Moog MultiMoog User Manual

Mutefmoog

Multimoog

Muitimoog

Multimoog

OPERATION

MANUAL

by

Tom

Rhea

introduction

The

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for

performers

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lowest

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oscillator

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up

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on

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rear

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the

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Hold

any

key

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listening

waveshape.

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Slowly

control

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waveshape.

various

to

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rotate

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keyboard

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be

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Play a short

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frequency.

6.

Try

different

the

oscillator.

section

of

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CUTOFF

the

beats

to a harmonic

CUTOFF

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aoaifour»

may

be

synchronized

oscillator

frequency

disappear,

frequency.

control

of

the

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of

settings

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keyboard.

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at

a

Slowly

clockwise,

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section.

section

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oscillator

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with

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the

pitch

about

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exercise:

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it

becomes

conjunrtion

added, have

four

the

pitch

of

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OSCILLATOR

and

both

above,

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frequency

the

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with

and

both

tones

sound

the

oscillators

which

of

oscillators.

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used

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synchronized

of

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section

source.

are

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follow

section

B

section

as

oscillator.

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in

When

used,

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sound

sources

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the

TONE

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be

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it

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keyboard

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to

as

at

the

(END

used

EXERCISE)

mode,

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is

to

in

parallel.

produces

strange

which

useful

7.

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from lower

should

OSCILLATOR B and

section.

the

DOUBLING

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provides

than

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pitch of

now

hear

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oscillators

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interval,

to

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settings.)

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filter

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experiment and

control

clockwise

a

tone

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three

produce

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tones:

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become

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away

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octaves

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two

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as

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33

CLANGOROUS

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partials

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that

stand

as

feature

are

not

in

whole

SOUNDS

clangorous

being

metallic

of a bell

harmonic.

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sounds

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relationships

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is

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partials

to

A

of

that

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each

other.

in

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give

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clangorous

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Multimoog,

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TONE

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the

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impression

exercise

sounds:

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it

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create

of

metallic

shows

to

non-harmonics

or

how

FILTER

section

use the

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that

bell-like

sounds.

to

produce

EXERCISE

1.

Hold

the

lowest

2.

Switch

position.

OSCILLATOR B is

the

rapidly

FILTER.

3.

Slowly

OSCILLATOR

the

FILTER

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should

cutoff

frequency

changing

rotate

the

B

modulation.

5:

key

on

the

MOD

BY

OSC B to

hear a repeating

now

modulating

of

the

pitch

WIDE

section

At

FREQ

to

increase

some

point

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keyboard

FILTER

produced

control

MODULATION

down.

the

WEAK

pattern.

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section,

by

the

in

the

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ear

of

no

BY

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arrow

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settings.

5.

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and

section, section

sounds

(B),

controls.

hears

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keyboard.

sound

produced

waveshape

and

is

producing.

by

trying

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FREQ,

B

totmm

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the

rapid

produced

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various

V.

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ILTIRCDNTOUD

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modulation

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depends

frequency

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repetitions,

as a

different

on

by

the

that

these

settings

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but

new

timbre.

WIDE

the

OSCILLATOR

of

WAVESHAPE

and

FREQ

frequency

B

the

FILTER

clangorous

CUTOFF

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is

an

example

controller.

oscillator switch still

affect

connected

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make

when

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Notice

as a sound

is

to

OFF.

the

sound,

to

the

an

analogy,

you

play

the

you

create

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control

violin,

NON-PITCHED

NOISE

signal—a

hear

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SECTION

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synthesizer

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NOISE

noise"

static-like

channels

section

that

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of

that

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source,

OSCILLATOR

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input

your

but

vibrato

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language,

on

of

been

use

of

an

oscillator

are

not

listening

since

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OSCILLATORS

B

control

that

oscillator

of

the FILTER

fingers

FM

don't

make

they

control

on

the

violin

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sound.

radio

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Multimoog

balanced

is a random

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is

an

to

(END

settings

has

section.

sound

the

sound.

you

sound you

example

provides

have

EXERCISE)

as

a

to

an

been

are

of

equal

modulating

and

rapid would On

the

B

section

the

pitch

WEAK

switch

modulation.

energy

and

hissy,

have

harmonics

oscillator;

occuring

exercise

like

on

the

frequency

vibrato

create

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to

produced

and

represent

in

all

nor too

noise

randomly,

shows

the

on

the

new

sound

it

is

act

like

a

finger

by

the

STRONG

octaves.

Multimoog:

positions

the

relative

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low

and

like

the

may

be

or

you

what

of

the

sound.

violin—if

humanly

textures

possible

for

on

the

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section

on

amount

it

sounds

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waveshapes

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without

of

order.

unmodified

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very

possible-

that

are

bell-like.

the

OSCILLATOR

string

to

modulate

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the

FILTER

of

frequency

neither

too

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does

produced

as

all

frequencies

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following

noise

wide

rapidly.

MODE

high

not

by

an

sounds

34

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1.

Hold

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2.

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must

noise.

EXERCISE

OBCIU^kTOB

oas

ocnyneii

are

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mnoxt

KfTI

down

the

highest

listening

that

the LEVEL

be

turned

to

up

(toward

key

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control

6:

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on

the

noise.

of

the

NOISE

"10")

in

order

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keyboard.

section

to

hear

THE

NOISE

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—>

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mmrn

3.

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sole

sound

must

be

removed

switch

desired

switch

to

as a sound

must

SECTION

4*V

esnout

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want

to

hear

source,

OFF.

not

the

by

placing

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source,

be

in

the

NOISE

sound

since

the

TONE-position.

section

of

the

OSCILLATORS

the

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the

FILTER

as

the

oscillators

is

not

MODE

Noise

is

often

percussion

filtered

instruments.

MODIFIERS

A

modifier

processes

modifiers

sources,

input

must

wax

mi

or

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changing

and

an

flow

through

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alters a

audio

signals

the

output

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and

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device

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from

the

sound

has

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to

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modified

tone

control

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MODULATKIIV

EXERCISE)

the

sounds

that

an

on

a

\sr

of

wind,

stereo

sound

that

set, a phaser,

since

passes

The

controlled

front

panel;

represented

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surf,

jets,

cymbals

wah-wah

they

changethenatureofthe

through

them.

Multimoog

amplifier

(VCA)

and a voltage

by

the

FILTER

and

other

pedal,

has

two

that

controlled

section.

are

modifiers,

is

not

depicted

filter

modifiers

audio

a

VCA

of

signal

voltage

on

the

(VCF)

as

VCA,

CONTROLLED

Multimoog modifying

on CONTOUR

opens

sound.

OR

The

its

the

front

and

The

VOLTAGE

AMPLIFIER

voltage

is

responsible

loudness.

section

closes

VCA

controlled

The

panel;

provides

the

VCA,

may

amplifier

for

articulating

VCA

itself

its

associated

a

control

creating

be

held

completely

sound

is

not

LOUDNESS

voltage

articulations

'of

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by

depicted

that

of

open

(maximum

slide

LOUDNESS

input

a

control

sound;

sound.

gain,

or

loudness)

switch

of

controller

and

The

to

ON.

CONTOUR

the

voltage

to

over

fall

controlled

open

rise

time

(release),

following

by

placing

When

is

and

(attack),

Exercise

BYPASS

connected

amplifier

close

or

to

the

VCA.

the

beginning

the

final

illustrates:

the

BYPASS

is

OFF,

the

control

and

is

used

as

This

allows

of

a

portion

of

a

35

EXERCISE

7:

MODIFYING

LOUDNESS

BY

CONTROLLING

THE

■Mat

VCA

uaantoa

OCX

1.

Place

BYPASS

hear

sound

controlled

completely

2.

Return

then

release.

immediate

3.

Notice

the

immediate

position, connected

controlled

CONTOUR

called

shaping

the

VCA.

that

LOUDNESS

When

the

to

creates

"envelope")

the

loudness

Use

of

switch

continuously,

amplifier

open

BYPASS

The

attack

the

attack

the

BYPASS

LOUDNESS

the

amplifier

a

which

the

LOUDNESS

Q0PDQ0DQ

to

ON

position.

since

(VCA)

("bypassed").

switch

ATTACK

control

to

OFF.

sound

voltage

of

is

articulated

and

release.

and

RELEASE

CONTOUR

and

release.

switch

(VCA).

opens

any

Play

is

in

CONTOUR

input

The

"contour"

and

sound

CONTOUR

You

the

is

being

Depress

with

controls

are

keyboard

its

normal

section

of

the

LOUDNESS

(sometimes

closes

passing

section

should

voltage

held

any

key,

nearly

of

set

for

and

(END

voltage

the

EXERCISE)

OFF

is

VCA,

through

to

note immediate

end).

4.

Vary

CONTOUR part

you

5.

Vary

CONTOUR.

portion,

you

control

sources—they

The

sound

input

by

amplifying

controlled

when

increases

VCA.

that

the

attack

the

ATTACK

slightly.

of

the

sound,

move

the

control

the

RELEASE

Notice

or

release of

move

the

control

the

VCA

doesn't

are always

source

of

the

it

generates

and

in

use

VCA;

the

it.

The

by

the

LOUDNESS

decreases

sound

and

control

or

control

potentially

is

VCA

amount

a

signal

the

is

articulated

release

Play

attack

clockwise.

that

the

clockwise.

"turn

always

modifies

of

gain

(beginning

in

the

LOUDNESS

keyboard.

time,

in

timing

sound

on"

present

this

CONTOUR

that

(amplification)

The

is

increased

the

LOUDNESS

of

is

increased

any

of

available

at

the

sound

amplification

"contours,"

with

and

initial

as

the

final

as

the

sound

for

use.

the

audio

source

is

section

or

of

the

FILTER

A

implies—it Multimoog

lowpass in Sound"

filter; reject

"cuts

which

and signal

36

resonant

creating

that

The

this

the

off"

lie

passes

passing

SECTION

filter

modifies

removes a portion

features

filter.

the

distinctive

has

become

Multimoog's

filter

acts

highs.

the

above

the

The

higher

the

lower

through.

sound

the

patented

This

popular.

FILTER

to

pass

FILTER

frequency

adjustable

frequency

The

the

of

Moog™

unique

and

recognizable

section

the lows

section

components—those

"cutoff

components

CUTOFF

way

the

name

the

sound.

wide

filter

plays

is a lowpass

of a sound

attenuates,

The

range

a role

"Moog

and

or

frequency,"

of

the

control

sets

this

cutoff

the lower

will

frequency.

CUTOFF

the

cutoff

have

after

A

waveshape

CUTOFF the

control

cutoff

fundamental

of

the

upper

approximates

harmonics).

very

low

cutoff

and

silence

illustrates

FILTER

The

cutoff

control

is

moved

frequency,

passing

frequency

through

is

rounded

is

moved

is

of

harmonics

a

sine

waveshape

If

the

CUTOFF

frequency,

will

result.

section

frequency

counterclockwise;

the

fewer

the

and

counterclockwise.

so

low

the

waveshape,

are

cut

(pure

control

all

sound

The

features:

is

lowered

as

the

highs

a signal

filter.

smoothed

as

the

When

it

approaches

off

and

the

tone

is

set

to

may

following

the

almost

all

signal

with

no

cause

a

be

cut

off

Exercise

EXERCISE

1.

Hold

down

listening

waveshape.

2.

While

control becomes becomes

partials

The

sawtooth

"highs"

counterclockwise:

listening,

counterclockwise.

are

diagrams

waveshape

by

8:

MODIFYING

any

key

on

to

the

sound

less

bright

muted,

cut

off.

below

rotating

of

slowly

and

finally

show

as

you

progressively

the

an

7

A

WAVESHAPE

keyboard.

unfiltered

rotate

Notice

buzzy,

and

disappears

what

CUTOFF

You

sawtooth

the

CUTOFF

that

the

sound

eventually

when

happens

to

cut

off

control

are

all

a

the

WITH

«m*M

onuiets

6.

Move

the

EMPHASIS

the

CUTOFF

harmonic

move

the

cutoff

can

confirm

harmonics

The

EMPHASIS

feed

back

energy

makes

when

EMPHASIS

peak

graphics

Maximum

the

Continue

the

presence

the

CUTOFF

settings

at

the

cutoff

by

the

EMPHASIS

emphasis

EMPHASIS

individual

control

harmonics

the

Exercise:

THE

in

of

FILTER

niqwec

reramx

control

control.

the

that

the

right

You

can

sawtooth

frequency the

sawtooth

harmonic

control

of

is

used

at

the

cutoff

harmonics

control

increase

frequency;

the

control

is

reached

is

at

set

high,

present

SECTION

nttu

toaaas

sstw

to

"10."

actually

waveshape

through

waveshape

series.

to

emphasize,

frequency.

more

is

moved.

height

position

of a resonant

look

at

for

an

it

is

possible

in

any

umcmb

uui

cms

Now

move

hear

as

it.

Now

has

each

you

all

or

This

apparent

Higher

the

panel

illustration.

"10."

When

to

hear

waveshape.

y

Now

let's

explore

3.

Hold

down a low key

4.

Check

"O."

5.

Move

positions.

harmonics

you

cutoff

to

the

can't

frequency

the

use

of

the

EMPHASIS

on

the

keyboard.

see

that

the

EMPHASIS

CUTOFF

Even

though

as

you

distinguish

control

you

are

move

passes

Noise

the

each

harmonic

through

may

passing

CUTOFF

be

filtered

control:

control

throughout

it.

is

at

its

through

control,

as

the

to

produce

some

7.

Hold

down a key

8-

check

9.

Select

move

the

frequency

unusual

to

10.'

see

different

the

CUTOFF

harmonics

passes

sound

on

the

keyboard.

that

the

EMPHASIS

WAVESHAPE

control;

in

the

waveshape

through

(END

EXERCISE)

effects.

Try

control

(B)

settings

see

if

you

can

as

the

them.

the

following

Exercise:

is

at

and

hear

cutoff

37

EXERCISE

OQOQOOQB

■ium.

nmsurt

oas

ij

oonynw

1.

Hold

source

2.

Slowly

counterclockwise.

"cut

The

modifies

preceding

section

frequencies

any signal—by

works,

jtawnti

down

any

is

the

rotate

off."

FILTER

Exercise

but the

in

noise.

ma

WI

key

on

NOISE

the

The

section

cutting

illustrates

"smooth"

Even

when

9:

MODIFYING

ocurt

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mm«

MOBUtATIQW

the keyboard.

section.

CUTOFF

highs

are

mmxitt

The

sound

control

progressively

(END

modifies

not

noise

just

off

the

highs.

only

how

the

FILTER

distribution

EMPHASIS

is

high,

NOISE

»«iim

CX5

awe

WITH

inn

Muna

3.

Set

the

You

Noise

picked out

EXERCISE)

as

it

The

of

no

distinctive

EMPHASIS

a

"pitch"

because

frequency

only

THE

CUTOFF

should

determined

FILTER

EMPHASIS

control

hear

doesn't

as

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harmonics

control

is

settings

that

portion

emphasized,

SECTION

control

throughout

"wind"

have

harmonics

cutoff

are

heard

noise

by

the

cutoff

of

noise

making

ma

/-v.

■OUONSSB

to

"10."

its

sounds

varying

that

frequency

in

noise.

will

begin

frequency.

around

it

easier

nuta/s.

COMTOUfl

Now

move

positions.

pitch.

can

is

moved.

But,

at

high

to

take

This

the

cutoff

to

hear.

be

on

is

CONTROLLERS

A

controller

control

Multimoog,

frequency

and

directly,

or

this

with a voltage

modifiers

controllers

and

amplifier

but

are

modify

sound.

means

we

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input

of a section

defined

that

oscillator

circuitry

play

the

by

position.

controlled

keyboard

When

higher.

as a controller.

the

keyboard

section;

produces

up

the keyboard.

frequency

placing

the

Since

(VCO),

causes

you

play

generates

and/or

may

waveshape,

gain.

Control

used

to

control

To

return

to

can

control

level.

here

a

control

OSCILLATORS

the

an

up

the keyboard,

pitch,

is

connected

of

the

Multimoog,

From

can

control

is

how

voltage

The

input

oscillator

an

increase

a

signal

that

is

used

sound

be

level

keyboard

sources.

used

to

filter

cutoff

signals

sections

our

are

discussion

timbre,

to

experience,

the

it

does

it.

that

increases

is

of

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oscillator

switch

section

in

voltage

of

oscillator

On

alter

oscillator

frequency,

not

that

generate

of

and

loudness

the

control

that

circuit

you

pitch

The

keyboard

connected

to

the

is

from

frequency.

pitch

to

the

CONTOUR

sample-and-hold

heard

MODULATION

OSCILLATOR

Control

sound,

routed

via

Multimoog's

the

is

know

of

the

because

control

the

as

you

to

section

NORM

voltage

the

KEYBOARD

voltage

frequency

goes

Exercise

controller:

Other

FILTER

the

manual).

The

KEYBOARD

The

controllers

CONTOUR

section;

section.

B

section

signals

to

OSC

of

from

the

OSCILLATOR

A&B

rear

panel

PITCH

its

the

ribbon

voltage

performer.

TOUCH

keyboard

level

that

of

the

of

the

shows

how

on

the

Multimoog

section,

modulation

circuits

may

the

and

(see

selected

In

some

be

used

outside

world

A&B

and

FILTER

OPEN

LOUDNESS

oscillator

cases,

as a controller.

may

FILTER

INPUTS

SYSTEM

is a performance

output

of

may

oscillators

FILTER

the

is

directly

Often

section

the

this

is

the

as

well.

Multimoog

be

used

to

and/or

section.

keyboard

The

may

produces

control

the

be

include

and

by

the

also

be

sections

on

the

section

of

controller

under

the

case

with

a

the

cutoff

following

used

as

a

38

EXERCISE

10:

KEYBOARD

CONTROL

OF

OSCILLATOR/FILTER

SECTIONS

oq

^yy

»wmiwi.

1.

Set

up

the

sound

keyboard.

being

the

(normal)

2.

Place

position.

change—pitch

The

switch

places

keyboard

the

frequency

DRONE

removes

playing

frequency.

coming

a

with

output.

change

is

the

Notice

from

diatonic

"open

(See

Also,

in

the

DRONE

changed.

Exercise:

3.

Leave

position.

4.

Alternately

the

timbre

MODE

position.

The

controlled

OSCILLATORS

position.

the

OSCILLATORS

Now

NORM

both

control.

control

position

the

oscillators

keyboard

that,

the

keyboard

(12

tone)

system"

OPEN

if

you

tone

color

position,

Let's

the

OSCILLATORS

play

keyboard.

of

the

switch

ceo

an

Kuit ^ we

chart

and

play

frequency

by

of

(both)

the

keyboard.

switch

is

switch

play

the

keyboard.

"drones.")

position

of

the

qopp^oo

FnQ

up

and

wensmn

pfrutimc

down

the

oscillators

Notice

in

the

in

the

that

NORM

DRONE

(No

pitch

OSCILLATORS

OSCILLATOR A and B under

That

is,

it

connects

inputs

of

the

OSCILLATORS

from

will

have

in

the

NORM

have

scale.

Other

manipulation

SYSTEM

listen

when

section).

carefully

the

even

explore

The

sound

this

the

lowest

pitch

doesn't

does.

is

presently

the

keyboard

the

oscillators.

The

switch

keyboard

no

effect

position,

been

scaled

scales

of

you

OSCILLATORS

though

by

continuing

switch

and

highest

change,

Notice

in

control;

on

oscillator

the

levels

to

create

are

possible

the

keyboard

will

hear

switch

the

pitch

is

in

the

DRONE

keys

but

that

the

FILTER

the

NORM

is

to

a

not

the

on

the

uw

cgTOff

*~^

nrrmp^

tA

gcmtoos

crises

■*i i ■ I I

signal

frequency.

keyboard

sounds

think

oscillator—this

slows

keyboard

instead

been

frequency

causes

choose

keyboard

oscillator

from

Continue

6.

Leave

position;

DRONE

7.

Place

switch

8.

Again,

Timbre

the

position.

the

to

play lowest

"glides"

This

indicates

signal.

that

are

that

the

down

the

output

of

jumping

using

the

of

only

the

to

control

to

glide.

9.

Place

the

moving

position.

10.

Play

glide

used.

pitch

the

when

The

is

gliding.

the

keyboard

the

Exercise:

FILTER

Leave

GLIDE

ON.

heard

GLIDE

is

MODE

the

OSCILLATORS

control

and

between

that

the

Judging

from

control

not

the

output

then

of

glides

between

keyboard

the

FILTER,

timbre

to

oscillator

signal

oscillators

will

Let's

hear

under

OSCILLATORS

keyboard.

under

keyboard

The

keyboard

/"v^

ttiiuut^^

■*!

I

controls

switch

to

highest

keys

GLIDE

from

the

synthesizer,

does

case.

keyboard

between

them.

to

control

use

of

glide

frequency,

cause

it:

keyboard

switch

pitch

signal

LBUDWIM

the

in

the

switch

'5."

Switch

keys

alternately.

now.

control

some

affects

gliding

one

something

The

GLIDE

changes;

voltage

Since

only

the

GLIDE

between

keys.

the

pitch

control

to

the

of

the

oscillators

control

and

that

is

controlling

CCJIMI

OUff

cutoff

FULL

in

the

GLIDE

the

pitch

might

to

the

control

the

steps

we

have

cutoff

control

If

we

gliding

of

the

by

NORM

GLIDE

is

5.

Place

position.

the

pronounced.

of

the

both

MODE

keyboard

frequency;

the

FILTER

Now

lowest

The

preceding

FILTER

the

switch.

section

NORM

In

voltage

in

the

and

the

is

MODE

the

difference

and

shows

is

under

FULL

NORM

allowed

FULL

position

switch

highest

that

the

keyboard

positions

position

to

in

the

FULL

in

timbre

keys

cutoff

between

[s

more

frequency

control

of

the

FILTER

only

half

of

control

all

of

the

cutoff

control

in

the

11.

Remove

by

moving

12.

Play.

Oscillator

keyboard

is,

as

changes.

13.

Return

there

will

the

oscillators

the

OSCILLATORS

pitch

control,

evidenced

the

be

but

by

GLIDE

no

control

gliding

the

from

keyboard

switch

is

no

filter

cutoff

gliding

to

"0."

of

tone

color,

control

to

DRONE.

longer

under

frequency

tone

color

Now

play;

or

timbre.

39

The

preceding

keyboard

and

remain

14.

15.

signal.

The

OFF

position

the

TONE

to

Place

position.

been

(take

control

Place

position.

sine

position

be

explored:

the

OSCILLATORS

Play.

removed

our

word)

of

the

FILTER

Play.

waveshape

(END

The

reason

keyboard

apparent

keyboard

want

though

when

control

enough.

when

the

oscillators

we

are

not

we

discuss

use

confirms

of

that

the

OSCILLATORS

the

FILTER

switch

No

sound—the

from

the

audio

the

oscillator

keyboard.

MODE

The

FILTER

which

switch

section

follows

EXERCISE)

for

placing

in

the

We

want

it's

making

to

follow

hearing

of

OSCILLATOR

the

TONE

to

control

a

tone.

the

them

GLIDE

affects

the

switch

MODE

oscillator

signal

is

to

is

the

filter

mode

The

keyboard

will

be

B

as a controller.

switch

to

the

OFF

has

path—but

still

under

the

TONE

generating

keyboard.

under

should

it

from

reason

explained

a

full

be

the

we

even

For

now,

let's

just

note

OSCILLATORS

lators

but

LOUPNESS

A

basic

when,

release

musical

how

Multimoog

the

contour

ATTACK

a

and

associated

switch

CONTOUR

of

section:

but

characteristics.

instruments

the

shaping

The

(sometimes

dynamic

closes

change

The

the

signal

switch

places

removes

them

under

CONTOUR

aspect

how a sound

loudness

offers

of

LOUDNESS

and

RELEASE

control

the

LOUDNESS

section

following

produced

of

music

offer

of a sound

excellent

loudness.

called

controls

voltage

VCA

within

SUSTAIN

the

mode,

functions.

diagram

by

that

the

OFF

position

the

sound

keyboard

of

control.

SECTION

is

the

control

begins

Most

and

ends—attack

organ-like

control

CONTOUR

"envelope")

that

or

the

over

when,

is

shaped.

control

of

articulation,

section

generator;

may

be

set

to

"contours"

the

Multimoog.

switch

ways

that

shows

LOUDNESS

and

the

LOUDNESS

the

general

CONTOUR

of

the

oscil

of

not

only

and

electronic

but

not

The

or

is

a

its

produce

or

opens

The

RELEASE

form

TYPICAL

KEY

DEPRESSED

TIME

—

IN

SECONDS

CONTOUR

KEY

SIGNAL

RELEASED

f

parts:

control;

sound

switch

dying

40

An

individual

the

rise

the

sustain

may

be

is

to

the

away

of

voltage

time

f

level

held

when

left;

and a release

the

sound

contour

~\ , set

/■■■^ , at

the

which

may

by

LOUDNESS

time

/ ^

is

set

by

have

three

the

ATTACK

which

SUSTAIN

,or

the

RELEASE

a

control. produced and

LOUDNESS

SUSTAIN

Contours

using

associated

switches.

CONTOUR

and

RELEASE

with

various

the

LOUDNESS

Let's

controls

switches:

shapes

CONTOUR

explore the

and

the

may

controls

use

LOUDNESS

be

of

the

j

EXERCISE

1.

Play

the keyboard.

release

The

quick

attack

2.

Play

hold a key.

switch

at

switch—it

LOUDNESS

organ-like

and

sound

retain

the

release

of

the

ATTACK

(1

and

again.

is

the

graphics

The

LOUDNESS

SUSTAIN

loudness contour.

is

sustain

of

the

and

msec = one-thousandth

release

The

Notice

in

the

depicts

sustained

feature,

sound:

11:

ARTICULATION—CONTOURING

Notice

sound

RELEASE

times.

sound

that

"sustain"

for

the

what

CONTOUR

switch

as

long

but

that

are

practically

controls

will

sustain

the

LOUDNESS

mode

LOUDNESS

you

are

settings

The

keying

as a key

play

with

the

attack

immediate.

are

of a second)

as

long

to

the

hearing.

section

shown

is

the

and

set

for

as

you

SUSTAIN

left.

Look

SUSTAIN

and

typify-.an

is

on-off,

held.

Let's

attack

and

7.

Play

the

keyboard.

long

as a

key

is

8.

Place

the

LOUDNESS

"non-sustain"

keyboard;

Continue.

9.

Increase

RELEASE

sound

long

RELEASE

SUSTAIN or

sounds

such

as

will

as

the

The

non-sustain

switch

that

the

harpsichord,

position

only a short

either

control

not

be

combined

control

lets

would

LOUDNESS

Sound

held.

or

settings

sustained,

settings.

position

you

produce

not

guitar,

will

be

sustained

SUSTAIN

to

click

both

times

Experiment

normally

switch

the

right.

will

the

ATTACK

slightly.

but

will

last

of

the

ATTACK

with

of

the

LOUDNESS

very

short

sustain

bell,

etc.

as

to

the

Play

the

be

heard.

and

Play.

The

only

as

and

them.

sounds, forever,

3.

Gradually while attack

longer

hold a key

loudness.

4.

Return

msec)

5.

Gradually while

release

sound

released.

6.

Return

(1

msec)

The

the

time

it

open

the

VCA

(loudness).

determines

CONTOUR

sound

of

to

fall

the

LOUDNESS

increase

playing

of

the

sound

ATTACK

before

the

ATTACK

setting.

increase

playing

of

occurs

setting

takes

The

the

section

to

the

all

keys

more

the

RELEASE

setting.

of

the

LOUDNESS

in

iJe

the

setting

time

to

silence.

SUSTAIN

the

ATTACK

keyboard.

increases.

setting,

the

sound

control

the

RELEASE

keyboard.

increases;

slowly

control

ATTACK

control

The

rise

Notice

the

longer

reaches

to

maximum

its

original

control

The

fall

final

release

when

control

all

to

its

determines

CONTOUR*section

Multimoog

of

it

takes

close

Now

let's

switch:

to

maximum

the

RELEASE

the

VCA,

or allow

explore

the

LOUDNESS

setting

time,

or

that,

the

you

must

(1

sets

LOUDNESS

zero

control

see

10.

11.

setting

time

on

of

the

keys

are

original

12.

13.

to

gain

control

the

function

release keys

LOUDNESS

may

So

far

we've

learned

the

timing

sustain

times

how

the

Set

ATTACK

LOUDNESS

Depress

Notice

determined

Place notice

The

control

Try

different

each

RELEASE

When

of

any

regardless

seem

that

of

the

SUSTAIN

level

the

RELEASE

any

that

the

what

release

setting.

switch

in

loudness,

release,

switch

to 1 (msec);

SUSTAIN

key;

hold,

the

release

by

the

RELEASE

happens

is

short

RELEASE

new

setting

switch.

the

RELEASE

sound

CONTOUR

we

of

the

are

will

RELEASE

seaion.

right

that

the

ATTACK

beginning

or

end

works:

switch

then

is

RELEASE

switch

when

regardless

try

switch

be

abrupt

back

of a sound,

selects

a

maximum

and

the

of a sound.

RELEASE

to

left.

release

not

immediate,

control

to

you

and

setting.

the

right.

release

of

control each

control

where

settings.

position

is

to

the

on

release

setting

At

first

impression,

we

began,

control

the

or

RELEASE

Now

let's

to

700;

listen.

but

is

Now

all

keys.

RELEASE

With

of

the

right,

the

of

all

in

the

it

with

41

an

organ-like

is

not

quite

14.

Place

15.

Leave

see

left.

16.

Play

keyboard

17.

Place

non-sustain

and

series key

sustained

so,

as

the

RELEASE

the

RELEASE

that

the

LOUDNESS

the

keyboard.

response.

the

LOUDNESS

hold a key

of

short,

until

the

sound

the

following

with

shows:

control

switch

to

SUSTAIN

Sound

SUSTAIN

position

until

separated

sound

to

the

sound

notes

dies

out.

on-off

keying.

"700."

the

right.

Check

switch

has

is

organ-like

switch

right.

Now

dies

out.

and

then

This

to

the

in

the

play

Play

a

hold

a

The

preceding

RELEASE

are never

LOUDNESS

long a key always

released.

LOUDNESS

be

variety of

some

switch

to

the

right

last

be

abrupt

Since

set

in

many

of

voltage

of

and

the

longer

CONTOUR

is

held;

the

SUSTAIN

the

possibilities:

shows

the

following

than

the

(2)

The

when

all

LOUDNESS

switch,

different

contours,

that

when

LOUDNESS

is

true:

(1)

combined

controls,

regardless

release

keys

on

the

CONTOUR

and

RELEASE

combinations

here

is a pictorial

both

the

SUSTAIN

The settings

of a sound

keyboard

switch

sound

can

of

the

of

how

will

are

sections,

switch

to

can

create

a

review

(END

RELEASE

RaEASE

RELEASE

EXERCISE)

LOUMESS

SUSTAIN

ATTACH

/"V

LOUONESS

LOUMESS

SUSTAIN

ATTACK

/-V

LOUDNESS

LOUMESS

SUSTAIN

oo

ATTACK

/-V

LOUONESS

LOUMESS

SUSTAIN

OO

ATTACH

/V

LOUDNESS

RELEASE/V

CONTOUR

RELEASE/V

CONTOUR

RELEASE/V

CONTOUR

RELEASE/^

CONTOUR

KEY

DEPRESSED

MAX

KEY

RELEASED

42

RaEASE

XV.

RELEASE

XV

LOUMESS

SUSTAIN

OO

ATTACK

/"v

•V

/%

CONTOUR

RELEASE/^

RELEASE/V

TIME

IN

SECONDS

ZERO

—

LOUDNESS

LOUMESS

SUSTAIN

A

LOUMESS

SUSTAIN

A

OO

ATTACK

LOUONESS

ATTACK

LOUONESS

I

You

might

above

produced.

priority

LOUDNESS

allow

other

FILTER

timbral

time.

timbre

settings

It

is

important

over

other

CONTOUR

a

sound

sections

to

of

CONTOUR

Most

The

musical

characteristics—their

Multimoog

control.

select

a

sound

to

hear

the

to

remember

aspects

be

heard,

the

of

and

its

it

hardly

Multimoog

SECTION

instruments

provides

source

shape

sound.

of

the

that

loudness

After

switches

matters

are

doing.

have

tone

color

changes

for

such

try

the

contour

has

all,

if

the

don't

what

the

dynamic

in

dynamic

The

FILTER

(sometimes

ATTACK

a

dynamic

the

cutoff

CONTOUR

hand"

associated

switch

section

that

select

The

from,

but

CONTOUR

general

CONTOUR

called

and

RELEASE

control

frequency

section

moves

FILTER

works.

FILTER

the

SUSTAIN

the

ways

CONTOUR

identical

section.

form

of

the

section.

CONTOUR

"envelope")

controls

signal that

of

may

bethought

CUTOFF

in

which

section

may

be

"contours,"

the

VCF.

of

control

switch,

and

the FILTER

section

in

its

operation

The

diagram

signal

produced

to

below

is a contour

generator.

set

to

or

The

as

an

"invisible

for

you.

the

CONTOUR

is

independent

the

LOUDNESS

shows

by

the

Its

produce

moves

FILTER

The

RELEASE

the

FILTER

The

voltage

time

J^

sustain

frequency

switch

set

by

The

connected

controlled

contour

level

may

is

to

the

RELEASE

FILTER

to

FILTER

\,

set

/^^^\,

be

left;

CONTOUR

the

section.

TYPICAL

KEY

DEPRESSED

SECONDS

may

have

three

by

the

ATTACK

at

which

held

when

and a release

control.

control

the

FILTER

time

is a controller

input

Unlike

of

the

CONTOUR

KEY

TIME

IN

parts:

the

rise

control;

the

/

the

LOUDNESS

the

cutoff

SUSTAIN

E

,

that

is

voltage

SIGNAL

RELEASED

CONTOUR,

the

amount

control

control.

attenuate,

the

control

closest

attenuation

however,

of

sfgnal

input.

This

means

The

CONTOUR

or

lessen

input

to

the

center

(least

signal).

the

of

a

means

that

amount

the

"0"

is

allowed

is

the

CONTOUR

AMOUNT

of

FILTER

point

Let's

explore

provided

signal

section.

provide

to

control

to

reach

AMOUNT

control

acts

allowed

Settings

greatest

its

use:

the

to

into

EXERCISE

12:

DYNAMIC

TIMBRE—FILTER

CONTOURING

1.

Hold

down

any

key

sounding

of

the

2.

Move

"+5."

dynamic

being

section.

manually

3.

Play. back

lessen

The

determine

CONTOUR frequency.

the

graphics,

attenuates

(See

drawing

AMOUNT

or

"normal"

to

avoid confusion.

4.

Return

5.

Play.

6.

Place

CONTOUR

contour

is

static

filter

is

not

the

CONTOUR

Now

hold a key

because

contoured

You

could

moving

Move

towards

an

control.)

Contouring

the

CONTOUR

"0"

the

amount

CONTOUR

the

amount

that

is

allowed

As

you

probably

the

CONTOUR

inverted

for

the

For

side

of

the

Continue

the

CONTOUR

the

ATTACK

to

"100"

is

now

faster.

on

the

keyboard.

in

timbre;

being

the

by

the

to

of

AMOUNT

of

version

"-5"

now,

CONTOUR

of

FILTER

(msec).

the

cutoff

moved.

AMOUNT

down.

filter

cutoff

the

FILTER

get

the

same

CUTOFF

progressively

contour.

the

to

control

realize

AMOUNT

side

let's

control

control.

AMOUNT

control

signal

from

of

the

of

the

look

AMOUNT

the

exercise:

AMOUNT

section

in

The

frequency

control

The

timbre

frequency

CONTOUR

effect

attenuate, or

lets

the FILTER

the

filter

looking

control

contour

CONTOUR

at

the

control

is

heard.

the

rise

time

tone

the

cutoff

CONTOUR

to

is

by

control

you

cutoff

at

also

signal.

positive

control

to

FILTER

of

the

maximum.

it frequency

The

setting

time

it

takes

frequency

AMOUNT

The

RELEASE

takes

the

FILTER

to

its

8.

Play

and

hold a note.

frequency

you

hold a key.

the

RELEASE

9.

Move

Now

by the

(wo

the

CONTOUR

10.

Play

released,

control

shows

LOUDNESS

dently.

11.

Place

and

will

the

play

and

FILTER

parts

whose

ATTACK

and

hold a key.

the

is

that

the

RELEASE

release

now

be

immediate

CONTOUR when

placed

on

the

ATTACK

the

FILTER

of

the

filter

determines

control

CONTOUR

starting point.

control

CONTOUR

to a maximum.

the

determines

to

return

Continue

Notice

is

sustained

Only

control

FILTER

hold a key.

CONTOUR

and

section.

LOUDNESS

still

operable

the

SUSTAIN

a

key.

abrupt.

release

and

to

the

at a maximum

on

release

go

into

effect.

SUSTAIN

switch

The

pattern

section

timing

RELEASE

is

determined

controls

Note

that

when

CONTOUR

(note

FILTER

switch

FILTER

SUSTAIN

switch

Notice

The

RELEASE

of

both

right.

work

to

the

that

the

CONTOUR

determines

to

raise

the

The

value

of

that

the

time

the

cutoff

the

exercise:

that

the

cutoff

as

long

as

of

the

key

does

to

the

right.

generated

now

has

only

solely

by

in

the

FILTER

all

keys

are

RELEASE

hangs

on.)

This

switch

right.

final

switch

and

indepen

Now

play

release

provides

LOUDNESS

sections

7.

Place

CONTOUR the

LOUDNESS

sections

The

LOUDNESS

the

gain of

CONTOUR

(FILTER

LOUDNESS

the

VCA

the

best

the

FILTER

the

FILTER

which

direction

the

CONTOUR

region

the

RELEASE

to

contour

The

are

is

preceding

CONTOUR

identical

CONTOUR

the

VCA

is

used

section).

On

the

Multimoog,

CONTOUR

is

made

at

signal-to-noise

CONTOUR

has

the

allows

us

the

cutoff

AMOUNT

(counterclockwise

control

"100"

within

to

(msec).

now

faster.

exercise

and

in

operation.

the

control

section

full

strength

ratio.

section

CONTOUR

determine

frequency

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illustrates

FILTER

Each

section

is

Multimoog.

the

cutoff

the

connection

to

the

internally

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to

the

AMOUNT

the

will

be

control

from

is

"0"),

in

the

FILTER

release

is a controller.

used

control

connection

control

moved.

in

time

of

(END

that

the

CONTOUR

to

control

The

FILTER

of

the

VCF

of

the

input

of

to

assure

of

input

of

control

amount

the

and

When

negative

contour

EXERCISE)

generated inverted

then

signal.

situation.

a

"reversible

a

signal

inverted

what

AMOUNT normal.

doesn't

tage.

the

diagrams

by

the

FILTER

(turned

represents

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The

upside

the

maximum

at

the

panel

CONTOUR

graphics

attenuator;"

as

it

is

moved

contours.

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will

require

happens

start

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voltage

when

setting.

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voltage

at

of

will

illustrates:

toward

some

you

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from

"zero"—it

falling

to

rise

to

CONTOUR

down).

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amount

to

get

AMOUNT

it

attenuates

"0"

for

thought

use a negative

is

the

FILTER

starts

from a maximum

"zero"

maximum.

when

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"-5"

position

of

this

inverted

an

idea

of

control

either

to

is

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the

amount

normal

understand

CONTOUR

reversed

CONTOUR

you

The

from

release,

following

is

this

of

or

vol

r

44

Also,

as

in

AMOUNT

control

settings,

is

moved

TYPICAL

the

case

with

when

the

CONTOUR

toward

"0"

the

INVERTED

KEY

DEPRESSED

MAX

ZERO

••••

J-

TIME

positive

signal

*■

CONTOUR

AMOUNT

is

attenuated,

CONTOUR

KEY

RELEASED

or

lessened.

do

the

following:

SIGNAL

To

better

understand

inverted

contours,

EXERCISE

13:

INVERTED

1.

Set

up

the

2.

Simply

each

setting

repeat

case a positive

is

CONTOURING

sound

called

(END

chart

each

step

for,

use a negative

EXERCISE)

for

EXERCISE

of

exercise

CONTOUR

12.

12,

AMOUNT

setting.

OF

THE

but

in

FILTER

MODULATION

The

MODULATION

nals

from

several

you

hook

up a controller

Multimoog

which

that

controller

wheel

sections.

controller

passes

where

it

is

SECTION

section

sources

is

to

The

source

selected.

through

attenuated.

routes

several

destinations.

the

control

selector

The

selected

the

The

control

input(s)

determines

signal

MOD

AMOUNT

ROUTING

sig

It

lets

of

from

switch

"source-destination"

signals

performance.

who

diagram

rotary

dictates

where

the

control

orientation

is a way

routes

illustrates:

to

change

It

has

been

likened

control

signal

will

go.

for

routing

textures

to a super

traffic.

The

control

rapidly

traffic

following

This

in

cop

FILTER

CONTOUR

BEND

SOURCE

ROUTING

FILTER

46

Let's

explore

MODULATION

section

capabilities

using

this

exercise:

r

EXERCISE

rTh

ramt

1.

Hold

down

Slowly

away

from

wide

bend

2.

Notice:

position.

3.

Place

position.

MOD frequency

4.

Place

the

(waveshape)

AMOUNT

OSCILLATOR B section

SOURCE

the

source

controller

determines

"routes"

MOD

modulation.

exercise

is

it

AMOUNT

Let's

steps

the

lowest

move

the

MOD

you

and

of

the

pitch

the

SOURCE

ROUTING

the

ROUTING

Hold a key

AMOUNT

is

wheel.

being

"bent".

ROUTING

position.

again.

is a rotary

of

modulation

to

be

where

to

the

examine

more

Now

used.

The

that

appropriate

wheel

what

closely.

14:

EXPLORING

key

on

the

keyboard.

AMOUNT

return.

is

You

upward.

selector

in

the

OSC

selector

and

repeat

Now

selector

Hold a key

switch

signal;

control

controls

happened

Note

to

the

waveshape

is

being

which

it

ROUTING

signal

control

that

wheel

should

is

in

A&B

to

the

action

the

filter

the

and

moved.

determines

"selects"

rotary

will

input(s).

the

amount

in

the

BEND

fully

hear

a

the

BEND

position.

FILTER

with

cutoff

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|

B

use

MOD

of

the

which

switch

go;

it

The

of

selected

THE

MODULATION

tlffttf

^tfHIffTOC

«om

mom

en

as

the

controller

fixed

voltage

through

trol

is full

moved

tion)

the

to

you

amount

oscillator to

off

the

its

amount.

fully

forward

BEND

back,

of

the

OSC

A&B

the

frequency

move

of

pitch

the

control

frequency

wheeU-inally,

\S

nal

OSCILLATOR

AMOUNT

WAVESHAPE

matter

select

(MOD control

I

B

is

connected

of

deciding

(SOURCE),

AMOUNT),

(ROUTING).

by

level,

MOD

AMOUNT

When

(toward

signal.

As

there

is

When

position,

control

the

MOD

voltage

to

rise.

input

of

is

moved

when

(WAVESHAPE

to

B.

Then

wheel

is

control

what

how

and

SECTION

ninao

aoa

mam

±

en

kmsim

mm

the

SOURCE

like a battery.

the

MOD

progressive

theROUTING

the

controller

inputs of

AMOUNT

let

through

When theFILTER

by

movingtheMOD

the

ROUTING

B)

the

waveshape

movement

analogous

for

OSCILLATOR

type

much

which

Continue

selector.

BEND

wheel,

MOD

control

which

lets

AMOUNT

panel)

we

AMOUNT

attenuation

control

(BEND)

the

oscillators.

wheel

increases

the

BEND

section,

position,

to

of

controller

of

section(s)

the

forward,

and

signal

thefilter

AMOUNT

selector

the

BEND

control

of

the

movement

B.

you

it

you

want

you

exercise:

BEND

is

a

is

routed

uscon-

wheel

get

the

wheel

is

(reduc

issetto

is

routed

As

the

causes

is

routed

cut

was

in

the

sig

input

of

MOD

of

the

It's

just

a

want

to

use

want

to

47

5.

Set

SOURCE

preceding

shown.

6.

Depress

contoured-pitch

7.

Place

FILTER

tone

color

FILTER

8.

Control

AMOUNT

9.

Place

position.

contoured

10.

Place

the

position.

LATOR B (only)

11.

Repeat

FILTER

controls.

SUSTAIN

and

ROUTING

page.

Set

and

hold

"siren"

the

ROUTING

position.

is

also

amount

the

Note

Play

is

contoured

being

wheel.

ROUTING

that

now.

ROUTING

Play.

Now

is

being

steps

5-10

CONTOUR

Try

both

switch.

controlsasshown

MOD

any

contoured.)

of

only

switch

the

and

AMOUNT

key.

You

should

effect.

selector

the

selector

WAVESHAPE

ATTACK

settings

to

the

same

key.

as

well

as pitch.

contour

the

to

contoured.

experiment

using

to

the

filter

(tone

the

and

of

the

^

wheel

OSC A&B

Note

j—i

of

with

on

as

hear

a

that

(The

MOD

FILTER

color)

is

'

B

OSCIL

the

RELEASE

FILTER

In

the

following

apparent

deals

12.

13.

that

much

with

repeating

Select

the

Explore

MOD

all

AMOUNT

exercise

of

the

patterns:

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possible

wheel

steps,

MODULATION

"*rt

SOURCE

ROUTING

positions.

it

will

source

MOOUUATIOIM

..---.

setting.

settings

become

section

routTSc

and

When

SOURCE,

selector

is

controlled

amount

AMOUNT

the

amount

MODULATION

Modulation

often a repeating

of

any

repeating

control.

"modulation

MODULATION

hold

circuitry

modulation

A

controller.

terns—waveshapes

often

restricted

control

moving

and

the

eight

Hz,

modulation

Hz.

Its

_f~[_

wave,

respectively)

the

FILTER

any

section(s)

may

be

contoured.

using

of

this

contour

wheel.

control

of

the

SECTION.

change.

modulation

RATE

controls

oscillator"

section.

whose

oscillator.

modulation

It

is a source

to

signals

modulations

like.

or

output

are

Vibrato

beats

per

oscillator

is

,and

CONTOUR

named

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FILTER

in

FILTER

is

sampling

low

CONTOUR

is

(Note

the

FILTER

CONTOUR

usually

On

the

frequency,

that

Also

oscillator

of

like

any

frequency.

generally

like

vibrato,

rate,

for

second.

has a frequency

represented

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in

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MODULATION

is

the

selected

by

the

ROUTING

speed

of

this

contour

controls.

controlled

that

section

by

the

CONTOUR

doesn't

as

used

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the

MOD

affect

in

the

(END

defined

the

is

controlled

is

included

rate

is

one

repeating

oscillator—which

used

example

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,

as a

change,

Multimoog,

or

the

is

controlled

which

That's

to

trills,

is

the

Multimoog,

span

by

(square

the

rate

by

the

RATE

speed

of

the

heart

of

the

sample-and-

by the

is

used

as

a

voltage

because

make

"wah-wah,"

around

the

and

pat

are

the

slow-

six

to

the

of

.3

to

30

symbols

triangle

section.

14.

Vary

the

RATE

the

modulation.

15.

Select

alternately

and

S&H

KBD

selector.

SOURCE

Repeat

setting.

EXERCISE)

If

you

recall

to

the

sound

of

the

voltage

section

series

normal

frequency

modulation

subaudio

modulation

will

input

effects

voltage determined

modulation

sample-and-hold

camera. A camera

and

sample-and-hold

at a very

of

clicks

hearing

of

low

was

range.

normal

oscillator

range

for

oscillator

be

dramatic

of a VCO

from

The

steps

indeed

or

preceding

sample-and-hold

in a metronomic

by

the

oscillator).

works,

"holds"

a

fixed

"photographs"

control

exercise

to

control

the

s^\/

settings

steps

13

1,

you

with

and

began

controlled

frequency.

perceived

That

hearing,

produces

control

purposes.

as a sound

when

VCF.

You

exercise

So

instead

sound

or

it

was

waveshapes

source,

connected

have

heard

steps.

creates

fashion

RATE

control,

To

let's

"samples"

instant

(frequency

understand

make

(photographs)

in

time

(samples)

the

speed

of

,S&HAUTO,

the

SOURCE

14

for

each

by

listening

OSCILLATOR

low,

that

of a sound

was

below

sub-audio.

We

can't

but

its

B

only

a

in

the

The

in

the

use

the

effect

to a control

some

of

the

a

series

of

control

with a rate

of

the

how

the

an

analogy

(the

print).

to

a

motion

The

a

moving

r

48

voltage

level.

taken,

the

mines

signal

and

When a sample

the

voltage

how

often

"prints"

(holds)

of a moving

sensed

is

taken.

samples

at

that

The

are

taken.

a

fixed

voltage

instant

RATE

is

held

control

voltage

signal

is

until

deter

When

like

noise—a produced. does

sample

series

of

the

voltage

series

The

sample-and-hold

the

noise

random

voltage

signal

of

random

signal

internally,

steps.

sampled

voltage

of

See

is

random-

steps

will

be

the

Multimoog

and

produce

a

illustration:

RANDOM

FROM

NOISE.

In

the

case

of

modulation

same

triggering

section

be

useful

of

the

KEYBOARD

sound

This

orientation

enhance mode

MOD-AMOUNT-wheel

oscillator

rate

as

it

generates

are

"synchronous"—happen

Now

that

and

have a feeling

to

read

SOURCE

also

you've

definitions

and

TOUCH

The

KEYBOARD

with

the

same

hand

section

of

carries

of

the

instrument

expressivity operation

and

lets

PATTERN

SAMPLING

the

5&H

produces

new

samples.

explored

for

its

for

ROUTING

SECTION

TOUCH

that

the

"source-destination"

power

you

replace

and

use a single

-J1

AUTO

the

capabilities,

each

section

plays

a

in

performance.

the

mode,

"triggers"

(Sampling

together.)

the

at

the

and

MODULATION

it

might

specific

selectors.

lets

the

further

setting

(See

you

shape

keyboard.

step

to

One

left-hand-on-

hand

to play

appropriate

section

The

the

textures

use

of

destination

are

important

the

Multimoog—retaining

The

other

"two-hand"

When

TOUCH

section Set

up

in

this

pages

of

the

manual).

MODULATION

of

the

MOD

which

the

AMOUNT

orientation

performance

mode

section

is

linked

the

provides

operation

the

following

of a synthesizer

EFFECT

is

set

to

the

and

REVIEW

section

synthesizer

wheel

of

the

MODULATION

features

expressive

simply the

switch

MOD,

KEYBOARD

begin

the

OF

FUNCTIONS

creates

and

many

is

capable.

the

source-

section

of

the

Multimoog.

capabilities.

most

expressive

to

date.

in

the

KEYBOARD

the

MODULATION

TOUCH exercise:

section.

of

The

EXERCISE

UNISON

ram

ran

15:

EXPLORING

ocnvi

MASTin

ACD

^»

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i

wnsun

THE

mukoc

KEYBOARD

1.

Tune

OSCILLATOR A to

using

the

2.

Depress

AMOUNT

of

vibrato.

TOUCH

INTERVAL

and

hold a key.

wheel

control.

forward

SECTION

MC* . HUAS/

uouowncoMtuua

match

OSCILLATOR

Slowly

move

to

control

the

MOD

amount

B

49

You

learned

path

previously.

control

panel

graphics

about

But

now,

as

this

"wheel"

let's

relate

shown

below:

modulation

that

to

the

3.

Now

is

use.

make

fully

back

sure

that

so

the

MOD

"wheel

mod

WHEEL

AMOUNT

path"

is

TOUCH

MOD

wheel

not

in

MOD

PATH

4.

Switch

TOUCH

5.

Lightly

(pressure)

Panel

path:

the

section

depress

on

graphics

PATH

EFFECT

the

switch

to

the

MOD

a

key

and

slowly

key

to

control

indicate

this

in

the

KEYBOARD

position.

exert

more

vibrato

"touch"

amount.

modulation

force

The

touch

section

keyboard

placed

to

the

force

on

the

6.

Select

SOURCE

paths"

(alternately)

as

AMOUNT

its

MOD

path

links

KEYBOARD

controls

path.

selector.

done

wheel

setting.

TOUCH

the

amount

each

Experiment

previously

and

then

the

MODULATION

section

of

any

such

signal

SINGLE

of

the

settings

with

using

the

EFFECT

MULTIPLE

of

both

"mod

the

MOD

switch

MOD

that

MOD

the

in

Notice

used,

the

SOURCE

call

this a "single

that,

regardless

source

selector

of

modulations

in

the

MODULATION

source"

orientation:

SOURCE

Since

controls is

possible,

modulation

the

Multimoog

tion"

instrument:

the

DESTINATION

are

separate

and

musically

to

multiple

as a "single

(and

not

useful to

destinations.

DESTINATIONS

of

which

"mod

path"

is

selected

section.

and

ROUTING

identical,

source,

take

note!)

route

the

So

we

multiple

destina

is

by

the

We

it

single

refer

to

50

7.

Experiment

DESTINATION

are

many

useful

control.

When

position,

the

with

the

various

and

ROUTING

combinations

EFFECT

KEYBOARD

switch

is

settings

controls.

of

in

TOUCH

of

the

There

touch/wheel

the

MOD

and

MODULATION

OFF,

the

KEYBOARD

(but

the

When

the

KEYBOARD

the

MODULATION

sections

MODULATION

EFFECT

switch

TOUCH

section,

are

linked.

TOUCH

section

is

in

is

the

BEND

works

as

shown

When

independent

EFFECT

can't

be

not

affected).

position

is

used,

the

of

below:

ma

8.

Play.

Vary

keyboard.

9.

Vary

(maximum)

may

10.

Select

Play.

(Confirm

one

11.

Try

different

graphics.

AMOUNT

be

set).

OSC A on

Now,

by

oscillator

all

of

AMOUNT

If

you

have

amount

Pitch

bend

only

using

and

the

of

force

bend

(upward)

control.

is

changed.

the

DESTINATION

OSCILLATOR

MIX

control

then

the

DESTINATION

settings.

only

one

exerted

is

heard.

Interval

(Exact

A

is

being

to

listen

other.)

settings.

Read

hand

to

spare

on

the

explanatory

of

intervals

OSCILLATOR A is

OSCILLATOR

the

(frequency)

When

control.

bent.

to

first

hear a pitch

to

bent.

A

effect

Use

the panel

when

which

Experiment

"synched"

playing

All

of

the

DESTINATION

except

DESTINATION

control

OSCILLATOR

change,

OSCILLATOR

We

do

tries

to

remain

manually

affects

with

sound.

the

synthesizer,

"SYNCH A TO

"synched"

B.

Also,

the

control

input

A

frequency

since

OSCILLATOR

B—and

OSCILLATOR

hear a "tearing"

in

synch

with

by

turning

the

frequency

various

INTERVAL

consider

settings

B."

(tied

control

of

signal

is

routed

OSCILLATOR

is

bent,

sound

B.

the

of

the

as

You

can

INTERVAL

only

OSCILLATOR

settings

following:

are

In

this

in

pitch)

coming

we

A

is

B

isn't

OSCILLATOR

get

the

to

self-

setting,

to

into

to

the

A

only.

won't

synched

being

same

control,

A.

vary

the

51

12.

Bend

pitch

13.

Control

attached

panel.

actually

OPEN

MODULATION

the

KEYBOARD

are

used

musical

MOD

SYSTEM

The

Multimoog

simultaneously

nuance:

using

keyboard

vibrato

to

amount

the

MODULATION

AMOUNT

set

the

sensitivity

section of

jack

is

most

TOUCH

and

force

sensitivity.

using a foot

jack

wheel

for

procedure).

MODULATION

independently

may

of

the

pedal.

this

manual

powerful

pedal

on

the

be

used

(See

for

when

both

sections

to

create

rear

to

the

14.

Control

keyboard

15.

Control

AMOUNT

brightness

force

sensitivity.

modulation

wheel.

(END

Now

that

you've

TOUCH

it

might

about

DESTINATION

REVIEW

section

be

specific

and

have a feeling

useful

to

read

settings

controls.

OF

FUNCTIONS

and dynamics

amount

using

EXERCISE)

explored

some

of

the

SOURCE,

(See

appropriate

section

the

for

its

of

the

comments

EFFECT,

of

this

KEYBOARD capabilities,

pages

manual.)

using

MOD

made

and

of

the

OSCILLATOR

OSCILLATOR B may

well

as a sound

OSCILLATOR B as a controller

"clangorous"

EXERCISE

OO00OIO0I0

Kitnti

1.

52

Hold

OSCILLATORS

(the

2.

Move

STRONG

in

3.

Return

position.

"+5."

Continue.

down

Oscillator

the

sound

FILTER

Play.

B

SECTION

be

source.

sounds.

16:

ansmn

FILTER

position.

texture.

Place

In

that

OSCILLATOR

m

any

key.

switch

section

MOD

Now

MOD

CONTOUR

FILTER

AS

used

as a controller

You

have

already

in

exercise

case,

the

sound

B

acrart

^»

wx*

tutnaua

is

in

is

the

BY

play

BY

section

nta

Notice

the

NORM

sound

OSC B switch

and

OSC B to

AMOUNT

source).

notice

is

CONTROLLER

as

used

5,

to

create

source

AS

BOTH

bouh

mriaun

that

control

contoured.

eaumnc

DouajKC

the

position

to

the

change

the

OFF

to

was

the

TONE).

OSCILLATOR

a

controller

SOUND

7SS7

4.

Place

position

5.

Place

that

dramatic

and

contoured.

FILTER

The

the

use

the

section

following

B

may

simultaneously:

SOURCE

FILTER

MOD

once

EMPHASIS

of

FILTER

when

filter

(END

(FILTER

sound

be

used

as

the

AND

again.

CONTROLLER

BY

OSC

Now

play

control to

MOD

the

EMPHASIS

cutoff

frequency

EXERCISE)

MODE

chart

sound

to

and

"0."

BY

control

switch

shows

source,

the

STRONG

note

Play.

Notice

OSC B is

is

set

is

to

that

and

effect.

most

high,

being

The

WEAK

FILTER

output

the

B

cutoff

source,

more

of

sounds

FILTER

is

OFF

over follow

ratio

sections.

placed

heard,

MOD

of

control

section

frequency.

its

complex

the

FILTER

you

When

in

used

only

position).

the

between

OFF

it

BY

OSCILLATOR

input

acts

as a controller,

own

signal

sound.

MOD

create.

you

TONE

mode

as a controller

But

entire

is

keyboard,

keyboard

Even

though

and

still

under

and

STRONG

OSC B switch

B

(DOUBLING

of

the

FILTER

When

make

the

OSCILLATOR

is

modulated

You

might

BY

OSC B switch

clangorous

(see

Exercise

(OSCILLATORS

to

maintain

the

to

maintain

OSCILLATOR B and

the

OSCILLATORS

OSCILLATOR

keyboard

positions

connect

section.

rapidly

modulating

by

experiment

sounds

5),

consistency

OSCILLATOR

the

B

control.

of

the

entire

included)

OSCILLATOR

B

is

the

itself,

creating

with

any

using

OSCILLATOR

switch

of

same

frequency

switch

section

to

filter

sound

a

with

use

of

the

B

to

timbre

B

must

FILTER

is

not

PITCH

an

important

signal

input

pitch

NOISE

TONE

element

center

bump.

way

depressing

center

down

release of

"center,"

ribbon the bending

instruments—don't

Ribbon

The

PITCH

that

of

the

of

the

section,

mode.

protected

of

the

This

to

feel

bump.

with a similar

the

or

is a most

performer

associated

ribbon

performance

is

conneaed

oscillators.

oscillators

or

The

ribbon

causes

the

no

"center"

the

ribbon

Oscillator

to

The

only;

the

FILTER

PITCH

with

plastic-coated

is a dead

bending

of

and

movement

ribbon

the

at

any

original

important

to

achieve

with

ignore

the

left

controller.

to

the

PITCH

it

has

section,

ribbon

band,

of

the

pitch.

moving

pitch

point,

pitch

instantly.

development

the

all

its

use!

of

the

keyboard

It

generates

(frequency)

ribbon

no

bends

effect

even

when

is a resistance

mesh.

marked

pitch,

and

provides

Pitch

is

away

from

may

be

bent

on

the

ribbon.

pitch

is

returned

The

that

subtlety

of

solo-line

is

a

control

the

on

the

in

In

the

with

a

bent

by

the

up

or

On

to

PITCH

allows

pitch

musical

EXERCISE

1.

Depress

2.

Place

the

(left

hand)

ribbon.

17:

and

hold

any key

"pad"

on

the

directly

over

PITCH

with

end

of

the

bump

RIBBON

your

middle

on

right

hand.

finger

the

PITCH

AND

RIBBON

5.

Bend

above

move

6.

"Tap

either

The

tact;7e

and

the

feedback—you

spatial

violinist's

technique

Continue:

ROUTING

toward

(or

toward

out"

side of

Multimoog's

feedback—like

is

the

note by

below)

trills

the

center

by

hitting

the

center

can

string.

Development

critical

for

SWITCH

depressing

center

PITCH

feel

the

believable

bump,

bump.

on a specific

bump.

ribbon

it.

It

also

trombonist's

of

pitchbending

the

finger

and

then

interval

gives

you

gives

visual

slide,

or

solo

lines.

3.

Press

down

alternately

pitch

away

4.

Now,

ribbon;

without

how

much

ribbon

slightly

above

run

your

notice

causing

and

from

the

finger

that

the

force

and

cause a pitch

with

your

below

note.

lightly

the

bump

pitch

to

must

be

used

bend.

left

hand;

the

bump

over

the

can

be

"found"

bend.

Learn

to

engage

slide

to

bend

PITCH

exactly

the

7.

Perform

will

8.

Place

Bend.

9.

Place

A

position.

be

a

bend).

the

(There

the

RIBBON

bent.

wide

bend

upward.

RIBBON

will

ROUTING

be

no

ROUTING

Bend.

Now,

only

(Both

oscillators

switch

bend.)

switch

OSCILLATOR

to

the

OFF.

OSC

A

will

The

usefulness

oscillator

wondering

ROUTING.

simply

Multimoog control

bend

is

fairly

apparent,

why

there

Wouldn't

didn't

the

use

the

is

an

open

other

synthesizers.

oscillators

of

being

able

but

is

an

OFF

position

the

result

be

PITCH

ribbon?

system

synthesizer

Suppose

an

external

synthesizer

to

bend a single

perhaps

the

Not

you

are

for

RIBBON

same

if

you

exactly.

The

that

can

wished

to

but

not

those

position,

makes

KBD

information,

manual.)

of

the

Multimoog?

for

internal

In

addition,

the

RIBBON

output

on

the

see

the

routing

the

output

rear

OPEN

So,

we

include

purposes

KBD & TRIG

available

of

the

Multimoog.

SYSTEM

only.

EXT

(or

section

an

OFF

OUTPUT

not)

at

the

For

more

of

this

TRIGGER

A

action

CONTOUR

signal

generated Trigger",

of

triggers

SOURCES

trigger

is a signal

the

FILTER

sections

sound

by

the

short

for

that

acts

to

CONTOUR

of

the

Multimoog. A trigger

The

particular

Multimoog

"switch

VOLTAGE + |

is

refered

trigger".

i

KEY

I

DEPRESSED

start

and

end

and

LOUDNESS

type

of

to

as

an

The

S-Trig

SWITCH

the

like a switch; depressed

produced.

signal

"S-

and

illustration:

acts

TRIGGER

an

An

ends

when

KEY

whenever

S-Trigger,

S-Trig

all

keys

RELEASED

a

key

on

or

drop

begins

when a key

are

released.

the

keyboard

to

zero

volts,

is

depressed,

See

below

for

is is

an

A

trigger

to

initiate

below

and

depicts

is

used

to

start

the

contour

terminate

the

relationship

musical

sounds.

between

TRIGGER/CONTROL

CONTROL

VOLTAGE

I

S-TRIG

I

+

1

I

KEY

DEPRESSED

generators

The

diagram

a

trigger

FROM

and

a

CONTOUR

possible

generator:

VOLTAGE

GENERATOR

control

RELATIONSHIP

KEY

signal

I

RELEASED

produced

by a contour

54

EXERCISE

18:

SINGLE/MULTIPLE

TRIGGERING

KEYBOARD

PRIORITY

OOOQOI0QO

a*Asa

XJ

oas

am_^^^—u

OCSItUTtOH

1.

Play

(legato)

Notice

Alternate

effects.

is

to

SINGLE.

2.

Move

"+2".

and

staccato

CONTOUR

3.

Move

the 100

occurs

As

this

Multiple

rapid

passages

is

interesting

triggering

^^"^^L

(UtOUKT

the

keyboard

and

the

difference

techniques

Note

that

the

CONTOUR

Notice

the

is

that

technique

AMOUNT

FILTER

msec

position.

more

quickly

exercise

triggering

to

insure

to

note

different

BUT

detached

?

alternately

MOOULATION

with

(staccato)

in

sound

for

phrasing

the

KBD

TRIGGERING

AMOUNT

the

difference

is

reduced.

CONTOUR

The

now.

indicates,

can

that

notes

that

MoogT"-style

from

some

control

between

less

exaggerated

RELEASE

"head"

musical

be

useful

will

not

other

wmiuri

eousu«c

OttCILLATOR

O0

connected

technique.

response.

and

accent

Switch

back

to

legato

as

control

on

use

(END

during

be

"multiple"

to

the

note

of single

EXERCISE)

very

"lost".

multiple

It

triggering

being

triggering

several

is

do

to

is

trigger

coincide,

sensing a pitch

is

most

effective

contoured.

requires

controls.

that,

unlike

on

the

expressivity

used.

4.

Select

organs

keyboard

Continue

the

TRIGGERING

triggering.

5.

Play

as

generated less

of

keyboard

schemes.

since

Making

some

But

the

and

of

the

exercise:

MULTIPLE

switch to

before.

to

coincide

technique.

Triggers

new

triggers

change.

when

the

FILTER

good

experimentation

important

some

synthesizers,

the

Multimoog

music

when

use

thing

can

single

position

provide

Note

that a new

with a new

and

new

pitches

are

generated

section

of

to

remember

what

is

single

with

you

contribute

triggering

of

the

KBD

multiple

trigger

pitch

literally

is

regard

always

by

S&H

is

section.

that

AUTO

The

other

the

S&H

AUTO

In

this

mode, a series

is

controlled

UQ

OSCILLATOR

rant

mat

TRIGGERING

source

in

A

of

triggers

mode

rate

by

the

on

the

Multimoog

of

the

MODULATION

of

triggers

RATE

EXERCISE

is

generated

control.

19:

OQPP0ODO

Like

any

S&H

oncnuAToap

O0

trigger,

generators

note

that a S&H

time

taken

AUTO

oioc

TRIGGERING

muna

Place

position.

and

ATTACK

CONTOUR

occupies and

these

silence

hold

triggers

on

the

Multimoog.

AUTO

by a given sample;

■~n

the

mm

SOURCE

Notice

will

and

RELEASE

section.

only clock.

activate

trigger

selector

that

at

any

be

equal

times

The

half

of

the

It

see

period

60th

might

lasts

only

exercise

to

the

RATE

(given

in

the

trigger

contour

be

useful

half

below:

S&H

setting

near-instant

LOUDNESS

"on"

of

the

sample

to

of

the

AUTO

sound

time

The

S&H

KBD

position

does

not

produce

generators

independent

exercise:

2.

Place

the

is

not

self-triggering.

3.

Hold

down

keyboard

The

MODULATION

control

the

contour

keyboard.

triggers!

may

be

of

the

SOURCE

any

is

triggering

signals.

You

generators

of

the

SOURCE

In

this

mode,

triggered

rate

selector

key.

section

will

by

the

of

sampling.

to

S&H

Release,

the

hear

hold

contour

continues

sound

are

triggered

selector

the

contour

keyboard,

Continue

KBD.

Sound

again.

generators.

only

The

to

create

when

by

the

(END

External

Multimoog

OUTPUT

section

of

EXERCISE

1.

If

you're

incredible by

returning

discovering

This

TOUR.

rotary

priate

of

For a review

switch

pages

this

manual.

triggers

via

either

on

the

rear

this

manual).

20:

BOLSTERING

still

wad

to

how

concludes

on

the

of

the

REVIEW

EXERCISE)

may

be

routed

the

S-TRIC

panel

INPUT

(see

OPEN

THE

here

after

wading

of

information,

an

earlier

much

part

you've

through

bolster

of

the

learned!

(REST)

our

of

each

control,

front

panel,

OF

GUIDED

SYNTHESIZER

slide-switch,

refer

to

FUNCTIONS

to

the

or

S-TRIG

SYSTEM

EGO

this

your

ego

manual

the

and

appro

section

56

An

"open

system"

can

communicate

with

other

open

devices.

This

section

system

of

the

manual

communication

synthesizers

communication

audio,

internally

make

hear

to

an

sounds.

called Electronic

must be (amp

when

are

"interfacing

two

or

With made,

are

very

(phaser,

instrument

the

audio

explains

how

between

and

Moog

with

control,

(see

An

electronic

sounds—it

electrical

amplifier

"audio"

and

you

more

many

further

signals,

Signals

instruments

connected

speaker).

connect

devices

instruments,

possibilities

limited.

wah-wah

and

signal

and

GUIDED

musical

makes

and

that

signals—they

systems."

Even

amp,

produced

electrical

so

we

speaker

are

translated

have

to

the

To

use a bit

your

Multimoog

so

they

after

if

you

pedal,

you

the

inputs

the

accessories.

external

trigger signals

SYNTHESIZER

instrument

signals.

connect

to

an

audio

That

work

the

of

"interfacing

fuzz)

are

still

by

the

translate

into

become

audio

output

input

of

technical

to

means

together

audio

connection

put

sound

between

dealing

instrument.

and

outputs

Multimoog

You

will

synthesizer

produced

TOUR

doesn't

We

can't

instrument

signals

sounds

of a monitor

an

connecting

into

are

audible.

which

jargon,

amp,

you

properly.

is

systems"

modifiers

the

with only

on

and

external

understand

gear

through electronic

ment, to

trigger

control

and

signals

designer the That's

panel

make

trigger INPUTS

Multimoog

better

by

the

section).

The

interfacing

the

synthesizer

make

sound.

signals—to

other

aspects

are

created

provides

synthesizer,

what

of

the

most

signals

allow

the

rear

Multimoog

synthesizer's

instruments.

the

output

Multimoog

of

the

available

these

from

panel

devices

"open

if

you

allow

such

as

system"

know

how

function

potential

systems

Like

generates

But

the

synthesizer

turn

sounds

dynamically

of

sound.

internally

paths

instrument

Multimoog's

the

These

for

them

and

input

are

to

signals

outside

for

is

greater

any

electronic

audio

signals

on

alter

trigger

by

the

synthesizer.

to

leave

is

an

"open

sockets

all

about.

The

audio,

the

outside

to

be

world.

two-way

other

the

music-making

than

most

instru

in

order

also

produces

and

off;

and

pitch,

timbre,

and

control

If

the

(and

enter)

system."

on

the

rear

OUTPUTS

control,

world.

fed

and

The

into

the

An

open

Multimoog

be

triggered;

other

Multimoog

instrument,

produce,

growth

exception

3/16"

two-prong

dual

function—they

output.

can

instruments.

but

modify,

of

your

Rear

of

stereo

Cinch-Jones

The

system

control

produce

as

not

an

musical

panel

MODULATION

jacks.

and

sound

You

only a self-contained

expandable

trigger,

jacks

Trigger

connectors.

act

primary

function

MULTIMOOG

synthesizer

be

controlled;

and

modify

might

ideas

as

start

thinking

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keyboard

RIBBON

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settings.

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force

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trigger

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keyboard

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output

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switch

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on

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accessories,

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S-TK6

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external

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closure

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regulated

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selects

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operation

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for

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triggers

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keyboard

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modulation

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control

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the

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to

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modulation

modulation.

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amplitude

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signal.

of

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the

control.

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Hz

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source

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duty

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structure

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mechanism

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foot

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switch

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keyboard.

glide

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scale

with

from

ON/OFF

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panel

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FORCE

with

on

SAMPLE

FUNCTION:

modulation

control

S

& H

AUTO:

synchronously

Trigger

S

& H

keyboard

&

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oscillator

steps

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alone

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at a regular

%.

rate

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key

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switch.

released.

pitch

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signal

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source

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center

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set

by

step.

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external

FILTER

filter.

100K.

OSC.

oscillators.

impedance

1

switch.

S-TRIG INPUT:

generators.

"bounce."

AUDIO

processed

required

is

TOUCH

source

modulation

Input

This

input/output

switch

pedal

be

used

equipment.

INPUT:

Scaling

A&B

INPUT:

MOD

to

impedance = 30K.

to

turn

to

control

to

route

or

feed

Allows

is

0.95

volts/octave.

INPUT:

Allows

Scaling

=

100K.

Switch

Internal

Input

impedance

Allows

through

for

full

be

used

source.

synthesizer.

drive.

EFFECTS:

to

replace

Maximum

modulation

in

is

circuit

jack

modualtion

amount

modulation

external

0.95

closure

external

Input

Allows

internal

on

and

of

modulation.

signal

to

signal

voltage

Input

voltage

control

impedance

volts/octave.

triggers

fully

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=

100K.

sound

impedance

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source

100MV

RMS

=

modulation

keyboard

input

3 V peak

allows

off,

an

or

an

May

external

from

of

=

control

of

Input

contour

switch

to

be

input

100K.

touch

to

peak.

REAR

LOW

AUDIO

output

HI

output

S-TRIG

contour

by

Compatabie

Accessories.

ground.)

KBD

octave

TRIG

without

keyboard

when

82

impedance

AUDIO

impedance.

OUTPUT:

front

OUT:

adjustable

EXT

adjustment

PANEL

OUTPUT:

Output

generators

panel

KBD & TRIG

with

(An

S-Trig

Keyboard

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OUT

switch

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input

or

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override

pot

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+12

Will

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all

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turns

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dBM

max

level

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max

level

headphones.

trigger

occurs

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can

EXT

OUTPUT

whenever

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Synthesizers

or

closure

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glide

at 1 volt

range.

keyboard

click

Front

panel

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OUT

ribbon.

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control

position.

off,

ACCESSORY

at

1K

at

1.5

K

POWER

90-130

disabled

switch.

50/60

Detachable

and

to

DIMENSIONS

OVERALL

per

KBD

&

or

on

used

as

voltage

NET

at

50

MA

Hz.

WEIGHT:

POWER.-Supplies

max

for

all

standard

±15V

MOOG

REQUIREMENTS

VAC

or

180 -260

18

Watts

international

SIZE:

313/*

26

lbs.

VAC

power

AND

wide

15"

cord

WEIGHT

deep x SVi"

regulated

accessories.

D.C.

high.

Moog MultiMoog User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual