Moog Matriarch User Manual

IMPORTANT SAFETY INSTRUCTIONS

WARNING - WHEN USING ELECTRIC PRODUCTS, THESE BASIC PRECAUTIONS SHOULD ALWAYS BE FOLLOWED:

1. Read all the instructions before using the product.

2. Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool or the like.

3. This product, in combination with an ampliﬁer and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable.

4. The product should be located so that its location does not interfere with its proper ventilation.

5. The product should be located away from heat sources such as radiators, heat registers, or other products that produce heat. No naked ﬂame sources (such as candles, lighters, etc.) should be placed near this product. Do not operate in direct sunlight.

6. The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product.

7. The power supply cord of the product should be unplugged from the outlet when left unused for a long period of time or during lightning storms.

8. Care should be taken so that objects do not fall, and liquids are not spilled, into the enclosure through openings.

There are no user serviceable parts inside. Refer all servicing to qualiﬁed personnel only.

NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

— Reorient or relocate the receiving antenna. — Increase the separation between the equipment and receiver. — Connect the equipment to an outlet on a circuit different from that to which the receiver is connected. — Consult the dealer or an experienced radio/TV technician for help.

CAUTION: Please note that any changes or modiﬁcations made to this product not expressly approved by Moog Music Inc. could void the user’s authority granted by the FCC to operate the equipment.

TABLE OF CONTENTS

UNPACKING & INSPECTION

SETUP & CONNECTIONS

ABOUT MATRIARCH

SIGNAL FLOW

FEATURES & CONTROLS

KEYBOARD

LEFT-HAND CONTROLLER

1 1

OSCILLATORS

UNDERSTANDING OSCILLATOR SYNC

OSCILLATOR PATCH POINTS

MIXER

MIXER PATCH POINTS

FILTERS

FILTER PATCH POINTS

ENVELOPE GENERATORS (ADSR)

ENVELOPE GENERATOR PATCH POINTS

OUTPUT

VCA PATCH POINTS

STEREO DELAY

STEREO DELAY PATCH POINTS

MODULATION

MODULATION PATCH POINTS

UTILITIES (1)

UTILITIES (2)

ARP / SEQ

ARP / SEQ PATCH POINTS

ARP / SEQ LHC CONTROLS

PARAPHONY

REAR PANEL

AUDIO JACKS

STEREO DELAY JACKS

KEYBOARD JACKS

ARP / SEQ JACKS

MIDI PORTS

GLOBAL SETTINGS

SIGNAL FLOW DIAGRAMS

BLANK PRESETS

SPECIFICATIONS

WARRANTY

SERVICE & SUPPORT INFORMATION

STEREO DEL AY

2 3

8’ 4’

16’

2’ 16’

2’

8’ 4’

16’

2’

2’16’

200Hz 2kHz

20Hz 20kHz

Based on the vintage circuitry of classic Moog synthesizer modules, Matriarch

is a catalyst for creative ideas and a medium for multidimensional expression.

6 7

UNPACKING & INSPECTION

Check the contents of the shipping carton. Be careful when unpacking your new Moog Matriarch® so that nothing is lost or damaged. Moog recommends saving the carton and all packing materials in case you ever need to ship the instrument for any reason.

Matriarch ships with the following items:

Matriarch Semi-Modular Analog Synthesizer Power Supply Owner’s Manual Patch Cables Registration Card

What you will need:

A table or surface where you can set your Matriarch. (30lbs / 13.61kg) A 1/4” instrument cable and ampliﬁed speaker, or headphones with a 1/4” plug. A properly wired AC outlet. (100 Volts to 240 Volts AC; 50/60 Hz)

SETUP & CONNECTIONS

Speakers

Headphones

Power Supply

POWER

Plug the included power adapter into the 12V DC power jack on the back of your Matriarch. Plug the other end of the included power adapter into an AC outlet. Matriarch uses a universal power supply that operates with power sources from 100 Volts to 240 Volts AC; 50/60 Hz.

NOTE: Your Matriarch is an analog instrument and should be allowed 10-15 minutes to warm up before use. In cases where it has been left in a cold car overnight, for example, it may take as long as 25 minutes before oscillator tuning has stabilized. Do not operate Matriarch in direct sunlight.

AUDIO OUTPUTS

With the Matriarch MAIN VOLUME knob turned all the way down, plug one end of a 1/4” (TS) instrument cable into the MAIN OUT LEFT (MONO) jack on the rear panel to monitor the instrument in mono. To monitor the instrument in stereo, connect a second 1/4” (TS) instrument cable to the MAIN OUT RIGHT jack on the rear panel.

NOTE: The MAIN OUT jacks will work with both TS and TRS 1/4” cables.

Plug the other end(s) into an ampliﬁed speaker or mixing console line-level input. Raise the MAIN VOLUME knob above the 12 O’clock position, and adjust the ampliﬁer or mixer level accordingly.

HEADPHONE OUT

Also on the rear panel is a stereo headphone jack, complete with its own HEADPHONE VOLUME knob for private listening or monitoring.

NOTE: This headphone jack is unaected by the MAIN VOLUME knob in the Output module on the front panel.

ABOUT MATRIARCH

Matriarch sits at the pinnacle of the Moog family of semi-modular synthesizers. The patchable architecture and classic Moog circuits reward open exploration with endless sonic possibilities and unparalleled analog sound. Matriarch’s four analog VCOs can be split into four notes of paraphony that can be sequenced, shifted, and stored with the instrument’s intuitive 256 step Sequencer, or stacked in unison to create a massive four-oscillator mono synth.

With a deep assortment of synthesis modules based on Bob Moog’s original circuit designs, Matriarch provides a 100% analog signal path spanning a dynamic sonic vocabulary – from overdriven monophonic bass to gently evolving paraphonic plucks that cycle through waveshapes into a wash of inﬁnite delay trails. Coupling the power of vintage-designed stereo Ladder Filters, dual Envelope Generators, stereo Analog Delays, and stereo VCAs, Matriarch delivers a multi-dimensional sound that empowers the sonic exploration of both space and time.

Although Matriarch uses a semi-modular design that requires absolutely no patching, 90 modular patch points are easily accessible throughout the panel via the included 3.5mm patch cables. This powerful electronic instrument is a highly-versatile addition to any stage or studio that can effortlessly transform from a performance keyboard into a fully modular analog synthesizer at a moment’s notice.

In addition to its standalone function, Matriarch is also an ideal processor of external sound sources and a powerful keyboard front-end for expanding a DFAM, Mother-32, Grandmother, or Eurorack modular system.

MOD

EXQUISITE EXPRESSION

49 velocity-sensing keys with aftertouch, glide, and pitch & mod wheels.

HANDS-ON INTERFACE

Color-coded semi-modular front panel with single-function knobs, switches, and buttons.

PATCHABLE PERFORMER

90 modular patch points with expression pedal connectivity, external audio input, plus 5-Pin DIN & USB MIDI.

OSCILLATOR ABUNDANCE

4 analog oscillators with Hard Sync and FM capabilities.

FLEXIBLE FILTERING

Dual Ladder ﬁlters conﬁgurable in series, parallel, or stereo modes.

RHYTHMIC RECALL

Record and playback 12 unique sequences with up to 256 notes each, or arpeggiate endlessly through a random selection of held notes.

MULTIPLE MODULATORS

Dual, voltage-controlled analog LFOs with selectable waveforms and patchable routing.

ANALOG EFFECTS

Stereo analog delay with MIDI sync, ping pong, and tap tempo.

USEFUL UTILITIES

Three bipolar voltage-controlled attenuators and two 4-jack mults.

VERSATILE VOICING

Perform in mono (1-note), 2-note, and 4-note paraphonic modes.

SIGNAL FLOW

PITCH

OSC 1

PWM

PITCH

OSC 2

PWM

PITCH

OSC 3

PWM

PITCH

MOD OSC

MOD WHEEL VCA

REFERENCE: To view the full Signal Flow diagram see Page 70-71.

OSC 4

PWM

NOISE

FEATURES & CONTROLS

Matriarch’s panel is comprised largely of single-function knobs, switches, and buttons that are grouped together by module. Each module is equipped with a set of 3.5mm patch points that can be utilized to create new audio and control pathways within Matriarch. These patch points can also be used to establish synchronization and interconnectivity with other Moog synthesizers like Mother-32, DFAM, and Grandmother, or to create a completely a new instrument through deep integration with a Eurorack modular system.

NOTE: Additional patch points and connectors are available on Matriarch’s rear panel.

KEYBOARD

Matriarch offers a 49-note Fatar keyboard with velocity and channel aftertouch. There are no hardwired connections for these signals; they can be easily accessed via rear-panel patch points and MIDI.

NOTE: By using the Mults and Attenuators found in the Utilities modules, multiple parameters can be aected – in varying amounts – using the Keyboard Pitch, Velocity and Aftertouch control signals.

LEFT-HAND CONTROLLER

The Left-Hand Controller (LHC) is home to a number of performance-enriching controls. The PITCH (Pitch Bend) and MOD (Modulation) wheels deliver real-time expression, while the GLIDE knob provides enhanced articulation between notes. The Left-Hand Controller is also home to the Transport Buttons for the Arpeggiator and Sequencer, allowing instant access to these powerful features during performance.

MOD

TRANSPORT BUTTONS

PLAY

The green P L AY button acts as a toggle, either arming or disarming the Arpeggiator or Sequencer. When this button is lit, pressing the notes to be arpeggiated, or the starting note of a sequence, will begin playback. This button will remain lit when the Sequencer or Arpeggiator is armed.

HOLD

The blue HOLD button acts as a latch for the Arpeggiator and the Sequencer, where notes played and released remain held until new notes are played. This button will remain lit as long as the Hold function is engaged.

TAP

The playback tempo of the Arpeggiator or Sequencer can be set using a series of successive taps on this yellow TAP button. Once a Tempo has been entered using the TAP button, it will remain lit yellow. To exit Tap Tempo, simply press and hold the TAP button until its light goes out.

TIP: As long as the TAP button is lit yellow (indicating a tempo has been entered using this method), turning the RATE knob in the ARP / SEQ module will select clock divisions of this tempo.

NOTE: More speciﬁc information regarding these buttons can be found in the ARP / SEQ chapter of this manual located on Page 49.

LEFT-HAND CONTROLLER (Continued)

OCTAVE TRANSPOSE

The Transport Buttons can also be used to shift the pitch of the keyboard up or down in one-octave increments. This allows the range of the keyboard to be extended without changing the settings of individual oscillators. To transpose the keyboard by octave units, simply press and hold the [SHIFT] button, and then press the [<KB] button (down one octave) or [KB>] button (up one octave). The transpose range is up or down two octaves.

NOTE: Press the HOLD, PLAY, and TAP buttons at the same time to reset Matriarch to its default octave. Press and hold these same three buttons for one second to utilize the MIDI Panic function and silence any stuck notes.

PITCH

The PITCH wheel (Pitch Bend) provides an intuitive method for quickly bending the pitch of the oscillators up or down during live performance.

NOTE: The PITCH wheel is spring-loaded and will return to center position as soon as it is released.

MOD

The MOD wheel (Modulation) provides an expressive way to introduce and control modulation while performing. At minimum position, no modulation is applied. As the MOD wheel’s position is raised, more modulation is introduced. At its uppermost position, the amount of modulation is equal to the maximum values set using the

PITCH AMT (Oscillator Pitch), CUTOFF AMT (Filter Cutoff Frequency), and PULSE WIDTH AMT (Pulse Width Modulation [PWM]) knobs in the Modulation module.

NOTE: Unlike the PITCH wheel, the MOD wheel is not spring-loaded, and will remain in position until it is moved again.

TIP: You can patch from the MOD WHL OUT jack on the Matriarch rear panel to any available destination for a more expressive and expansive performance.

LEFT-HAND CONTROLLER (Continued)

GLIDE

Glide produces a smooth, continuous change in pitch when transitioning from one note to the next. The GLIDE knob sets the amount of time needed to complete this transition. When the GLIDE knob is set to minimum, there is no Glide effect. Raising the value of the GLIDE knob will increase the Glide time between notes from zero to a maximum value of roughly ten seconds.

TIP: Legato Glide only produces the Glide eect when a new note is played while the previous note is still held down on the keyboard. To turn Legato Glide On, continue to press the [SHIFT] button while turning the GLIDE knob to the right. To turn Legato Glide O, continue to press the [SHIFT] button while turning the GLIDE knob to the left. The Default setting for Legato Glide is O.

OSCILLATORS

Matriarch’s analog sound begins with four voltage-controlled oscillators (VCOs) of nearly identical design. Each oscillator provides individual control of the Octave and Waveform settings, while Oscillators 2, 3, and 4 also feature a FREQUENCY knob used for detuning from Oscillator 1.

Oscillators can be tuned in unison or set to differing intervals, octaves, and waveforms to create a vast expanse of monophonic and paraphonic sounds.

Oscillators 2, 3, and 4 can also be Hard Sync’d to the previous oscillator using the dedicated SYNC buttons – Oscillator 2 can be sync’d to Oscillator 1, Oscillator 3 to Oscillator 2, and Oscillator 4 to Oscillator 3.

NOTE: There is a FINE TUNE knob located on Matriarch’s rear panel for adjusting the overall tuning of the instrument.

MODULE PROVENANCE: Matriarch’s Oscillators are based on those found in the Minimoog Voyager and are descendants of the classic Moog 921 Oscillator design.

OCTAVE

This four-position switch is used to select the fundamental octave setting for each oscillator. The choices are 16’, 8’, 4’ and 2’.

NOTE: These octave numbers originated as lengths (or footages) in the days of pipe organs.

16’

8’ 4’

2’

OSCILLATORS (Continued)

FREQUENCY (Oscillators 2, 3, & 4)

The FREQUENCY knob detunes each oscillator from the pitch of Oscillator 1 over a range of +/- 7 semitones (or a musical 5th). The center position (12 O’clock) tunes the oscillator in unison with Oscillator 1. Increasing the value (+) raises the pitch, while decreasing the value (–) lowers the pitch.

NOTE: The range of the FREQUENCY knobs can be speciﬁed in the Global Settings.

OSCILLATOR

HARD SYNC’D OSCILLATOR

SYNC ENABLE (Main)

Pressing the main red SYNC ENABLE button enables the Sync functions of Oscillator 2, Oscillator 3, and Oscillator 4. The button will remain lit as long as the Sync function is On. Press the red SYNC ENABLE button a second time to turn the Sync function Off.

NOTE: When the frequency of the sync’d oscillator is set below that of the oscillator it is sync’d to, the sync’d oscillator will not be able to complete a full cycle before it is forced to reset, resulting in little or no sound.

UNDERSTANDING OSCILLATOR SYNC

When two oscillators are sync’d, the ﬁrst oscillator behaves normally, while the phase of the second, or sync’d oscillator, is forced to reset its cycle to match each new cycle of the ﬁrst oscillator. This synchronization causes the waveform of the sync’d oscillator to take on a more complex wave shape as it works to stay aligned with the ﬁrst oscillator. Sync is useful for creating sharp, metallic, and ﬂange-like sounds, while also ensuring that the pitch of the sync’d oscillator stays locked to the pitch of the ﬁrst oscillator.

TIP: Applying modulation to the pitch of a sync’d oscillator is a great way to enhance the sound of the Sync eect.

INDIVIDUAL OSCILLATOR SYNC (Oscillators 2, 3, & 4)

Oscillators 2, 3, and 4 are each equipped with a dedicated button that allows it to be sync’d to the previous oscillator.

1 2 SYNC

Pressing this button (On/lit red) will cause Oscillator 2 to become sync’d to Oscillator 1. In this case, changing the Frequency of Oscillator 2 will vary the degree of the Sync effect and its associated harmonic content. The range of the FREQUENCY knob is also greatly increased while the oscillator is sync’d.

OSCILLATORS (Continued)

2 3 SYNC

Pressing this button (On/lit red) will cause Oscillator 3 to become sync’d to Oscillator 2. In this case, changing the Frequency of Oscillator 3 will vary the degree of the Sync effect and its associated harmonic content. The range of the FREQUENCY knob is also greatly increased while the oscillator is sync’d.

3 4 SYNC

Pressing this button (On/lit red) will cause Oscillator 4 to become sync’d to Oscillator 3. In this case, changing the Frequency of Oscillator 4 will vary the degree of the Sync effect and its associated harmonic content. The range of the FREQUENCY knob is also greatly increased while the oscillator is sync’d.

NOTE: Remember, the main red SYNC button must be On (lit) for the individual Oscillator Sync functions to work.

WAVEFORM (Triangle, Sawtooth, Square, Pulse)

Each waveform has unique harmonic content that is based on the number and strength of the harmonic overtones that it contains. These overtones are what impart a particular timbre, or character, to the sound of each oscillator. This four-position knob is used to select the oscillator’s waveform. The choices are Triangle, Sawtooth, Square, and Narrow Pulse.

TRIANGLE

The Triangle wave has an extremely strong fundamental, and contains only odd-numbered harmonics at very low levels. This makes the Triangle wave an ideal choice for creating soft, ﬂute-like sounds that have a relatively pure tone with little overtone activity.

TIP: Try mixing a Triangle wave from one oscillator with a more complex wave from another to emphasize one particular harmonic without adding unwanted overtones.

SAW TOOTH

The Sawtooth wave is the most harmonically dense of the four waveform options, containing all of the natural harmonics in relatively strong levels. In addition to creating thick, brassy sounds, the Sawtooth wave lends itself to powerful lead and bass sounds as well.

PULSE WAVES (Square & Narrow Pulse)

A Pulse wave contains only odd-numbered harmonics. Think of it as a switch that is being turned off and on hundreds or thousands of times per second. Pulse width, or duty cycle, is the percentage of time that the wave is “on.” Every pulse width has its own unique harmonic structure, making a variety of basic timbres possible.

OSCILLATORS (Continued)

SQUARE

A Square wave is simply a Pulse wave with a 50% duty cycle, meaning that in a single cycle, it is on half of the time and off half of the time. If the frequency is 440 Hz, it turns on and off 440 times every second. Square waves have a hollow sound and provide a rich starting point for clarinet and bass sounds.

NARROW PULSE

As a Pulse wave continues to grow narrower, the resulting timbre takes on a more reedy, or nasal tone and is used to make oboe and even classic “clav” sounds.

TIP: Varying the duty cycle of the Pulse wave can result in a wide variety of lush or chorus-like sounds. With at least one oscillator set to produce a Pulse wave, try experimenting with the PULSE WIDTH AMT knob in the Modulation module and listen to how modulating this waveform aects the sound.

OSCILLATOR PATCH POINTS

Each Matriarch oscillator is equipped with versatile patch points, allowing for a variety of modulation possibilities, including Linear FM (Frequency Modulation) and PWM (Pulse Width Modulation).

NOTE: The patch points for each oscillator are identical.

PITCH IN (Exponential Frequency Modulation)

A control signal connected to this input will modulate the Pitch (Frequency) of a patched oscillator and all subsequent oscillators, unless a subsequent oscillator is also receiving a modulation signal via its own PITCH IN jack. This input voltage is added to the voltage from the note played on the keyboard.

NOTE: Connecting a modulation source to the PITCH input on Oscillator 1 will aect the Pitch of Oscillators 1, 2, 3, and 4. Connecting an additional modulation source to the PITCH input of Oscillator 2 will aect the Pitch of Oscillators 2, 3 and 4 , and will prevent the modulation signal arriving at the Oscillator 1 PITCH input jack from modulating these oscillators.

TIP: By connecting a modulation source to the Oscillator 1 PITCH IN jack, and a “dead patch” to the Oscillator 2 PITCH IN jack, only Oscillator 1 will receive the modulation signal. A dead patch is a cable connected to a patch point with no connection on the opposite end, used to interrupt normalized signal paths.

CV INPUT: -5V to +5V Control Voltage (1V/Oct)

OSCILLATORS (Continued)

LIN FM IN (Linear Frequency Modulation)

Connecting an audio signal or high-frequency control signal to this input introduces Linear Frequency Modulation (FM) to a patched oscillator, which can be useful in creating brash, metallic, or bell-like tones.

CV INPUT: -5V to +5V Control Voltage (AC coupled)

PWM IN

A control signal connected to this input will modulate the pulse width of the Square or Narrow Pulse waveform selected by a patched oscillator. Pulse Width Modulation (PWM) varies the duty cycle, or pulse width of a wave, and thereby changes its harmonic content. Among other things, PWM is often used to mimic the sound of ensemble strings and to thicken bass sounds.

CV INPUT: -5V to +5V

WAVE OUT

The audio signal available at this output is determined by the settings of the

OCTAVE, FREQUENCY, SYNC and WAVEFO R M knobs of a patched oscillator.

MIXER

CV / AUDIO OUTPUT: 10V peak-to-peak

The Mixer is where all of the sound sources within Matriarch are blended together before being passed on to the Filter. Patch points in the Mixer allow each hardwired source (Oscillators 1 – 4 and Noise) to be replaced with an external audio signal. There is also a line-level Instrument Input on Matriarch’s rear panel that feeds directly to the Mixer.

MODULE PROVENANCE: Matriarch’s Mixer is based on the classic Moog CP3 module.

MIXER (Continued)

NOISE

Matriarch features a built-in White Noise generator. Noise is an unpitched sound source that can be a useful tool for creating powerful percussion sounds, or for adding a gentle breath to synthesized wind instruments such as ﬂutes. The NOISE knob sets the level of the White Noise generator as it enters the Mixer. Settings above 11 O’clock will impart gentle distortion, while higher settings will result in more overdriven sounds.

NOTE: A High Pass Filter (HPF) can be applied to the noise signal using the Global Settings on page 63, allowing the color (or harmonic strength per frequency band) to be adjusted.

OSCILLATOR 1

The OSCILLATOR 1 knob sets the level of Oscillator 1 as it enters the Mixer. Settings above 11 O’clock will impart gentle distortion, while higher settings will result in more overdriven tones.

OSCILLATOR 2

The OSCILLATOR 2 knob sets the level of Oscillator 2 as it enters the Mixer. Settings above 11 O’clock will impart gentle distortion, while higher settings will result in more overdriven tones.

OSCILLATOR 3

The OSCILLATOR 3 knob sets the level of Oscillator 3 as it enters the Mixer. Settings above 11 O’clock will impart gentle distortion, while higher settings will result in more overdriven tones.

OSCILLATOR 4

The OSCILLATOR 4 knob sets the level of Oscillator 4 as it enters the Mixer. Settings above 11 O’clock will impart gentle distortion, while higher settings will result in more overdriven tones.

MIXER (Continued)

MIXER PATCH POINTS

These Mixer module patch points provide a convenient way to replace any or all of the internal sound sources entering the Mixer with an external sound source, such as a Eurorack oscillator or other electronic music devices.

TIP: Matriarch’s Mixer is DC coupled, which means it can also be used to sum multiple control voltages. Combining audio signals with control signals will yield results that can be unique, bizarre, or completely undesirable.

PERFORMANCE NOTE: Mix gates are located on Oscillator channels 1-4. When in 2-Note or 4-Note Paraphonic mode, external sources will be dynamically muted just as the onboard oscillators would.

NOISE IN

When an external audio source is patched to this input, the Noise generator will be removed from the signal path, and the NOISE knob will control the level of the new source.