one to modify the name of the 3.
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Saving a preset
5.3 M
ODULAR SYNTHESIZER
The modular synthesizer cabinet contains 28 modules, which will help you to create an infinite
variety of sounds. These 28 modules can be broken down into different categories and will be
connected by cables.
5.3.1 First connections
Let’s see how to quickly create an evolving polyphonic sound:
To correctly understand the programming of the Moog Modular V, select the “Blank_ synth”
preset in the “User” / “Blank” bank. It holds no connections and thus produces no sound.
Take the “saw” output of oscillator2 and connect it to the audio input of filter1 (low-pass 24
dB). To do this click on the output jack of the waveform (a cable will appear) and drag it to
the filter1 input “in”. Once the cable has been released in the input jack, the connection
has been made.
Connection between oscillator 1 and filter 1
You can also create a connection by choosing the cable destination with a menu with a right click (or shift click) on
the output jack.
To delete a cable, click on it, it will then appear in a clearer color to show that it is selected. Press the “DEL” key on
the keyboard to remove the connection.
Now connect the audio output of this filter to the VCA1 (voltage controlled amplifier) audio
input. Once the connection has been made, you can “play the sound” on your MIDI
keyboard or the virtual keyboard offered by the Moog Modular V.
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Connection of the filter1 audio output to the VCA1 audio input
Once you have obtained a basic sound, you can add elements to enrich the sound.
Take the “saw” output of oscillator2 and connect it to the audio input of filter2.
Connection between oscillator 2 and filter 2
Next connect the audio output of this filter to the VCA2 audio input.
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