Moog One 16 User Manual

This manual is a living document that will be updated frequently.

Please visit www.moogmusic.com/moogone to nd the most

up to date manual. If you are having trouble nding specic

information about your Moog One in this manual please email:

moogonemanual@moogmusic.com for assistance.

“

Musical instruments provide

the most efficient and refined

interface between human and

machine of anything we know.

- Dr. Robert Moog -

IMPORTANT SAFETY INSTRUCTIONS

WARNING - PLEASE BE ADVISED THAT THIS INSTRUMENT WEIGHS 45 POUNDS, AS SUCH WE RECOMMEND THAT TWO PEOPLE REMOVE THE INSTRUMENT FROM THE BOX AS A SAFETY PRECAUTION. PLEASE DON’T ATTEMPT TO MOVE THE INSTRUMENT BY YOURSELF.

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 amplier 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 ame 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 qualied 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 modications 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 AND INSPECTION

SETUP AND CONNECTIONS

MOOG ONE OVERVIEW

Presets, Synths, And Performance Sets

Voice Architecture

PILOTING MOOG ONE

Front Panel

Keyboard And Left Hand Controller

Rear Panel

MOOG ONE MODULES

Oscillators

Noise

Mixer

Filters

Envelopes

Low Frequency Oscillators

VCA

Output

Performance Set

Master Clock

Voice Allocation (Hold/Chord/Polyphony)

Modulation

Arpeggiator

Sequencer

Effects

Left Hand Controller

112

THE BROWSER

118

Loading A Preset

119

Loading A Timbre

119

Saving Presets And Synth Timbres

120

EDITING AND SAVING

122

Compare

122

Snapshot

122

Autosave

123

SETTINGS

124

Global

124

MIDI Control

129

CV Inputs

132

CV Outputs

133

Utilities

134

Library

135

Tuning

140

SPECIFICATIONS

141

SERVICE AND SUPPORT

143

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UNPACKING AND INSPECTION

Use caution when unpacking your new Moog One, and be sure 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.

CONTENTS

In addition to the instrument itself, your new Moog One also ships with the following items:

Power adapter and connecting power cord Owner’s Manual Registration Card

SETUP AND CONNECTIONS

Before you begin exploring your Moog One, you will need to provide the instrument with power, and connect it to an audio monitoring system so that you can hear it.

WHAT YOU WILL NEED

A stand or table capable of supporting Moog One (which weighs about 45 lbs.) A properly wired and grounded AC outlet

NOTE: Moog One is equipped with balanced outputs, so use either 1/4” TRS to 1/4” TRS cables or 1/4” TRS

to XLR cables for the best results. Unbalanced 1/4” TS to 1/4” TS instrument cables may also be used, but are

not recommended.

Two 1/4” balanced TRS to TRS or TRS to XLR cables for connecting Moog One to an

audio monitoring system, or stereo headphones outtted with a 1/4” TRS (Tip/Ring/ Sleeve) plug may be used in either of the front Headphone jacks.

CONNECTING THE POWER SUPPLY

Moog One uses a universal power supply that can accommodate AC power sources ranging from 100

to 240 volts, and either 50 or 60 cycles (Hz). The included power supply features a detachable IEC-

style power cable.

Connect the included IEC power cable to the Moog One power supply.

1. Connect the power supply cable to the 19-volt DC locking connector on the rear panel

2. of Moog One. Connect the other end of the power cable to a suitable AC wall outlet with a protective

3. earth ground connection. Finally, use the power switch on the rear panel to turn on your new Moog One.

NOTE: The power supply connects to your Moog One using a locking connector. To release this connector from the instrument, simply press the locking tab at the base of the connector and gently slide out the connector plug. Never pull on the cable, only the plug.

AUDIO MONITORING

With the Moog One MASTER VOLUME knob turned all the way down, connect one 1/4” cable to the MAIN L output, and the other 1/4” cable to the MAIN R output, then connect the opposite ends to a pair of L/R

inputs on an amplied speaker system or mixing console. Adjust the Moog One volume level by slowly

turning the MASTER VOLUME knob clockwise while playing the keyboard.

If you’re using headphones, turn the HEADPHONES knob all the way down before plugging them into

either of the two headphone jacks (located on the front edge of the Left Hand Controller panel). Adjust the

volume level by slowly turning the HEADPHONES knob clockwise while playing the keyboard.

NOTE: It may take up to 5 minutes for Moog One to warm up before Oscillator tuning has stabilized, especially if it has been outside in a car on a cold night. (Although its Oscillators are very stable, Moog One is an analog synthesizer, after all.)

MOOG ONE

Designed to exceed every expectation, Moog One is the rst polyphonic instrument from Moog in decades. From the original napkin sketches to the day we boxed the rst unit for shipment from the

Moog Factory here in Asheville, North Carolina, the goal has remained to create an analog, polyphonic,

programmable, and multitimbral synthesizer that is without equal. Realizing the Moog One vision

has been a journey of collaboration and discovery; a sharing of ideas between the Moog Team and

countless artists, sound designers, and synthesizer enthusiasts from around the globe. In crafting

Moog One, it was paramount to keep the interface intuitive and tactile. The hope is that your sonic explorations will transcend the separation of artist and instrument, allowing Moog One to be the conduit for your own creative voice.

Moog One is an analog, polyphonic, programmable, and multitimbral synthesizer; each of these terms carries its own signicance and its own legacy.

ANALOG

The heart of the Moog One sound is its analog signal path. Since the development of the rst Moog Synthesizer in 1963, Moog analog circuits have been renowned for their rich harmonic qualities and for

the organic nature of their expression.

POLYPHONIC

Synthesizers changed forever with the advent of polyphony. As a polyphonic synthesizer, Moog

One can independently articulate numerous voices simultaneously; up to 8 or 16, depending on the

conguration of your instrument. In addition to being displayed on the startup screen, this voice-count

designation is stamped on the serial number label on the underside of your Moog One.

PROGRAMMABLE

Moog One is a wonderland for sound designers and tweakers, with a Front Panel hosting hundreds of knobs and buttons. The status of each knob and button – plus countless below-the-surface parameter settings – are stored and saved in memory in near limitless numbers of Presets. Find your favorites using the searchable Browser. These saved Presets can also be assigned to the Front Panel’s Performance Set for instant recall.

MULTITIMBRAL

As a three-part multitimbral instrument, Moog One is capable of playing up to three distinct Synths

simultaneously – split, layered, or zoned across the keyboard – all from within a single Preset. With

each Synth able to access its own sound parameters, note range, arpeggiator, and sequencer, Moog One can create its own ensemble performances or deliver a richly layered arsenal of sound.

OVERVIEW

By design, Moog One is both intuitive and efcient. The iconic angled Front Panel groups single-

function knobs together by module – Oscillators, Filters, Envelopes, LFOs, etc. – in a way that is

reminiscent of the original Moog modular synthesizers, as well as the legendary Minimoog Model D.

Under the hood, a robust operating system keeps track of voice assignments, modulation routings, and other housekeeping tasks. The interactive LCD center panel provides quick access to global settings and reveals a second level of sound-creation parameters via the MORE button located in the top right

corner of most modules. This uid combination of hands-on control and precision parameter editing

establish Moog One as both a powerful performance instrument and a serious sound-design station.

And, of course, there’s more. Moog One provides 61 expressive keys that respond to both velocity

and aftertouch. The enhanced Left Hand Controller (LHC) features a unique three-axis touchpad,

and a pair of aluminum pitch and modulation wheels. Two control pedal inputs and a sustain pedal jack offer further opportunities for real-time expression. Onboard sequencing, arpeggiating, and effects processing – including premier reverbs from Eventide® – add depth and motion to your sonic creations. Best of all, Moog One can communicate with your other gear via MIDI, USB, and through

analog Control Voltage (CV) inputs and outputs. Finally, Moog One encourages you to dive deeply into the world of music synthesis with a programmable Matrix Modulation page connecting dozens of

modulation sources and destinations – in various amounts – using a virtual patchbay. Purists can even bypass the entire digital Effects section to achieve a 100% analog audio path - from the Oscillators,

Filters, and Amplier, to the nal analog output jacks.

PRESETS, SYNTHS, AND PERFORMANCE SETS

Moog One allows every Preset to contain up to three separate Synths. These Synths can be split and layered across the keyboard, while maintaining multitimbral MIDI control, and the total number of hardware voices can be allocated between them at will. Each Synth is equipped with its own Arpeggiator and

Sequencer. Either (or both) can be easily synced to the Master Clock, or allowed to run freely. In addition,

each Synth contains its own distinct sound settings, note range, voice count, MIDI Channel, and more.

Collectively, these settings and parameters that dene an individual Synth are referred to as a Timbre.

There are two types of audio effects in Moog One: Synth Effects and Master Effects. Each Synth has a dedicated Synth Effect that can be applied to the currently selected Synth voice only. Unlike Synth Effects, Master Effects can be accessed by all three Synth voices simultaneously through dedicated Send level controls located in the Master Effects module.

NOTE: Master Effects work similarly to the Send/Return architecture found on a traditional mixing console.

Time-stamped, Auto-Saved “Snapshots” keep track of your in-progress edits, and prevent accidental

loss of any modied data. Moog One can store thousands of Presets. As a way of providing quick access to specic Presets in a live performance or session environment, Moog One allows the building and saving of up to 128 Performance Sets, which are shortcuts that select specic collections of Presets

within the vast Moog One memory. Functionally similar to traditional Bank and Preset selection, each

Performance Set offers instant access to up to 64 Presets through the 8x8 matrix of assignable Bank (A H) and Preset (1 - 8) buttons found in the Performance Set module.

VOICE ARCHITECTURE

Moog One provides three incredibly agile and advanced Voltage Controlled Oscillators (VCO). These

uniquely Moog Oscillators offer creative access to increased wave-generating dexterity and rich harmonic content. Each Oscillator simultaneously generates a variable-width Pulse wave, plus a Saw

or Triangle (switchable) wave, also with variable shape control. Selecting Triangle allows continuous

change of the wave’s rise and fall times via the WAVE ANGLE knob -- sweeping from a Sawtooth to a

symmetrical Triangle to a Ramp (Reverse Sawtooth) wave. Selecting Saw varies the reset phase angle

of the wave. Individually each wave offers a diverse palette of tonalities. The MIX knob sets the blend between the Triangle/Sawtooth wave and the variable-width Pulse wave, creating a world of new and

complex wave shapes not traditionally found on an analog synthesizer. Each Oscillator is highlighted by

an OLED screen that displays a static image of the resultant wave.

VOICE ARCHITECTURE (Continued)

Hard Sync is available on Oscillator 2 and Oscillator 3, with Oscillator 1 being the default source of sync. Oscillator-derived ring modulation, a multi-mode noise generator, and external audio signals are also available as sound sources. In the Mixer module, each sound source can be routed to either a pair of

State Variable Filters (SVF), the Ladder Filter, or both. The SVF and Ladder lters can operate in series or parallel with one another, while a dedicated MIX knob species the output balance between Filters.

In addition, each Synth also has access to four Low Frequency Oscillators (LFO) and three Envelope Generators (EG), each equipped with a wealth of extended functions that greatly expand the synthesis

capabilities of Moog One. Commonly used modulation routings are hardwired through dedicated frontpanel controls. Further assignments can easily be made via the DEST buttons located within each LFO and Envelope module.

From the central LCD panel, modulation routings can be tweaked and reassigned using the vast potential

of the Modulation Matrix. Assignments can stand alone, or can be mapped through a controller (such as the MOD WHEEL, X/Y PAD, and AFTERTOUCH). Assignable modulation modiers called Transforms can also be utilized to morph the source signal, providing even greater creative control over modulation.

PILOTING MOOG ONE

As with the Minimoog and Memorymoog before it, Moog One features an angled control panel for improved visibility and ease of operation. This Front Panel provides immediate access to the Moog One

sound engine and all of its synthesis parameters. Below the Front Panel you will nd an ultra-playable

61-note velocity-sensitive keyboard with aftertouch, and an expressive Left Hand Controller that further extends the dynamic playability of this powerful analog instrument. Around back, the Moog One Rear Panel is home to a vast array of audio, analog control voltage, and expression input and output jacks, as well as MIDI, USB, and Ethernet ports.

FRONT PANEL

The Front Panel is divided into three sections – the Left Panel, the Center Console, and the Right Panel. The Front Panel is always active, in that turning a knob or pressing a button will have an immediate effect. Because Moog One is a fully programmable instrument, however, the position of the Front Panel knobs and buttons will rarely match their currently loaded values. The exceptions are the MASTER VOLUME and HEADPHONES knobs, which are unaffected by the loading of Presets and Timbres.

NOTE: The response behavior of the Front Panel knobs can be specied using the HARDWARE settings in the GLOBAL menu.

LEFT AND RIGHT PANEL CONTROLS

The Left and Right Panels are populated with dedicated single-function hardware knobs and buttons that offer immediate control of the Moog One sound engine. These controls are grouped together by module, and modules are grouped together by type. Contained in the Left Panel are the Oscillators,

Low Frequency Oscillators (LFO), Noise Generator, Ring Modulator, Arpeggiator, Sequencer, Master

Clock, Chord, and Polyphony modules. A distinctive feature of each Oscillator module is the dedicated OLED window, which provides a graphic representation of the composite waveform being output to the Mixer. Contained in the Right Panel are the Mixer, State Variable Filters, Ladder Filter, Envelope

Generators (EG), VCA, and Output modules. Also found in the Right Panel are the Synth Effect

parameters and the Master Effect sends, which provide access to numerous studio-grade effects, including acclaimed reverbs from Eventide®.

With the exception of the MASTER VOLUME, HEADPHONES, and MASTER CLOCK controls, all of the

parameters available on the Left and Right Panels will control the currently selected Synth(s) only.

KNOBS AND BUTTONS

In this manual, when referring to a specic knob, button, or jack, the name of the control will be

presented in ALL BOLD CAPS as it appears on the Moog One front or rear panels - for example: CUTOFF knob, SHIFT button, MIDI OUT jack, etc.

Also, in this manual, when referring to the parameter affected by the controller, no bold is used, and only

the rst letter is Capitalized – for example: the Cutoff frequency, the Shift state, the Preset Library, etc.

KNOBS

There are three different types of knobs found on

Moog One. Traditional knobs have a xed functional

destination and rotational limitations. Soft Knobs, which change assignment based on the currently selected item on the LCD screen, can be rotated

Soft

Traditional

Master Encoder

BUTTONS

Pressing a translucent button will toggle its function On (the LED being lit)

and Off, while pressing a solid red button selects a function, state, or option as indicated by a lit LED on the panel.

innitely and are only found below the Center

Console Display. Finally, there is a large Master Encoder located in the Center Console that allows for

scrolling and selection (by pressing the knob).

Nearly every module is equipped with a triangular MORE button located in its upper right corner. When a MORE button is pressed, the Center Console Display

screen reveals additional parameters specic to that module. These additional

parameters are accessed and controlled using the Center Console knobs and buttons.

NOTE: Pressing an illuminated MORE button will close that parameter window and

recall the HOME screen.

DEST

The four LFOs and three EGs each feature a dedicated DEST (Destination) button that provides a simple shortcut for assigning that LFO or EG as a modulation source to a particular destination. Once the DEST button is pressed, a modulation routing screen will open in the Center Console Display -- the next Front Panel parameter that is touched or tweaked will become the new modulation destination. As soon as the assignment is made, the modulation amount and additional parameters will appear on the screen.

CENTER CONSOLE

The upper portion of the Center Console is built around an interactive graphic interface that provides access to a secondary layer of sound design parameters, as well as other Moog One Global parameters. The Center Console Display is operated via four Soft Buttons and four Soft Knobs, all of whose functions change based on the current screen.

Soft Buttons

Soft Knobs

Additionally, there is a large Master Encoder that can be used to scroll through lists and make selections by pushing down on the knob momentarily. In general, parameters are displayed above their respective Soft Knobs in groups of four. Here, values can be edited using the four Soft Knobs. If more than four parameters are available, rotating the Master Encoder will call up the additional rows. Together, the Soft Buttons, Soft Knobs, and Master Encoder provide effortless navigation of the graphic interface.

Master Encoder

Surrounding the Master Encoder are eight dedicated buttons.

HOME

Pressing the HOME button calls up the HOME screen, which displays the name of the active Preset, the names of the Timbres within the Preset, the respective keyboard ranges and On/Off status of Synth 1, 2, and 3, and the current Master Clock tempo.

As notes are played on the keyboard,

key range indicators will ash to show which Synth(s) are being played from

those keys. In addition, the HOME screen shows any tags that have been assigned

(Type, Category, Mood, Group) to make

the Preset more discoverable in a search.

NOTE: Pressing the HOME button will

exit any currently selected screen and return to the HOME screen.

SETTINGS

This button provides access to all Moog One Global, Library, and Tuning parameters.

MOD

The MOD button opens the Modulation Matrix screen, where any possible modulation source can be freely routed to any possible modulation destination, and in any amount. A controller, such as the MOD wheel, may also be assigned in order to add articulation and expression to a modulation assignment. Additionally, Transforms can be inserted to place high and low limits on the modulation source signal, or to square or cube the modulation source control signal to further expand the variation and expressivity of the Moog One’s powerful modulation engine.

NOTE: When editing or creating a Modulation Matrix, pressing down on the Master Encoder will toggle back and forth between two sets of parameters (upper and lower) available for each modulation routing.

DELETE

The DELETE button is used to remove a modulation routing row, eliminate

sequence data, and more. Its specic function is contextual, and is determined

by the currently selected screen and parameter.

SNAPSHOT

Pressing SNAPSHOT performs a “micro-save” of the current data as you are editing. Each Snapshot is time stamped, so there is no need to keep saving the data manually under a new Preset name while you are editing. Any Snapshot

can be recalled, auditioned, or designated as the “ofcial” version of a Preset

when you are saving the data. To view the Snapshots saved with the current Preset, Hold the SHIFT and SNAPSHOT buttons on the Front Panel.

SAVE

The SAVE button begins the Save process that allows you to store the current settings of the instrument as a Preset. During the Save process, you will also

have the ability to add names to the individual Timbres (1, 2, and 3) that are

contained within the Preset.

NOTE: A full explanation of the save process can be found in the “Saving A

Preset” section on page 118.

NOTE: The SAVE button will light dimly if any parameters have been altered from their originally saved value, reminding you to save your changes if you wish to make them permanent.

COMPARE

Pressing the COM PARE button places a copied version of the current Preset parameter settings in a separate buffer, so you can tweak one version of a Preset and always compare it to the saved version as you edit.

NOTE: Pressing SHIFT and COMPARE simultaneously (SHIFT + COMPARE) creates a new initialized Preset using the Moog One default sound parameters and settings.

SHIFT

The SHIFT button is most often used in conjunction with another controller or function. For example, holding the SHIFT button while operating a Soft Knob parameter allows the value to be edited at a ner level of resolution. SHIFT operations can be performed by holding down the SHIFT button as you operate the controls. Alternatively, you can enter SHIFT mode by pressing and releasing the SHIFT button. The button will blink, and any operation performed will behave as if the SHIFT button is being held. Moog One will remain in this state until the SHIFT button is pressed again, and the blinking has stopped.

WORKING WITH SYNTHS

Tweaking knobs and pressing buttons has a direct effect on the sound of Moog One. But what exactly is the Front Panel controlling? Remember, a Preset is comprised of up to three Synths -- and one Synth

(or more) is always assigned to the Front Panel.

The active Synth is selected using the SYNTH 1, 2 and 3 buttons in the Panel Focus module, which

allows the Front Panel knobs and buttons to only affect the currently selected Synth(s). Pressing any

SYNTH button by itself will select just that one Synth. Holding one SYNTH button while pressing additional SYNTH buttons will select multiple Synths, and allow any tweaks or edits to be applied to all of the selected Synths simultaneously.

NOTE: When multiple Synths are selected, the MORE pages and the sound engine status LEDs in the LFO, Sequencer, and Arpeggiator modules will reect the status of the most recently selected Synth.

This SYNTH button will be illuminated at full brightness, while the initially held SYNTH buttons will be lit at a lesser brightness.

WORKING WITH SYNTHS (Continued)

The active Synth can be turned On or Off using the ON button located in the Keyboard Control

module. In addition, each Synth can be quickly zone-limited to a specic area of the keyboard. To do this, press the LOW RANGE button (the LED will light) and then press a key on the keyboard to set the lowest playable note for the selected Synth (the LED goes dark). Next press the HIGH RANGE button (the LED will light) and press a key on the keyboard to set the highest playable note for the selected Synth (the LED goes dark). Additional visual conrmation is provided on the HOME page, where the

keyboard range for each Synth is shown in red if Keyboard Control is ON, and greyed-out if it is Off.

TIP: Pressing both the LOW RANGE button and the HIGH RANGE button at the same time will expand the zone of the active Synth to its full note range of G0 to C10 (MIDI Note 0 - 127).

ADDING EXPRESSION

The Expression Assign buttons provide a convenient way to instantly assign a controller as a

modulation source to a specic parameter. Simply press any Controller button in the Expression Assign

module, and then tweak a knob or press a button to link the selected controller to that parameter. Once a modulation path has been created, the Quick Assign modulation screen will appear in the Center Console Display. Additional parameters may be accessed here.

The available controllers are:

• MW (Mod Wheel)

• PAD X (Pad Position X Axis - horizontal motion)

• PAD Y (Pad Position Y Axis - vertical motion)

• KB (Keyboard Note Value)

• VEL (Keyboard Velocity)

• AT (Afte rtouch)

• EXP 1 (Expression Pedal input 1)

SELECTING A PRESET

Moog One can store a nearly innite number of Presets that may be searched and ltered in a variety

of ways. From the HOME screen, press the BROWSE PRESETS Soft Button at the upper left of LCD to open the Preset Browser.

SELECTING A PRESET (Continued)

Use the Master Encoder to scroll through the list of available Presets that are displayed on the left pane. Pressing down on the Master Encoder will load the selected Preset; you can also use the LOAD

PRESET Soft Button at the top of the screen.

The upper-right pane lists the Timbres used to create this Preset. The lower-right pane lists any tags that have been assigned to this Preset. Tags narrow the list of available selections, making it easier to

nd a specic or appropriate Preset.

The four Soft Knobs at the bottom of the screen can choose which Presets will be displayed according to TYPE, CATEGORY, MOOD, and GROUP. All tags are user denable, with the exception of TYPE.

Only TYPE has xed options - SINGLE, LAYER, SPLIT, and MULTI. Generally, one would use SINGLE

for a Preset using a single Synth. SPLIT for multiple Synths playing in different areas of the keyboard,

LAYER for multiple Synths stacked on the same keys, and MULTI for a Preset combing SPLITS and

LAYERS, etc.

Presets in Moog One can also be instantly recalled using Performance Sets; the current Performance

Set is always accessible from the lower Right Panel. Each Performance Set can recall up to 64 Presets,

that are arranged in eight Banks (A - H) of eight Presets (1 - 8). Performance Sets allow you to have

select Presets ready and on tap for instant access during a live performance - or even a studio session.

To assign the active Preset to the currently loaded Performance Set, simply press the Bank (A - H)

button of your choice, then press and hold the desired Preset (1 - 9) button for 1 second. The Preset

button will blink rapidly to let you know your Preset is now assigned to that location.

NOTE: The Performance Set does not itself provide storage of Presets; instead, the Performance Set

saves “pointers” that direct Moog One to recall a specic Preset from its memory banks.

To select a Preset from a Performance Set, simply press a Bank button (A - H), and then press a Preset

button (1 - 9) to choose a Preset from your selected Bank.

NOTE: Buttons that are dimly lit indicate that there’s a Preset assigned to that button. Buttons that are

completely dark indicate that no Preset has been assigned.

TIP: There is a SHOW BANK PREVIEW option available (under SETTINGS - GLOBAL HARDWARE SETTINGS). When this function is On, pressing a Bank button will open a

screen showing all of the Presets assigned to

that Bank.

KEYBOARD

Moog One features a premium quality, 61-note keyboard with velocity sensitivity and aftertouch, which are both available as modulation sources. Selectable sensitivity curves are also available to further tailor the keyboard’s response to your personal playing style.

LEFT HAND CONTROLLER

Located at the left end of the Moog One keyboard, the Left Hand

Controller (LHC) provides a number

of tools that enhance the playability, performance, and expression of this powerful instrument.

OCTAVE

The OCTAVE buttons allow the keyboard to be shifted up or down by octave. Pressing both OCTAVE buttons at the same time will reset the keyboard to its Default Octave.

NOTE: Press and hold both OCTAVE buttons to send a MIDI Panic (All Notes and Controllers Off) message.

GLIDE

Glide delivers a smooth, continuous change in pitch when moving from one note to the next. In addition to the GLID E R ATE knob and the GLIDE ON button, Moog One offers three types of Glide, as well as additional parameters for Legato, Glissando, and Gated Glide. Pressing the MORE button on the Left Hand Controller brings these parameters into view in the Center Console Display.

X/ Y PAD The X/Y PAD is a highly expressive, multidimensional touch surface

whose X and Y axes can be easily assigned to a variety of musically useful

destinations. There is also a third assignable axis that can sense Pressure on the surface of the pad. The X/Y PAD can operate in either a latching or non-latching manner as determined by the state of the X/Y HOLD button. If the X/Y HOLD button is illuminated, the held value of the X/Y PAD can be saved as part of a Preset, similar to the MOD wheel amount. Pad pressure also sends a Gate On signal, available as a Control Source in the Mod Matrix.

PITCH

The spring-loaded PITCH wheel is used to bend the pitch of the Moog One Oscillators up or down by a predetermined amount. The Pitch Bend Up and Pitch Bend Down range can easily be specied by pressing the MORE button on the Left Hand Controller and adjusting each parameter accordingly.

MOD The MOD wheel is an assignable Controller that is most commonly used to manually determine the amount of modulation being applied from a Source to a Destination. In the case of the Moog One, the MOD wheel can also be assigned to multiple locations simultaneously through the Mod Matrix and EXPRESSION ASSIGN Buttons.

NOTE: The MOD wheel position can be saved as part of the Preset.

HEADPHONES

Located just below the X/Y PAD is a pair of front-facing stereo headphone outputs. Use the HEADPHONES knob in the Output module to set the volume level for both headphone outputs.

REAR PANEL

The Moog One Rear panel is equipped with a full complement of audio jacks, communication

ports, MIDI connectors, and pedal ports – plus congurable CV In and CV Out connections – to

accommodate nearly any use.

POWER

Moog One uses an external power supply/adapter that connects using a locking multi-pin cable. Orient the cable correctly and slide it straight in until it locks. To remove the cable, depress the locking tab on the connector plug and slide the cable straight out. Hold the cable by the locking plug -never pull on the cable directly. The Moog One On/Off switch is located adjacent to the power port.

MAIN OUT/SUB OUT

Moog One features two sets of stereo outputs, the MAIN L (Left) and MAIN R (Right), and the SUB L

(Left) and SUB R (Right). Both the MAIN OUTS and the SUB OUTS

feature 1/4” balanced TRS jacks. Each Synth can be assigned to either set of outputs – or both.

NOTE: The SUB OUTS do not carry the MASTER EFFECT signal and their volumes are not affected by the MASTER VOLUME knob.

INSERT 1 2 3 4

Four INSERT jacks are provided. Their routing is controlled by pressing the Output Module button. The tip of this tip-ringsleeve jack is wired as the Send, so each as an individual output when used with a standard unbalanced TS 1/4” cable. Each Insert jack can also be

used with a Y-conguration insert

cable to achieve true insert functionality. The signal is returned to Moog One via the ring connection of the tip-ring-sleeve jack. This allows the active Synth to be sent to, and returned from, an external processor, while still maintaining its place in the internal mix. In addition, the ring/return connectors on adjacent pairs of inserts (1 & 2, 3 & 4) are stereo normalled, so that they can be used as stereo returns. The way this works is that if nothing is connected to the return of Insert 2, the signal returning via Insert 1 will be summed to both the the return of Insert 4, the signal returning via Insert 3 will be summed to both the

MAIN L and MAIN R outputs. Similarly, if nothing is connected to

INSERT jack can be used

MAIN L and MAIN

R outputs.

REAR PANEL (Continued)

EXT INPUT

Moog One provides an External Audio Input featuring a Neutrik connector, capable of accepting either a balanced XLR cable, a balanced 1/4” TRS cable, or an unbalanced 1/4” TS cable. The TRIM knob can adjust the input gain from -9

dB to +65 dB. There is also a Line Level (LINE)

input equipped with a 1/4” balanced TRS jack that can accept a balanced 1/4” TRS cable, or an

unbalanced 1/4” TS cable. These external inputs show up in the Moog One Mixer MORE screen as an additional sound source with a dedicated channel, although dedicated controls do not exist on the hardware Front Panel. From the Output module’s

MORE page, the LINE Input can be routed to the Insert 3 buss, and the XLR/1/4” combo jack can be

routed to Insert 4.

CV (CONTROL VOLTAGE) I/O

A control voltage is an analog control signal that allows the parameters and functions on one instrument to interact with the parameters and functions of another instrument in the analog domain. In the days

before MIDI and USB, control voltage was the primary method for interconnection between synthesizers, and it is still the primary method of interfacing with modular and Eurorack synthesizers today.

Moog One is equipped with two dedicated CV IN jacks (1, 2) and four CV OUT jacks (1, 2, 3, 4). Additionally, both expression pedal inputs (EXP 1, EXP 2) and the S U STAIN pedal input may also be congured for use as control voltage inputs for further analog control.

MIDI (5-PIN DIN)

Moog One offers 5-pin DIN MIDI IN, MIDI THRU, and MIDI OUT jacks to connect directly

to other MIDI devices, such as sequencers, drum machines, interfaces, etc. Each Synth in a Preset can operate on a separate MIDI Channel for multitimbral control via external MIDI devices. In addition to note data, the MIDI ports

can be congured to respond to MIDI Clock,

controllers, expression, SysEx, and more.

REAR PANEL (Continued)

COMM (COMMUNICATION PORTS)

The LAN port enables Moog One to connect directly to a computer network using a CAT-5 cable, which allows for remote servicing and future expansion. The USB HOST port provides a convenient way to backup instrument data onto portable USB drives for safe keeping and backline applications. Additionally, the USB HOST port can also incorporate any class-

compliant MIDI device (one that requires no

additional software drivers) into Moog One operations. The USB port found here allows Moog One to

communicate directly with your computer via USB, sending and receiving MIDI and other system data.

PEDAL JACKS

Moog One includes three pedal input jacks. One

is congured as a sustain (SUS TA I N) pedal input, and the other two as expression (EXP 1, EXP 2)

pedal inputs. These inputs can be used to control nearly any Moog One parameter, allowing for a tremendously expressive performance.

NOTE: Keep in mind that these pedal jacks can also be used to receive CV signals (via 1/4” TS cables) from other synth modules, Eurorack systems, etc.

OSCIL LATO RS

Oscillators are the primary sound source for any synthesizer. Moog One Oscillators have no physical

moving parts like a guitar’s string or a clarinet’s reed. Instead, the Oscillators generate an electronic

signal that changes direction very rapidly. The patterns created by these uctuations determine the

waveform, or wave shape, which in turn determines the harmonic content of the signal. Moog One features three independent Oscillators that are nearly identical in design.

Each Oscillator generates two waveforms simultaneously; these can be blended via a dedicated

MIX control into a single complex, composite wave. For the rst waveform, either a Triangle or

Sawtooth wave can be chosen. Applying the WAVE ANGLE control to the Triangle wave can change the symmetry of the waveform, allowing the Triangle to reach a Ramp or Sawtooth shape at either extreme. Applying the WAVE ANGLE control to the Sawtooth wave can vary the reset time, delivering increased harmonic diversity. The second waveform is a Pulse wave with a variable Pulse Width. As with the PULSE WIDTH knob, the TRI/SAW WAVE ANGLE knob can be modulated from another controller or parameter.

Together, their combined signals can be used to create an endless array of wave shapes that determine

each Oscillator’s nal sonic output. The OLED screen in the center of each Moog One Oscillator

provides a static image of this composite waveform.

NOTE: The static image displayed on the OLED is created by the Oscillator’s parameter settings only, and does not reect any real-time modulation routings that may also be affecting the nal waveform.

OCTAVE (32’, 16’, 8’, 4’, 2’)

Rotating the O C TAV E knob will change the pitch of the Oscillator by octaves. The historical “foot” settings are a musical convention that relates to pipe lengths on a pipe organ. The 8’ setting is considered standard, and will pitch the “C” in the middle of the Moog One

keyboard (MIDI Note #60) at “Middle C.”

FREQUENCY (-7 to 0 to +7)

While the O C TAV E knob sets the Oscillator pitch in octave units, the FREQUENCY knob continuously varies the Oscillator pitch over a range

of +/- 7 semitones (up or down a perfect fth).

OSCILLATORS (Continued)

BEAT FREQ (-7 to 0 to +7)

Slightly detuning multiple Oscillators is a classic method for creating huge analog sounds. Moog One adds a Beat Frequency control that can offset the pitch of any Oscillator by a constant amount, which is measured in Hertz (Hz). Use the BEAT F R E Q knob to create a slight tuning offset per Oscillator. This method provides consistent, musical results over the entire keyboard.

WAVE (TRI, SAW)

The WAVE button is used to select either the TRI (Triangle wave) or SAW (Sawtooth) mode for the rst wave generator.

WAVE ANGLE

The function of the WAVE ANGLE knob is determined by the WAVE button selection.

TRI (TRIANGLE MODE) With the WAVE button set to TRI (the TRI LED will be lit), rotating the WAVE ANGLE knob will continually vary the wave shape, changing the

relationship between the rising and falling segments of the wave.

The center position will create a Triangle wave. Rotating the knob to

the far left will produce a wave shape closer to a Sawtooth wave; rotating the knob to the far right will

produce a Reverse Sawtooth (or Ramp) wave.

NOTE: In TRI mode, the rising and falling phases of the wave

both scale with pitch -- both

get faster at higher pitches, and

SAW TRIANGLE RAMP

TIP: In TRI mode, try modulating the WAVE ANGLE to vary the rise and fall segments of the wave, producing a wide variety of timbres traditionally unavailable on an analog synthesizer.

both get slower at lower pitches.

OSCILLATORS (Continued)

SAW (SAWTOOTH MODE)

With the WAVE button set to SAW (the SAW LED will be lit), rotating the WAVE ANGLE knob will continuously

vary the reset time of the Sawtooth wave. Rotating the knob hard left will produce a classic Moog Sawtooth wave with a 6µs (microsecond) reset time. As the WAV E

ANGLE knob is rotated to the right, the reset time of the Sawtooth wave is increased, creating a darker and less aggressive timbre. The Wave Angle range is from 6µs to 1 ms.

NOTE: In SAW mode, modulating the Wave Angle will vary the reset time of the wave, resulting in

dynamic variations of timbral complexity.

PULSE WIDTH

The second wave generator in each Oscillator creates a pulse wave. Rotating the PULSE WIDTH knob will vary the duty-cycle (Pulse Width) of the wave. Rotating the PULSE WIDTH knob to the far left will create a narrow pulse with a short duty cycle; the center position will produce

a square wave (50% duty cycle); rotating the knob to the far right will

produce a wide pulse with a long duty cycle.

NOTE: The inverse of a narrow Pulse Wave with a 20% “on” time is a wide Pulse Wave with a 20% “off” time. Graphically, they are mirror images of each other, and their harmonic contents are identical. However, it is the smooth cyclic transition from one to the other that gives Pulse Width Modulation (PWM) its distinctive sound.

MIX

Using the MIX knob, you can create a unique and intricate analog wave shape by combining the outputs of the Triangle/Sawtooth generator and the Pulse/Square generator. The MIX knob determines the blend between the two, and the resultant waveform is shown in the individual OLED window for each Oscillator. Rotating the MIX knob to the far left outputs the Triangle/Sawtooth only; the center position provides an equal mix of the two generators; rotating the MIX knob to the far right will output the Pulse/Square only.

HARD SYNC (OSCILLATOR 2 and OSCILLATOR 3 only)

When an Oscillator is sync’d to the phase of another Oscillator, the sync’d Oscillator is being forced to reset itself to match every waveform peak of the master Oscillator. As the sync’d Oscillator struggles to keep up, the resulting wave shape can become more and more complex.

OSCILLATORS (Continued)

OSCILLATOR 1

HARD SYNC’D OSCILLATOR

OSCILLATOR MORE PAGE

Pressing the triangular MORE button in the upper right corner of any Oscillator module will reveal a second level of parameters that can

be accessed and modied using the Soft Knobs and Master Encoder

in the Center Console. These additional parameters are displayed in the bottom portion of the screen. The left pane shows a static

representation of the nal wave shape output from the Oscillator.

NOTE: The static image displayed on the screen is created by the Oscillator’s parameter settings only, and does not reect any real-time modulation routings that may also be affecting the nal waveform.

The sound can become aggressive, metallic, or even

exhibit elements of comb ltering. Adding modulation

to the frequency of a sync’d Oscillator can greatly enhance this effect. Moog One sets Oscillator 1 as the Master Oscillator by default. Use the HARD SYNC

button to force the selected Oscillator(s) to sync to

Oscillator 1.

The right pane shows the current value of the Front Panel hardware parameters for this module.

NOTE: Pressing the (now) illuminated MORE button will exit the MORE page and recall the HOME screen.

CHANGING THE VALUE

Rotate the Soft Knob below each parameter name to change its value. In some cases, the Soft Knob simply turns a function on or off. In other cases, the Soft Knob may choose from a range of values or settings.

SELECTING A ROW

The scroll bar at the right edge of the screen indicates the current row. Rotating the Master Encoder to the right will select

the next available row of parameters. Rotating the Master Encoder to the left will select the previous row. Once selected, rotate the Soft Knob below each parameter name to change its value.

OSCILLATORS (Continued)

VCO MODE (SAWTOOTH, TRIANGLE)

This parameter shows the status of the WAVE button on the front panel. This function can also be controlled here.

PITCH TRACKING (0 to 200%)

With this parameter set to 100%, the pitch of the Oscillator will track the keyboard as normal. In some cases you may want to change this value. For example, at 0%, the Oscillator would play the same pitch,

regardless of the note played. Another example would be to set an Oscillator to Hard Sync, and utilize an excessive value (150% - 200%) to enhance the effect.

NOTE-ON RESET (OFF, ON)

Normally, an Oscillator is constantly running, and each new note played begins from the current point in the waveform cycle. When NOTE-ON RESET is On, the phase of the Oscillator is reset to zero with each new note-on command, which can make for extremely punchy bass sounds.

BEND OFFSET

The Bend Offset amount is set individually for each oscillator, and is combined with the per-Synth Pitch Bend Up and Down values set on the LHC MORE Page. Bend Offset provides separate values for Bend Up and Bend Down, and each can be set to either a positive or a negative value. In this way, the

Pitch Bend wheel can be used to resolve each oscillator to a specic note or interval at either end of its

travel, allowing for creative harmonies and chords to be introduced as part of a performance.

BEND UP OFFSET (-24 to 0 to +24)

This parameter species the amount of Pitch Bend Offset applied to the Oscillator when the Pitch Bend wheel is moved Up. When the value is set to zero no offset is added. Negative

offset values will bend the pitch down; positive values will bend the pitch up. The range is +/-

24 semitones (two octaves).

BEND DOWN OFFSET (-24 to 0 to +24)

This parameter species the amount of Pitch Bend Offset applied to the Oscillator when the Pitch Bend wheel is moved Down. When the value is set to zero no offset is added. Negative

offset values will bend the pitch down; positive values will bend the pitch up. The range is +/-

24 semitones (two octaves).

HARD SYNC SRC. (Oscillator 2 and Oscillator 3 only)

The default source for Hard Sync on Oscillator 2 and Oscillator 3 is Oscillator 1. Here, a different oscillator can be designated as the Hard Sync source.

OS C I LL ATOR 2 (VCO 1, VCO 3)

OS C I LL ATOR 3 (VCO 1, VCO 2)

OSCILLATOR COMMON PARAMETERS

Just below the Oscillator section is a set of controls that affect all three of the oscillators in the active Synth. These parameters are instantly available and are conveniently hard-wired to commonly-used modulation applications.

PITCH MODULATION

These modulation parameters affect the pitch of all three oscillators.

LFO 1 AMT (0 to 10)

Turning this knob will determine the amount of LFO 1 being applied as a modulation source to the pitch of all three Oscillators. The higher the value of this knob, the deeper the modulation effect.

MOD EG AMT (-10 to 0 to +10)

Adjusting this knob will determine how much of the control signal from the Modulation Envelope Generator is being applied as a modulation source to the pitch of all three Oscillators. The center position equals

zero and produces no effect. Rotating the knob to the right increases

the amount of MOD EG signal; rotating the knob to the left inverts the amount of MOD EG signal.

RING MOD (RING MODULATOR)

Ring Modulation analyzes two input signals to create a new, complex output signal. Mathematically,

this output signal is the combined sum and difference of the frequencies of the input signals. Ring Modulation is known for creating metallic, robotic and inharmonic sounds. The output of the RING MOD appears in a dedicated channel in the Moog One Mixer module.

NOTE: The oscillator signals being fed into the RING MOD are tapped directly from the Triangle/Sawtooth generator, and are not affected by the Oscillators’ PULSE WIDTH knobs or the Oscillator MIX knobs.

TIP: Try altering the PITCH TRACKING amount of one of the Oscillators (using the MORE button) to emphasize the RING MOD effect. You may want to reduce the volume of the altered Oscillator.

SOURCES (1 – 2, 2 – 3)

Use this button to choose which pair of Oscillators will be fed into the RING MOD. The corresponding LED will light.

1 – 2

Oscillator 1 and Oscillator 2 will drive the Ring Modulator.

2 – 3

Oscillator 2 and Oscillator 3 will drive the Ring Modulator.

WAVEFORM MODULATION

These modulation parameters affect the waveform of the Oscillators. Both knobs are applying LFO 3 to the Oscillator wave shape.

WAVE ANGLE / LFO 3 AMT (0 to 10)

Turning this knob determines the amount of LFO 3 that is applied as a modulation source to the Oscillators’ Wave Angle parameter. The higher the value of this knob, the deeper the effect.

PULSE WIDTH / LFO 3 AMT

Turning this knob determines the amount of LFO 3 that is applied as a modulation source to the Oscillators’ Pulse Width parameter. The higher the value of this knob, the deeper the effect.

(0 to 10)

FM (FREQUENCY MODULATION)

Frequency Modulation (FM) allows the output of one oscillator to modulate the frequency of another

oscillator. Applying FM can produce complex sounds and introduce interesting harmonics. Moog One uses linear FM.

FM AMT (0 to 10)

Turning this knob determines the amount of Frequency Modulation that is applied from one Oscillator to another. The higher the value of this knob, the deeper the effect.

ROUTE (1 – 2, 1 – 3, 3 – 1)

This button selects the Oscillators and routing scheme for the FM effect. When making a selection, the corresponding LED will light.

1 – 2

The output of Oscillator 1 is modulating the frequency of Oscillator 2.

1 – 3

The output of Oscillator 1 is modulating the frequency of Oscillator 3.

3 – 1

The output of Oscillator 3 is modulating the frequency of Oscillator 1.

NOISE

In addition to the three Oscillators and the Ring Modulator, Moog One also includes a sophisticated dual source Noise Generator, available as a separate audio source with a dedicated channel in the Mixer module.

Built into the Noise module is a dedicated Envelope Generator to provide independent articulation of the noise. This envelope generator offers a variable ATTAC K knob, a variable RELEASE knob, and a

SUSTA I N button that allows the Noise generator to continue to sound as long as a note is held.

ATTAC K (1 M-SEC to 10 SEC)

The AT TACK knob sets the Attack Time of the Noise Envelope Generator, controlling how fast the Noise reaches its maximum volume once a key has been pressed or a gate signal received.

RELEASE (1 M-SEC TO 10 SEC)

The RELEASE knob sets the Release Time of the Noise Envelope Generator, controlling how slowly the NOISE fades out after a key is released or the gate is closed.

SUSTAIN (ON/LIT, OFF/UNLIT)

When the S U S TAIN button is engaged, the Noise Generator will continue to sound as long as a gate is held open, either by pressing the Keyboard, holding a Sustain Pedal, or when receiving a CV Gate. When the S U S TAIN button is off, the Release stage will act as more of a Decay stage, fading the sound down as soon as the Attack stage has been completed.

NOISE (Continued)

The Noise generator produces three different colors of noise – White, Red, and Purple. Any two noise colors can be selected at once using the COLOR button; the COLOR MIX knob creates a blend between those two noise colors.

COLOR MIX

The COLOR MIX knob sets the balance between the two colors of noise selected by the COLOR button. Rotating the knob fully to the left will

emphasize the color listed in the left column. Rotating the knob fully to the right will emphasize the color listed in the right column. Placing the

knob in the center position will provide an even mix between the two.

COLOR

The COLOR button species which two colors of noise are being blended using the COLOR MIX knob - the corresponding LED will light for each selected pair.

RED + WHITE Red Noise and White Noise are selected.

RED + PURPLE Red Noise and Purple Noise are selected.

WHITE + PURPLE

White Noise and Purple Noise are selected.

WHITE NOISE

White Noise is analogous to white light; it contains the same amount of energy across every octave band in the audio spectrum. It’s the sound you hear when an old television is set to a non-existing channel.

RED NOISE

Also referred to as Brownian Noise, Red Noise provides a 6 dB decrease in energy per octave across the audio spectrum as the frequency increases. This greatly curtails the high-frequency Noise components. Red Noise can be thought of as a “rumble” type of Noise.

PURPLE NOISE

Sometimes called Violet Noise, Purple Noise is the counterpart to Red Noise. Purple Noise provides a 6 dB increase in energy per octave across the audio spectrum as the frequency increases. This greatly reduces the low-frequency Noise components. Purple Noise can be thought of as a “hiss” type of Noise.

NOTE: Pink Noise – a popular element in modular and percussion synthesis – can be approximated by using the COLOR button to select RED + WHITE, and by then adjusting the COLOR MIX knob to taste.

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