Page 1
e
Page 2
SECTION
1
INTRODUCTION
Thank
you
for
choosing
the
Moog"
Taurus
II
Synthesizer.
The
Taurus
II
is a very
powerful,
unique
instrument.
It
combines a foot
pedal
control
with a versatile
synthesizer
featuring
a
logically
laid
out
front
panel
and
the
famous
"fat"
Moog
sound.
This
manual
serves
as
an
introduction
to
the
instrument
and
explains
the
basics
of
synthesizers
using
the
Taurus
II
as a working
model.
Each
of
the
following
three
sections
takes a different
approach
to
understanding
the
instrument.
"Trying
Out
Some
Sounds"
consists
of
sound
charts
which
enable
you
to
familiarize
yourself
with
the
front
panel
and
the
sound
capabilities
of
the
instrument.
"Getting
to
Know
Taurus
II"
introduces
you
to
each
front
panel
control
by
way
of
experimenting
with
it.
At
this
stage,
you
learn
how
to
use the
instrument.
"A
Closer
Look
at
Taurus
II"
is a more
involved
explanation
of
the
Taurus
II
and
explains
the
basics
of
the
synthesizer.
Once
you
are
familiar
with
the
controls
of
the
Taurus
II,
you'll
be
ready
to
create
your
own
sounds.
Part
of
the
x
excitement
in
makingonusic
is
experimenting
with
your
instrument
finding
new
sounds
and
new
playing
techniques.
There
is
always
something
else
to
discover
and
that's
what
makes
mastering
a
musical
instrument
such
an
enjoyable
continuing
experience.
Val
Podlasinski
Page 3
SECTION
2%
CONTENTS
Initial
Setup
3
Amplification
5
Trying
Out
Some
Sounds
5
Sound
Charts
7
Getting
to
Know
Taurus
II
19
A
Starting
Patch
19
Tuning . /
20
C3lide
20
Pitch
Wheel
21
Modulation
Wheel
„
21
Oscillator
Octaves
22
Oscillator
Waveform
22
Oscillator
2
Interval
23
Osc 2 Sync
(Osc 2 to
Osc
1)
23
Contoured
Sync
24
Contour
Generator
. . _
_t-;>^
24
Attack
(Rise)
. .
;
.'"T.TT^.
.
24
Decay
(Fall)
25
Sustain
25
VCA
Mode
.
.-
.....]...[]..][[
26
Filter
Section
26
Cutoff
(Brightness)
Emphasis
AMT
(Amount)
.
Keyboard
Track . .
.
Mixer
Section
Noise
Overdrive
Master
Volume
A
Closer
Look
at
Taurus
II
Basic
Synthesizer
Flow
Chart
. .
.
The
Audio
Generators
The
Modifiers
The
Articulators
The
Controllers
Interfacing
Control Voltages
Triggers
Audio
In
Compatibility
of
Control
Voltages
Specifications
."
Index
26
27
27
28
28
29
29
29
30
30
32
35
37
39
40
42
43
45
46
47
48
Page 4
SECTION
3
INITIAL
SET
UP
Now
that
you
have
unpacked
the
Taurus
II,
save
the
shipping
cartons
and
packing
materials
in
case
any
long
distance
transporting
is
required.
First
check
to
see
that
you
have
all
the
components:
Pedal
board
Synthesizer
Module
Stand
Power
Supply
5
Pin
Connector
Cable
Gig
Bag
Step
1:
Take
the
stand
and
carefully
screw
the
end
with
the
larger
thread
into
the
adapter
in
the
center
of
the
pedal
board.
Step
2:
Attach
the
synthesizer
module
to
the
stand.
Underneath
the
synthesizer
module
there
is
an
adapter
which
mates
with
the
thread
of
the
stand.
The
thread
is
long
in
order
to
make
a
sturdy
connection
so
several
turns
of
the
module
will
be
required
to
make a tight
fit.
Step
3:
Connect
the
5-pin
connector
cable
to
the
rear
of
the
pedalboard
and
rear
of
the
synthesizer
module.
Page 5
Step
4:
Plugihe
24
volt
power
supply
cord
into
the
POWER
IN
jack
on
the
rear
of
the
synthesizer
module,
plug
the
other
end
in
the
power
outlet,
then
turn
on
the
power
switch
on
the
front
panel.
AMPLIFIER
Step
5:
Using a 1/4"
jack
audio
cord,
connect
the
AUDIO
OUT
on
the
rear
of
the
Taurus
II
to
your
amplifier
or
monitoring
system.
Always
allow
at
least
10
minutes
for
any
synthesizer
to
warm
up
prior
to
tuning
up.
If
no
sound
is
heard,
first
check
that
all
connections
have
been
made
properly.
Check
the
5-pin
connectors
at
each
end.
Check
that
the
power
supply
is
pushed
in
all
the
way
in
the
power
outlet.
Check
the
power-in
jack
plug,
at
the
rear
of
the
synthesizer
module,
to
see
if
it
is
inserted
correctly.
The
power
light
above
the
power-on
switch
should
be
glowing.
Check
the
audio
cord
by
substituting
it
for
another.
Alternatively,
turn
the
amplifier
volume
to a low
level,
disconnect
the
audio
cord
from
the
Taurus
II
and
touch
the
end
of
the
jack
plug.
If a hum
is
heard,
the
cord
is
O.K.
If
you
have
any
problems
with
the
Taurus
II,
you
should
first
contact
the
dealer
you
purchased
it
from.
Any
technical
problems
usually
can
be
solved
by
the
dealer.
Service
centers
and our
own
Service
Department
are
also
on
hand
to
assist
you.
Information
on
the
service
center
nearest
you
can
be
obtained
by
contacting:
Moog
Service
Department
2500
Walden
Avenue,
Buffalo,
NY
14225;
(716)
681-7242
•:
.■*'•
Page 6
SECTION
4
AMPLIFICATION
To
get
the
best
sound
reproduction
for
Taurus
II
Taurus
II
is a powerful
monophonic
synthesizer.
Many
of
you
will
use
it
primarily
for bass
sounds,
however
it
will
produce
a
wide
range
of
pitch
and
tone
color
just
like
any
other
synthesizer.
If
you
are
going
to
use
Taurus
II
for
bass
synth
work
only,
a
bass
amplification
system
will
suffice.
However,
if
you
intend
to
continually
use a variety
of
contrasting
sounds,
try
to
use
an
amplification
system
which
is
designed
for
synths/keyboards.
Your
Moog
dealer
will
be
able
to advise
you
on
this
subject.
TRYING
OUT
SOME
SOUNDS
PITCH
^^-^
MOD
TaurUs/T
n
7
\
7\
0
10
GLIDE
CONTHOLLEnS
.3
30
RATE
(HZ)
SHAPE
OSC
CD
CD
a
ru
-v
0FF
ott
AUTO
TRIG
VCF
CD
CD
OFF
ON
OFF
ON
MODULATION
OSC
1
OCTAVE
32'
16'
8'
CD-
32'
16'
6'
OSC
2
OFF
ON
CONTOURED
CD
SYNC
OSC 2 TO
OSC
1
WAVEFORM
A
lU
-CD
a
iu
INTERVAL
OSCILLATORS
ATTACK
10—
OECAY
SUSTAIN
1O-
CD
OUT
IN
VCA
MODE
CONTOUR ' BYPASS
KEYED
CONTOUR
GENERATOR
CUTOFF
EMPHASIS
AMT
—10
KEYBOARD
TRACK
M/
ON
7
-
0
10
MASTER
VOLUME
POWER
OSC 1 OSC 2 NOISE
r\
o
r\
Taurus
II
sound
charts
are
line
drawings of
the
instrument's
front
panel.
Positions
for
placing
toggle
switches,
rotary
controls
and
sliders
are
indicated
by
dots.
To
help
you
remember
your
own
front
panel
settings
(patches)
we
have
included
two
blank
sound
charts
on
page
18.
We
suggest
you
photocopy
them
to
have a supply
of
blanks.
If
you
create a sound
you
wish
to
use
again
(especially
when
you're
experimenting
or
recording)
write
it
down.
You'd
be
surprised
how
easy
it is
to
forget
that
hot
patch.
Page 7
a!)
ci
Tip
•These
sound
charts
are
designed
to
guide
you
toward a particular
sound.
After
setting
up
the
patch,
experiment
by
moving
one
or
two
controls.
By
making
several
adjustments,
you
might
find a sound
you
prefer.
Suggested
controls
to
experiment
with
are:
1.
Cutsdff
slider
in
the
Filter
section.
(This
controls
the
brightness
of
the
sound.)
2.
Octave
switch
in
the
Oscillator section.
(This
switch
selects
the
overall
pitch
of
the
instrument.)
3.
Attack
and
Decay
sliders
in
the
Contour
Generator.
(These
control
the
rise
and
fall
of
the
loudness
and
the
filter.)
O.K.
You're
eager
to
start
playing
the
Taurus
II.
Set
up
these
patches
and
get
an
idea
of
the
many
sounds
Taurus
II
can
produce.
Page 8
ORIGINAL
TAURUS
VOICE
nnoog-
PITCH
a-«v
MOO
TaurusTJ
n
TUNE
0
10
GLIDE
V
V
.3
30
RATE
(H2>
SHAPE
OSC
a
ru
-v
OFF
0N
AUTO
TRIG
VCF
.
CONTROLLERS
-■
OFF
ON
OFF
ON
.MODULATION
OSC
1
OCTAVE
32*
16*
81
OFF
ON
CONTOURED
SYNC
OSC 2 TO
OSC
1
WAVEFORM
a
ru
32*
16'
8'
O5C
2
ILJ
*
UNISON
OCTAVE
7\>
INTERVAL
ATTACK
SUSTAIN
OUT
IN
VCA
MODE
DECAY
10-
O
-
CONTOUR ' BYPASS
KEYED
CONTOUR
GENERATOR
CUTOFF
EMPHASIS
AMT
—
10
ON
POWER
MASTER
VOLUME
10
OSC 1 OSC 2 NOISE
10
OSCILLATORS}
Note:
Detune
Osc 2 slightly
i
Ttp
Detuning
helps
to
get a richer,
fatter
sound.
Only a small
amount
is
enough
to
get
the
desired
effect.
BASS
1
PITCH
^^'"K
MOD
Taurdsfl
n
7 V
TUNE
0
10
GLIDE
CONTROLLERS
.3
30
RATE
(HZ>
SHAPE
OSC
0N
VCF
A
fU
"V
AUTO
TRIG
OFF
ON
OFF
ON
MODULATION
OSC
1
OCTAVE
32*
16'
OFF
ON
CONTOURED
SYNC
OSC 2 TO
OSC
1
WAVEFORM
a
ru
32'
16'
8'
OSC
S
fU
UNISON
OCTAVE
INTERVAL
OSCILLATORS
ATTACK
OUT
IN
VCA
MODE
CONTOUR^ ' BYPASS
KEYED
0
~\
-
0
10
MASTER
VOLUME
ON
POWER
CONTOUR
GENERATOR
CUTOFF
EMPHASIS
AMT
7\
KEYBOARD
TRACK
-—10
—
s
—
0
OSC 1 OSC 2 NOISE
10
Note:
Detune
Osc 2 slightly
Page 9
BASS
II
-*,
maog
PITCH
^^*\
MOD
Tauruin
H
TUNE
0
10
GLIDE
V\
RATE
(HZ)
SHAPE
OSC
a
ru
-v
off
AUTO
TRIG
VCF
CONTROLLERS
OFF
ON
OFF
ON
MODULATION
OSC
1
OCTAVE
32*
16*
B'
OFF
ON
CONTOURED
SYNC
OSC 2 TO
OSC
1
WAVEFORM
A
OJ
32'
16'
8*
oscs
IU
UNISON
OCTAVE*
INTERVAL
OSCILLATORS
DECAY
SUSTAIN
OUT
IN
VCA
MODE
CONTOUR ' BYPASS
KEYED
CONTOUR
GENERATOR
V
V
o
io
MASTER
VOLUME
ON
POWER
CUTOFF
EMPHASIS
AMT
M/.
7
V
KEYBOARD
TRACK
10
OSC 1 OSC 2 NOISE
A A
r>
BASS
III
Note:
Detune
Osc 2 slightly
Taurus/J
n
TUNE
0
10
GLIDE
M/.
CONTROLLERS
'4
V
.3
30
RATE
(HZ)
SHAPE
OSC
A
HI
-V
OFF
0N
AUTO
TRIG
VCF
OFF
ON
OFF
ON
MODULATION
OSC
1
OCTAVE
32*
16'
8'
OFF
ON
CONTOURED
SYNC
OSC 2 TO
OSC
1
WAVEFORM
A
IU
32*
16'
81
(U
UNISON
\\/.
INTERVAL
OCTAVE
DECAY
SUSTAIN
OUT
IN
VCA
MODE
CONTOUR^
BYPASS
KEYED
CONTOUR
GENERATOR
CUTOFF
EMPHASIS
AMT
\tv
/\
0
10
MASTER
VOLUME
ON
POWER
7
V
KEYBOARD
TRACK
OSC 1 OSC 2 NOISE
10,
oscillator:
Note:
Watch
the
Master
Volume
on
this
patch
8
.
Page 10
^
00
CN
0)
4-1
o
Z
<
o
Page 11
BASSV
ITtEJOg
PITCH
MOO
TUNE
RATE
(HZ)
SHAPE
OSC
A
(U
-V
OFF
AUTO
TRIG
VCF
CONTRO
LLERS
OFF
ON
OFF
ON
MODULATION
OSC
OCTAVE
32'
16*
8*
OFF
ON
CONTOURED
SYNC
OSC 2 TO
OSC
1
WAVEFORM
A
OJ
32'
16'
8'
osc
a
UNISON
OCTAVE
INTERVAL
OSCILLATORS
BASS
VI
ATTACK
SUSTAIN
OUT
IN
VCA
MODE
0
-
CONTOURV ' BYPASS
KEYED
CONTOUR
GENERATOR
CUTOFF
EMPHASIS
AMT
—10
—
5
—
0
\
0
10
MASTER
VOLUME
ON
POWER
10
OSC 1 OSC 2 NOISE
M
A
r>
10
7.V
TUNE
PITCH • ^^"N
M0D
TaurusHlI
4O
0
10
GLIDE
CONTROLLERS
.3
30.
RATE
(HZ)
SHAPE
OSC
A
OJ-V
0FF
0M
AUTO
TRIG
VCF
OFF
ON
OFF
ON
MODULATION
OSC
1
OCTAVE
321
16'
B'
OFF
ON
CONTOUREO
SYNC
OSC 2 TO
OSC
1
WAVEFORM
A
IU
32*
16'
B1
nj
UNISON
OCTAVE
INTERVAL
ATTACK
SUSTAIN
OUT
IN
VCA
MODE
DECAY
10-
0
-
CONTOUR
BYPASS
KEYED
CONTOUR
GENERATOR
CUTOFF
EMPHASIS
AMT
ON
POWER
MASTER
VOLUME
KEYBOARD
TRACK
Page 12
BASS
VII
7\
0
10
GLIDE
i
CONTROLLERS:
.3
30
RATE
(HZ)
SHAPE
OSC
a
ru
-v
0FF
0M
AUTO
TRIG
OFF
ON
OFF
ON
modulation;
OSC
1
OCTAVE
32*
16'
8'
OFF
ON
CONTOURED
SYNC
OSC 2 TO
OSC
1
WAVEFORM
A
RJ
32'^
16'
B'
OSC
S
UNISON
I
IU
INTERVAL
'
.
OSCILLATORS'
ATTACK
10
—
OUT
IN
VCA
MODE
CONTOUR
BYPASS
KEYED
CONTOUR'.
GENERATOR.
CUTOFF
EMPHASIS
AMT
—10
0
10
MASTER
VOLUME
ON
POWER
0
1
_
KEYBOARD
TRACK
BASS
VIII
mexog
.3
30
RATE
(HZ)
SHAPE
OSC
a
ru
-v
0FF
0N
OFF
ON
OFF
ON
MODULATION
OSC
1
OCTAVE
32P
16'
8'
OFF
ON
CONTOURED
SYNC
OSC 2 TO
OSC
1
WAVEFORM
A
RJ
32'
16'
8'
OSC
2
OJ
OCTAVE
SUSTAIN
10-
OUT
'IN
VCA
MODE
CONTOUR^
BYPASS
KEYED
CONTOUR
GENERATOR
CUTOFF
EMPHASIS
AMT
KEYBOARD
TRACK
/\
0
10
MASTER
VOLUME
ON
POWER
OSC 1 OSC 2 NOISE
^
^
r\
11
Page 13
BASS
IX
-•&
ITTEOg
TUNE
PITCH
MOD
Taurusf/
n
V
§—"
.3W
30
RATE
(HZ)
SHAPE
OSC
A
fUV
AUTO
TRIG
OFF
ON
VCF
OFF
ON
OSC
1
OCTAVE
32'
16*
6'
OFF
ON
CONTOURED
SYNC
OSC 2 TO
OSC
1
WAVEFORM
A
flJ
32*
16*
6'
osc
e
A
OJ
UNISON
M/
INTERVAL
OCTAVE-
ATTACK
10-
DECAY
0
-
SUSTAIN
CONTOUR
KEYED
CONTOUR
GENERATOR
CUTOFF
EMPHASIS
AMT
—10
7 V
MASTER
VOLUME
POWER
OSC 1 OSC 2 NOISE
101
OVEP
DRIVE
5
—
MODULATION
OSCILLATORS
SOLO
I
frraog
l/\t7N
7\
TUNE
PITCH
MOO
Tauri/sfJ
H
/\
0
10
GLIDE
.3
30
RATE
(HZ)
SHAPE
OSC
a
ru
-v-
off
on
AUTO
TRIG
VCF
OFF
ON
OFF
ON
MODULATION
0FF
On
CONTOURED
SYNC
OSC 2 TO
OSC
1
OCTAVE
32*
16'
8'
WAVEFORM
a
ru
32'
16'
81
OSC
2
A
IU
UNISON
OCTAVE
INTERVAL
ATTACK
DECAY
SUSTAIN
10~
OUT
IN
VCA
MODE
At/
o
10
MASTER
VOLUME
ON
POWER
CONTOUR
'GENERATOR
CUTOFF
EMPHASIS
AMT
7V:
KEYBOARD
TRACK
—
10
OSC 1 OSC 2 NOISE
A
A
n
■
10
OVER
DRIVE
12
.
Page 14
SOLO
II
meog
PITCH
^fc.
-«w
MOD
TaurtfsH
n
0
10
GLIDE
CONTROLLERS
■
V
V
.3
30
RATE
(HZ)
SHAPE
OSC
a
ru
-v
OFF
0N
AUTO
TRIG
OFF
ON
OFF
ON
.
MODULATION
OSC
1
OCTAVE
32'
16'
6'
OFF
ON
CONTOURED
SYNC
OSC 2 TO
OSC
1
WAVEFORM
a
ru
ATTACK
10
—
OECAV
10-
A
RJ
OSC
S
UNISON
OCTAVE
INTERVAL
-
OSCILLATORS-
SUSTAIN
ci§)
OUT
IN
VCA
MODE
CONTOUR
BYPASS
KEYED
CONTOUR
GENERATOR
CUTOFF
EMPHASIS
AMT
—10
Ma
0
10
MASTER
VOLUME
ON
POWER
KEYBOARD
TRACK
OSC 1 OSC 2 NOISE
SOLO
III
maog
7
V
PITCH ^ -«s
MOD
Taurtfs
0
10
GLIDE
-7 V-
,3
30
RATE
(HZ)
'
SHAPE
OSC
a
ru
-v
0FF
0N
OFF
ON
OFF
ON
MODULATION
OSC
1
OCTAVE
32"
16'
8"
32-
16'
8'
osc
a
OFF
ON
CONTOURED
SYNC
OSC 2 TO
OSC
1
WAVEFORM
A
RJ
A
OJ
ATTACK
10—(
DECAY
10-
OCTAVE
OUT
IN
VCA
MODE
CONTOUR
BYPASS
KEYED
CONTOUR
GENERATOR
CUTOFF
EMPHASIS
AMT
-7
V
o
10
MASTER
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Page 15
SOLO
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14
Page 16
SOLO
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Page 17
SOUND
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SOUND
EFFECTS
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ATTACK
10
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17
Page 19
Permission
is
given
to
copy
for
non-commercial
purposes.
TUNE
PITCH
MOO
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CONTROLLERS
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MASTER
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OSC
10
OSC 2 NOISE
10
Page 20
SECTION
5
GETTING
TO
KNOW
TAURUS
II
One
of
the
best
ways
to
become
familiar
with
an
instrument
is
to
experiment
with
it.
So
rather
than
explain
in
detail
how
each
control
works,
let's
just
look
at
each
function
of
the
front panel
and
listen
to
the
influence
it
has
on
the
sound.
A
STARTING
PATCH
moog*
PITCH
MOO
Taurite77
n
TUNE
It
GLIDE
.3
30
RATE
(HZ)
SHAPE
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0FF
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AUTO
TRIG
OFF
ON
VCF
OFF
ON
OSC
1
OCTAVE
321
16'
B'
OFF
ON
CONTOURED
SYNC
OSC 2 TO
OSC
1
WAVEFORM
A
III
32'
16'
8'
osc
a
OJ
UNISON
OCTAVE
controllers.
MODULATION
INTERVAL
OSCILLATORS
ATTACK
10
—
DECAY
10
—
OUT
IN
VCA
MODE
CONTOUR
BYPASS
KEYED
CONTOUR
GENERATOR
CUTOFF
EMPHASIS
AMT
—10
-7
V
o
io
MASTER
VOLUME
ON
POWER
7K
j
KEYBOARD
TRACK
—
5
—0
OSC
101
OSC 2 NOISE
10
Here
is a patch
to
provide a convenient
starting
point.
The
control
panel
is
laid
out
in
six
separate
sections:
1.
Controllers
2.
Modulation
3.
Oscillators
4.
Contour
Generator
5. Filter
6.
Mixer
and
Final
Output
ftp
Remember,
if
you
get
stuck,
return
to
the
Starting
Patch
and
try
again.
19
Page 21
TUNING
-?4
Once
you
have
set
up
the
starting
patch:
1.
Set
the
INTERVAL
control
at
UNISON
and,
•
if
needed,
adjust
it
until
Osc 2 is
tuned
to
Osc
1.
(No
beating
should be
heard.)
2.
If
you
wish
to
tune
Taurus
II
to
another
instrument,
adjust
the
TUNE
control
accordingly
(again
no
beating
effect
should
be
heard).
RATE
1H2|
SHAPE
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CD
CD
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0PF
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AUTO
TRIG
CD
OFF
ON
VCF
CD
OFF
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OSC
1
OCTAVE
32
16-
6'
OFF
ON
CONTOURED
CD
SYNC
OSC 2 TO
OSC
1
CD
—
32'
16'
8*
osc
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UNISON
WAVEFORM
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OCTAVE'
MODULATION
OSCILLATORS
Check
that
the
pitch
wheel
is
in
its
center
notched
position.
GLIDE
it's a good
idea
to
sit
down
for
this
exercise
as
you'll
need
both
feet
on
the
pedal
board.
1.
Starting
Patch.
2.
Set
the
GLIDE
control
to
5,
play a high
note
and
while
holding
this
note
down
depress
the
lowest
pedal.
Note
how
the
pitch
glides
down
to
the
pitch
of
the
lowest
note.
3.
Using
the
same
pedal
techniques,
experiment
with
different
settings.
T
TUNE
PITCH
Taur
CONTROLLERS
20
Page 22
PITCH
WHEEL
nraog*
Expression
is a very
important
aspect
of
producing
music
on a musical
instrument.
With
the
synthesizer,
expression
can
be
introduced
by
using
the
Pitch
and
Modulation
wheels.
Experiment
-
get
to
know
the
feel
of
the
wheel,
how
far
it
should
be
moved.
1.
Starting
Patch.
2.
The
wheel
has a neutral
center
notched
position.
Check
to
feel
the
wheel
is
in
its
center
position.
3.
Moving
the
Pitch
Wheel
upwards
bends
the
pitch
up;
moving
the
wheel
downward
bends
the
pitch
down.
4.
Return
the
wheel
to
its
center
position.
Moving
the
Pitch
Wheel
just
small
amounts
can
bend
the
pitch
in
subtle
expressive
ways.
Small
pitch
glides
can
also
be achieved
using the
Pitch
Wheel.
Even
rocking
the
Pitch
Wheel
around
its
notched
central
position
can
produce
interesting
modulation
of
pitch.
Large
continuous
movements
of
the
Pitch
Wheel
will
create
sound
effects.
You
can
even
transpose
melody
lines
by
leaving
the
wheel
set
at a desired
interval.
TUNE
Taur
7.
V
GLIDE
carvrraoLLERB
MODULATION
WHEEL
The
Modulation
Wheel
works
in
conjunction
with
the
various
controls
in
the
Modulation
section.
1.
Starting
Patch.
2.
Moving
the
Mod
Wheel
upwards
introduces
modulation.
Play a note
and
listen
to
the
following
effects:
3.
Adjusting
the
RATE
(Hz)
control
(at
the
top
of
the
Modulation
section)
will
speed
up
or
slow
down
the
modulation
rate.
4.
Leave
the
Mod
Wheel
in a central
position,
and
switch
OFF
the
OSC
switch.
You
now
have only
filter
(VCF)
modulation
or
tremolo.
rraxj*
^'
O'
P.TCH
Taur
n
t
7\
TUNE
GLIDE
CONTROLLERS
MODULATION
21
Page 23
5.
Now
switch
OFF
the
VCF
switch
and
turn
ON
the
OSC
switch.
This
is
pitch
modulation
(vibrato).
6.
Switch
SHAPE
from
(
A
)Triangle
to
(
JT
)
Square
Wave.
Listen
to
the
difference.
Now
move
the
3-position
switch
to ( yH. ) Random
Waveshape.
This
is a popular
sound
effect
"sample
and
hold."
While
leaving
this
effect
on,
switch
the
AUTO
TRIG
switch
to
ON.
The
sample
and
hold
effect
will
now
play
continuously.
7.
Experiment
trying
out
different
combinations
of
switches,
varying
degrees
of
Mod
amount
from
the
Mod
Wheel
and
varying
amounts
of
RATE.
Remember,
if
you
get
stuck,
return
to
the
Starting
Patch
and
try
again.
OSCILLATOR
OCTAVES
The
oscillators
are
the
heart
of a synthesizer.
This
is
where
pitched
sound
is
generated.
^-—v.
1.
Set
up
the
Starting
Patch.
OCTAVE
is
at
16\
2.
Move
the
switch
left
to
32\
Notice the
pitch
of
the
Taurus
II
is
now
an
octave
lower.
3.
Moving
the
OCTAVE
switch
to
the
right
to
81 will
raise
the
pitch
two
octaves.
(The
OCTAVE
switch
controls
the
pitch
of both
oscillators.)
OSCILLATOR
WAVEFORM
I.
Set
up
the
Starting
Patch.
>.
Move
the
WAVEFORM
switch
to
the
right.
Note
the
different
tone
color.
j.
The
WAVEFORM
switch
controls
the
waveform
for
both
oscillators.
OSC
1
.
OCTAVE
^
32*
161
8'-
s
321
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osc
a
OFF
ON
CONTOURED
CD
SVNC
OSC 2 TO
OSC
1
WAVEFORM
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UNISON
OCTAVE
INTERVAL
OSCILLATORS
OSC
OCTAVE
32'
16'
8'
OFF
ON
CONTOURED
CD
SYNC
OSC 2 TO
OSC
1
CD-
32'
16'
8'
OSC
E
UNISON
OCTAVE
INTERVAL
Page 24
OSCILLATOR 2 INTERVAL
1.
Set
up
the
Starting
Patch.
2.
Turn
the
INTERVAL
control
from
UNISON
to
OCTAVE.
(This
moves
the
pitch
of
OSC 2 one
octave
above
OSC
1.)
Gently
moving
the
control,
listen
until
the
beating
effect
disappears.
Fine
tuning
will
ensure a perfect
octave
interval.
3.
Now
experiment
with
finding
intervals
between
UNISON
and
OCTAVE.
Setting
the
oscillators
at intervals
enriches
the
tone
quality.
Settings
of a perfect
fifth
or
fourth
are
frequently
used
because
of
the
organ-like
tone
colors
created.
Moving
the
Interval
control
left
of
UNISON
will
give
OSC 2 intervals
below
the
pitch
of
OSC
1.
OSC
1
OFF
ON
CONTOURED
CD
SYNC
OSC 2 TO
OSC
1
OCTAVE
32*
16'
8'
CD
32*
16'
a*
OSCILLATORS
//
i
up
Remember
to
return
the
Interval
control
to
UNISON
when
completing
this
exercise.
Notice
once
more
that
the
"beating
effect"
will
disappear
when
the
two
oscillators
are
exactly
in
tune.
However,
slow
beating
(slight
detuning)
does
produce a fatter
sound.
OSC
SYNC
(OSC 2 TO
OSC
1)
1.
Set
up
the
Starting
Patch.
The
OSC
SYNC
switch has three
positions.
In
the
OFF
position,
the
Oscillators
are
not
synchronized
and
may
be
detuned
as
above.
2.
Move
the
switch
to
ON
(the
second
position).
3.
No
difference
will
be
heard
until
you
turn
the
INTERVAL
control.
Notice
the
changing
tone
color
while
moving
this
control.
Experiment
with
different
settings.
4.
Return
the
INTERVAL
control
to
the
UNISON
position.
(An
exact
position
is
not
required
at
this
stage.)
5.
Now
move
the
SYNC
switch
right
to
CONTOURED.
(Refer
to
Contoured
Sync
section
on
the
following
page.)
OSC
OCTAVE
32'
16'
a*
WAVEFORM
A
fU
CD-
32 ■ 16'
8'
oscs
IU
UNISON
OCTAVE
INTERVAL
OSCILLATOR!
23
Page 25
CONTOURED^YNC
Look
at
the
Contour
Generator
section.
The
ATTACK
and
DECAY
sliders
will
affect
the
tone
color
in
this
exercise.
.1.
First,
listen
to
the
original
sound.
2.
Now
move
the
ATTACK
slider
upward
halfway
to
"5"
and
repeatedly
depress
and
release
a
pedal.
Notice
that
trie
tone
color'changes
automatically.
3.
Experiment
with
different
settings.
4.
Now
leave
the
ATTACK
at 0 and
try
out
different
settings
with
the
DECAY
slider.
Listen
for
the
different
changes
of
tone
color.
By
now
you
will
realize
these
controls
affect
the
timing
of
tone
changes.
•
OfF
O«
CONTOUREO
OSC2
TO
OCTAVE
32'
16'
8'
CD
32'
16'
8"
OBC
S
WAVEFORM
a
ru
CD
A
flJ
UNISON
OCTAVE
INTERVAL
OSCILLATORS
After
using
the
INTERVAL
control
with
SYNC,
don't
forget
to
retune
after
placing
the
SYNC
switch
in
the
OFF
position.
"
ATTACK
i
SUSTAIN
CD
OUT
IN
VCA
MODE
I-"*
DECAY
;to-
■*-
CONTOUR
KEYED
CONTOUR
GENERATOR
CUTOFF
EMPHASIS
AMT
#
1-10
KEYBOARD
TRACK
—
5
—0
*
Filter
AMT
slider
should
be
at
10
for
maximum
effect.
CONTOUR
GENERATOR
ATTACK
(Rise)
1. a)
Starting
Patch.
b)
Set
Contour
controls
and
filter
as
shown:
2.
Depress a pedal
and
listen
to
the
way
the
note
builds
in
volume;
as
soon
as
the
pedal
is
released,
the
note
stops
sounding.
3.
Move
the
ATTACK
slider
to
10
and
depress
a
pedal.
The
note
takes
longer
to
build
its
volume.
4.
Now
experiment
by
setting
the
ATTACK
control
in
various
positions.
DECAY
10
—
SUSTAIN
OUT
IN
VCA
MODE
CONTOUR> ' BVPASS
KEYED
CONTOUR
GENERATOR
CUTOFF
EMPHASIS
AMT
Ow
1
KEYBOARD
TRACK
24
Page 26
CONTOUR
GENERATOR
(Continued)
DECAY
(Fall)
l.a)
Starting
Patch.
b)Set
Contour
controls
and
filter
as
shown:
2.
Depress
and
immediately
release
a
pedal.
Notice
the
sound
takes
some
time
to
fade
away.
This
length
of
time
is
called
decay
time.
3.
Experiment
with
different
settings
of
the
DECAY
slider.
~
4.
Now
combine
different
settings
of
ATTACK
and
DECAY
until
you
feel
confident
about
the
affect
these
controls
have
on
the
sound.
ATTACK
10
—
SUSTAIN
OUT
IN
VCA
MODE
CONTOUR > BYPASS
KEYEO
CONTOUR
GENERATOR
SUSTAIN
1.
Starting
Patch.
2.
Switch
off
the
SUSTAIN
switch.
3.
Depress
a
pedal
and
listen
to
the
sound.
4.
Now
switch
in
SUSTAIN
and
listen
to
how
the
note
holds
loudness
and
brightness
at
its
peak
while
the
pedal
is
depressed
and
then
falls
off
at
the
Decay
time
when
the
pedal
is
released.
Try
maximum
DECAY
time
(10)
to
emphasize
this
example.
5.
Experiment
with
different
Decay
levels.
ATTACK
10
—
DECAY
0
-
IN
VCA
MODE
CD
CONTOUR^ ' BYPASS
KEYEO
0A
CONTOUR
GENERATOR
M/.
-
;/\N
j
KEYBOARD
TRACK
CUTOFF
EMPHASIS
AMT
—10
—
5
25
Page 27
VCA
MODE
1.
Starting
Patch.
2.
In
the
Contour
position,
the
Attack
and
Decay
times
are
controlled
by
the
ATTACK
and
DECAY
sliders.
3.
Move
the
switch
to
KEYED
center
position.
Play
and
release
low
C.
This
note
ends
abruptly.
In
this
mode, a note
will
only
sound
as
long
as
a
pedal
is
held
down.
4.
In
the
third
position
BYPASS,
the
notes
will
continuously
sound.
Move
the
switch
back
to
the
KEYED
position
to
stop
the
notes
from
playing.
ATTACK
10
—
O
-
DECAY
SUSTAIN
CD
OUT
IN
10
—
CONTOUR
GENERATOR
CUTOFF
EMPHASIS
AMT
KEYBOARD
TRACK
—10
—
6
—
0
-<Ht
*
Otoi
Tip
In
the
CONTOUR
modTth?ATTACK
and
DECAY
sliders
control
both
the
loudness
and
brightness
of
the
sound.
FILTER
SECTION
CUTOFF
(Brightness)
1.
Starting
Patch.
2.
Depress
the
low C pedal.
3.
Move
the
CUTOFF
slider
to
10
and
listen
to
the
sound
become
much
brighter.
Cutoff
acts
like
a
tone
control
for
brightness.
Experiment
with
different
settings.
Page 28
EMPHASIS
1.
Starting Patch.
2.
Depress a pedal.
3.
Move
the
EMPHASIS
slider
to
5,
then
7.5.
Notice
how
the
sound
becomes
thinner
and
more
nasal.
4.
Watch
your
volume
setting
if
you
move
the
EMPHASIS
slider
between
7.5
and
10.
At
this
level
the
filter
feeds-back
to
produce a high-pitched
whistling
(just
like
a
microphone
feedback).
Actually,
what
has
happened
is
the
filter
has
become
another
sound
source,
producing a very
pure
sound.
This source
itself
may
be
useful
for
certain
effects.
See
Sound
Effects
II
and
V.
.CONTOUR
GENERATOR
CUTOFF
EMPHASIS
AMT
0
1
_
KEYBOARD
TRACK
5.
Set
up
the
following
patch
on
the
filter.
6.
Depress
low C and
move
the
CUTOFF
slider.
Notice
it
controls
the
pitch
of
the
sound.
7.
Play
top C and
notice
the
pitch
is
also
controlled
by
the
pedal
board.
To
obtain
an
exact
tuning
from
bottom C to
top
C,
the
KEYBOARD
TRACK
control
may
have
to
be
adjusted.
8.
Now
experiment
with
various
CUTOFF
and
EMPHASIS
settings.
These
two
controls
interplay
to
produce
subtle
to
obvious
tone
changes.
They
play
an
important
part
in
the
overall
sound
quality.
CONTOUR
GENERATOR
AMT
(Amount)
1.
Starting
Patch.
2.
Depress a pedal.
3.
Move
the
AMOUNT
slider
to
0.
Notice
how
the
tone
color
drastically
changes,
just
like
it
did
with
the
Cutoff
slider.
The
AMOUNT
slider
adjusts
the
amount
of
Contour
controlling
the
Cutoff
(brightness).
Therefore,
the
Attack
and
Decay
sliders
and
the
Sustain
switch
affect
the
filter
(tone
color).
4.
Move
the
AMOUNT
slider
to
10.
Now
play
various
notes
and
experiment
with
the
Attack
and
Decay
sliders
in
the
Contour
Generator
section.
CONTOUR
GENERATOR
CUTOFF
EMPHASIS
AMT
7
V*
-
i
_
KEYBOARD
TRACK
I
3
27
Page 29
KEYBOARD
1.
Starting
Patch.
2.
Set
the
AMT
slider
to
0.
3.
Depress
the
lowest
then
the
highest pedal.
Note
the
even
tone
color.
4.
Turn
the
KEYBOARD
TRACK
to
maximum
10.
Play
the
lowest
and
highest
pedals
and
now
notice
the
difference
in
brightness
between
the
low
and
high
notes.
It
is
often
desirable
to
boost
the
brightness
of
high
notes
in
order
to
make
them
stand
out
more
for
melodic
reasons.
ATTACK
DECAY
10
—
0-
SUSTAIN ' 10~
CD
OUT
IN
VCA
MODE
"-
CONTOUR
BYPASS
KEYED
CONTOUR
GENERATOR
MIXER
SECTION / '
1.
Starting
Patch.
2.
Move
OSC 1 slider
to
0.
Depress a pedal
and
you
will
hear
only
OSC
2.
3.
Move
OSC 2 slider
to 0 and
return
OSC 1 slider
to
7.5.
Now
only
OSC
1
will
be
heard.
The
level
of
each
oscillator
can
be
mixed
to
achieve
the
balance
you
require.
4.
Moving
OSC 1 or
OSC 2 sliders
to
10
will
introduce
a
small
amount
of
distortion
to
produce a "beefier"
(fatter)
sound.
28
Page 30
NOISE
1.
Set
both
OSC 1 and
OSC 2 sliders
to 0 and
raise
the
NOISE
slider
to 5 as
indicated:
2.
Depress
a
pedal
and
you
will
hear a non-pitched
sound.
3.
By
moving
the
CUTOFF
slider,
wind
or
surf-like
effects
can
be
achieved
{see
example,
Sound
Effects
III).
Also,
other
percussive
sounds
can
be
created
using
the
Attack
and
Decay
sliders
in
conjunction
with
the
filter.
Experiment.
ATTACK
DECAY
SUSTAIN
(~qj)
OUT
IN
VCA
MODE
CONTOUR
GENERATOR
CUTOFF
EMPHASIS
AMT
KEYBOARD
TRACK
ON
POWER
MASTER
VOLUME
OSC 1 .
OSC 2 NOISE
■
OVER
DRIVE
■
10
***
OVERDRIVE
This
circuit
is
similar
to
the
Minimoog
mixer
section
where
setting
Oscillator
level
controls
at
maximum
also
produces
overdrive,
a
slight
distortion,
a
desirable
addition
to
fatten
the
sound
even
more.
1.
Set the
sliders
for
OSC 1 and
OSC 2 in
the
Mixer
section
to 5 and
set
the
MASTER
VOLUME
to
10.
Play
low C and
listen
to
the
sound.
2.
Set
the
sliders
for
OSC 1 and
OSC 2 to
10
and
set
the
MASTER
VOLUME
to
8.
Play
low C and
notice
the
sound
has
more
power
because
of
the
distortion.
This
fat
sound
is
very
popular
with
the
Minimoog
and
is
used
on
many
recordings.
MASTER
VOLUME
This
control
sets
the
overall
loudness
of
the
instrument.
For
best
results,
try
to
use
the
individual
Oscillator
level
controls
as
high
as
possible
and
then
set
the
MASTER
VOLUME
level,
to
optimize
the
quality
of
sound.
ON
o
POWER
MASTER
VOLUME
OSC1
OSC
2
NOISE
ON
0
POWER
29
Page 31
SECTION 6 •<
A
CLOSER
LOOK
AT TAURUS
II
How
are
the
functions
of
Taurus
II
organized?
The
best
way
to
think
of
any
synthesizer's
functions
is
to
think
of
the
whole
thing
as a modular
instrument.
A
module
may
best
be
defined
as
an
individual
part
that
has
its
own
special
purpose.
To
understand
and
use
a
synthesizer
correctly,
you
need
only
to
understand
each
of
its
modules.
The
"connecting"
of
one
module
to
another
is
easily
done
with
the
switches
and
controls
on
Taurus
II.
BASIC
SYNTHESIZER
FLOW
CHART
AUDIO
GENERATORS
MOD
SELECT
SWITCHES
VOLTAGE
CONTROLLED
FILTER
|
£
r-
VOLTAGE
CONTROLLED
AMPLIFIER
>OUT
MOD
WHEEL
MODULATION
I
I
VCA
MODE
SWITCH
CONTOUR
GENERATOR
PITCH
CONTROL
PITCH
BEND
WHEEL
Page 32
To
begin
with,
there
are
four
basic
modules
on
every
synthesizer:
1.
Audio
Generators
(oscillators,
noise
generator)
2.
Modifiers
(filter
and
modulation
sections)
3.
Articulators
(contour
generator
and
voltage-controlled
amplifier)
4.
Performance
Controllers
(pedalboard,
pitch
bend
wheel)
What
are
audio
generators?
The
audio
generator
portion
of
Taurus
II
consists
of
two
oscillators
and a noise generator.
The
oscillators
produce
electrical
waveforms
with
variable
shapes
and
frequencies
that
you
can
control
for
different
tone
colors
or
pitches.
The
noise
generator
produces
a
non-pitched
signal
that
can
be
used
for
percussion,
wind
or
surf-like
sounds
and
many
other
effects.
Both
oscillators
produce
sawtooth
waveforms
(
/[/]/
).
Oscillator
one
also
produces
a
square
wave ( |~LJ ) and
oscillator
two
produces
a
narrow
pulse
wave ( fl I )•
The
octave
switch
provides
a
3-octave
range
for
both
oscillators.
In
addition,
oscillator
two
may
be
tuned
up
to
one
octave
higher
than
oscillator
one.
The
"detuning"
of
oscillator
two
is
done
by
first
switching
the
SYNC
switch
OFF,
then
turning the
INTERVAL
knob
to
the
desired
position.
When
the
SYNC
switch
is
turned
ON,
the
pitch
of
oscillator
two
will
be
locked
in
synchronization
to
that
of
oscillator
one.
When
the
SYNC
switch
is
turned
to
CONTOURED,
the
settings
on
the
contour
generator
will
change
the
spectrum
of
oscillator
two.
However,
since
the
two
oscillators
are
locked
in
synchronization,
this
frequency
sweeping
will
cause
a
rapid
change
in
the
output
waveform,
creating
unusual
"screaming"
effects.
This
is a unique
sound on
Taurus
II;
it
can be
heard
clearly
on
the
Bass
III
Sound
Chart
on
page
8,
and
the
Bass
VII
Sound
Chart
on
page
11.
31
Page 33
THE
AUDIO
GENERATORS
MOD
SELECT
SWITCHES
VOLTAGE
CONTROLLED
FILTER
MOD
WHEEL
I
MODULATION
PITCH
CONTROL
PITCH
BEND
WHEEL
VOLTAGE
CONTROLLED
AMPLIFIER
I
J
CONTOUR
GENERATOR
VCA
MODE
SWITCH
>OUT
DECAY
\ I /
0N
- -
n
7^
U
POWER
OUT
IN
VCA
MODE
CONTOUR^
^
BYPASS
KEYED
MASTER
VOLUME
RATE
(HZ)
SHAPE
OSC
CD CD
a
ru
-v
0FF
0N
OSC 1 OSC 2 NOISE
CUTOFF
EMPHASIS
AMT
■
10
The
shading
on
the
above
panel
shows
the
location
of
the
audio
generator
portion
of
Taurus
II.
Page 34
What
are
the
modifiers?
There
are
two
types
of
modifiers
used
on
Taurus
II,
and
since
each
has a very
separate
purpose,
it
would
be
best
to
look
at
them
one
at a time.
1.
Filter
This
module
changes
the
tone
color
of
the
sound
produced by
the
audio
generators.
It
does
so
by
adding
or
reducing
the
amounts
of
high
frequencies
present
in
the
signal.
This
is
controlled
by
the
CUTOFF
slider.
In
addition,
EMPHASIS
may
be
added
to
increase
the
effect
of
the
filter's
function,
and
the
CUTOFF
can
be
controlled
further
by
the
pedalboard
and
contour
generator.
EMPHASIS
amplifies
a
narrow
band
of
frequencies
surrounding
the
cutoff
point.
Raise
the
AMOUNT
slider
to
increase
the
effect
of
the
contour
on
the
filter
CUTOFF.
The
KEYBOARD
TRACK
control
may
be
adjusted
from
"0"
(no
effect
of
the
notes
played
on
the
pedalboard
is
heard
in
the
filter)
to
"1"
(full
control
of
the
filter
by
the pedalboard).
A
great
many
unusual
tone
colors
may
be
produced
using
the
filter,
and a complete
understanding
of
its
function
will
give
you
control
over
an
almost
infinite
variety
of
musical sounds.
33
Page 35
• V f
-»
2.
Modulators^
Modulation
means
change.
The
use
of
the
modulators
will
give
you
unusual
changes
in
the
outputs
of
the
audio
generators
or
filter.
As
the
performer,
you
will
be
able
to
control
the
amount
of
these
changes,
the
speed
of
the
changes,
and
the
portions
of
the
synthesizer
that
may
be
affected
by
these
changes.
The
modulation
section
of
Taurus
II
provides
such
effects
as
vibrato,
tremolo,
automatic
repetition
and
sample-and-hoid
The
actual
modulation
is
produced
by a low-frequency
oscillator
(LFO)
built
into
Taurus
II.
You
can
control
its
repetition
rate
with
the
RATE
knob
and
its
waveshape
with
the
3-position
SHAPE
switch.
You
may
then
select
to
apply
this
modulation
effect
to
either
the
two
oscillators
for
vibrato
or
the
filter
(VCF)
for
tremolo,
or
both,
•
Note:
The
amount
of
modulation
(amplitude)
is
controlled
by
the
MOD
WHEEL.
If
the
wheel
is
in
its
lowest
position,
no
modulation
effects
will
be
heard.
AUTO
TRIGGER
will
trigger
the
contour
generator
at
each
complete
cycle
of
the
LFO
when
turned
ON.
For
sample-and-hold
patterns,
select
the
RANDOM
(
"r[/r
)
shape,
turn
AUTO
TRIGGER
to
ON,
route
the
modulation
to
OSC
and/or
VCF
and
raise
the
MOD
WHEEL
fully.
34
Page 36
THE
MODIFIERS
AUDIO
GENERATORS
MOD
A
SELECT
T
SWITCHES
I
1
j
VOLTAGE
CONTROLLED
AMPLIFIER
PITCH
CONTROL
PITCH
BEND
WHEEL
I
I
VCA
MODE
SWITCH
CONTOUR
GENERATOR
■►out
tz
0
POWER
The
shading
on
the
above
diagram
indicates
the
modulation
and
filter
portions
of
Taurus
II.
35
Page 37
What
are
artictfjators?
The
articulators
are
those
portions
of a synthesizer
that
allow
the
musician
to
control
the
loudness
of
the
instrument,
the
duration
and
shape
of
each
tone,
and
the
phrasing
desired.
On
Taurus
II,
the
contour
generator
controls
articulation.
It
is
put
into
operation
each time
you
depress
a pedal
on
the
pedal
board
or
when
triggered
by
the
AUTO
TRIG
function.
Sliders
allow
control
of
both
the
attack
and
decay
times.
These
may
be
set
from
fast
(0)
to
very
slow
(10).
*
A
SUSTAIN
switch
holds
maximum
loudness
while a key
is
depressed.
The
contour
may
be
used
to
control
the
filter
cutoff.
This
effect
is
created
by
raising
the
AMOUNT
slider
in
the
Filter
section.
A
3-position
switch
labeled
VCA
MODE
applies
the
contour
directly
to
Taurus
ITs
amplifier
in
position
1,
in
center
position
allows
the
amplifier
to
be turned
ON
and
OFF
by
the
pedalboard
alone,
and
leaves
the
amplifier
ON
at
all
times
in
position
3.
♦Specific
attack
and
decay
times
are
listed
in
Taurus
II
Specifications
in
the
back
of
this
manual.
36
Page 38
THE
ARTICULATORS
AUDIO
GENERATORS
MOD
SELECT
SWITCHES
VOLTAGE
CONTROLLED
FILTER
r-
MOD
WHEEL
1
MODULATION
PITCH
CONTROL
PITCH
BEND
WHEEL
VOLTAGE
CONTROLLED
AMPLIFIER
i i
^CONTOUR
GENERATOR^
VCA
MODE
SWITCH
■►out
meog
PITCH
^^^
MOD
Taurdsfl
n
/
TUNE
RATE
(HZ)
SHAPE
OSC
CD CD
a
ru
-v
o^
on
AUTO
TRIG
VCF
CD
CD
OFF
OH
OFF
ON
MODULATION
ATTACK
OECAY
■■ i :■:■
OSC
1
?£
0
POWER
OSC 1 OSC 2 NOISE
n
r\
r\
INTERVAL
OSCILLATORS
The
shading
on
the
above
diagram
shows
the
location
of
the
articulation
portion
of
Taurus
II.
37
Page 39
What
are
the
controllers?
The
two
primary
controllers
on
Taurus
II
are
the
pedalboard
and
the
pitch
wheel.
Each
of
these
will
change
the
frequencies
(and
therefore
the
pitches)
of
the
oscillators
in
the
audio
portion.
The
pedalboard
can
also
be
used
to
alter
the
cutoff
of
the
filter.
This
is
controlled
by
the
KEYBOARD
TRACKING
knob
on
the
filter
section.
The
pedalboard
is
also
directly
connected
to
the
articulation
portion
of
the
instrument
so
that
pitch
and
articulation
are
controlled
simultaneously.
A
GLIDE
control
allows
theaddition
of
portamento
(sliding
from
note
to
note)
when
playing
on
the
pedals.
The
speed
of
the
glide
is
adjustable.
The
TUNING
knob
controls
both
oscillators
simultaneously.
The
MIXER
allows
different
levels
of
each
oscillator
and/or
noise
to
be
combined
into
the
final
output
(MASTER
VOLUME
control).
Note:
When
placed
at
the
upper
level
(7.5 -10)
the
mixer
will
automatically
go
into overdrive.
This
is a distortion
circuit
built
into
the
instrument.
Overdrive
creates
a
driving
sound
similar
to,
but
less
dramatic
than,
that
of a fuzz
box
or
other
guitar
processors.
It
also
helps to
create
a
fatter
sound.
For normal
oscillator
sound
set
MIXER
at
approximately
5.
38
Page 40
THE
CONTROLLERS
AUDIO
GENERATORS
b
m
MOD
SELECT
SWITCHES
VOLTAGE
CONTROLLED
FILTER
I
.r
r-
1
J
VOLTAGE
CONTROLLED
AMPLIFIER
>OUT
VCA
j
MODE
1 ■
SWITCH
MOD
WHEEL
I
MODULATION
CONTOUR
GENERATOR
PITCH
CONTROL
TRIGGER
IM
/"v
canrmDLLERB
.3
30
RATE
(HZ)
SHAPE
OSC
CD
CD
a
ru
-v
OFF
0N
AUTO
TRIG
VCF
CD CD
OFF
ON
OFF
ON
MODULATION
OFF
ON
CONTOURED
CD
SYNC
OSC 2 TO
OSC
1
OCTAVE
32'
16'
8'
WAVEFORM
A
RJ
CD CD
32*
16'
e1
a
(LJ
ATTACK
10
—
0
-
SUSTAIN
DECAY
10
—
CD
UT
IN
VCA
MODE
.CD,
UNISON
OCTAVE
INTERVAL
OSCILLATDRS
CONTOUR
" "
BYPASS
KEYED
CONTOUR
GENERATOR
CUTOFF
EMPHASIS
AMT
—10
o
i
KEYBOARD
TRACK
—
5
—
0
The
shading
on
the
above
diagram
shows
the
locations
of
the
controllers
on
Taurus
II
39
Page 41
SECTION 7 ■"*
INTERFACING
Taurus
II
has a number
of
connectors
on
the
rear
panel
which
can
be
used
to
interface
Taurus
II
with
synthesizers,
sequencers
and
other
instruments
which
are
voltage
controlled.
Interfacing
can
work
in
both
directions.
Taurus
II
can
control
or
be
controlled
by
another
instrument.
When
interfacing
a
Taurus
II
with
another
instrument,
two
connections
are
normally
required:
a
control voltage
(CV)
and a trigger
or
gate.
EXAMPLE
1:
Interface
a
Taurus
II
to a Source.
Taurus
II
would
be
the
master, the
Source
the
slave.
Reason
for
interface:
bigger
sound
because
of
two
synths
playing
plus
programmability
of
The
Source.
MOOG
TAURUS
II
MOOG
THE
SOURCE
AUDIO AUDIO
TRIG
KEYBOARD
OUT.
IN
IN/OUT
IN/OUT
O
Or-9
UNBALANCED
•USE
STEREO
PLUG
ONLY-
OUT
ON
TIP
OUT
ON
TIP
FINE
TUNE
Or©
G-
AUDIO
OUT
IN
ON
RING.
KB-CV
IN/OUT
S-TRIG
IN/OUT
IN
ON
RING
CASSETTE
'
INTERFACE
to
Page 42
EXAMPLE
2:
Interface
a
Taurus
II
with a Moog
Liberation.
Taurus
II
would
be the
slave,
the
Liberation
the
master
or
controller.
Reason
for
interface:
to
use the
synthesizer
module
as
an
expander
unit
for
the
Liberation.
AUDIO
OUT
o
MOOG
TAURUS
II
MOOG
LIBERATION
AUDIO
IN
TRIG
IN/OUT
KEYBOARD
IN/OUT
-UNBALANCED
USE
STEREO
PLUG
ONLY
The
Liberation's
control
voltage
output
must
be
scaled
and
ranged.
Scaling
makes
sure
intervals
are
correct
on
both
instruments
and
ranging
ensures
unisons
are
correct.
The
proper
procedure
is
as
follows:
1.
Check
that
the
Taurus
II
is
in
tune
with
Liberation.
2.
Make
all
interface
connections.
3.
Set
volume
of
Taurus
II
and
Liberation so
you
can
hear
both
instruments
clearly.
4.
Depress
top C on
Liberation
and
adjust
range
until
Taurus
II
is
in
tune
with
Liberation
(zero
beats).
5.
Play
low F on
Liberation
and
adjust
scale
so
both
instruments
are
in
tune
(zero
beats).
6.
Repeat
steps 4 and 5 until
perfect
tuning
is
obtained.
The two
interface
controls
contain
all
control
voltages
necessary
for
performance.
The
voltages
for the
ribbon,
force
sensor,
modulation
and
keyboard
are
all
summed
together,
so
the
slave
instrument
now
becomes
as
versatile
as
Liberation.
41
Page 43
EXAMPLE
3:Mnterface
a
RS-09
Roland
Synth
with a Taurus
II.
Taurus
II
would
be
the
slave,
the
RS-09
the
controller.
Reason
for
interface:
to
use
the
strings
and
organ
of
the
RS-09
and
produce a brass
sound
via
the
Moog
filter.
MOOG
TAURUS
II
ROLAND
RS-09
AUDIO
OUT
AUDIO
IN
TRIG
KEYBOARD
IN/OUT
IN/OUT
UNBALANCED
TO
AMPLIFIER
O
V-TRIG
IN
ON
RING
SUSTAIN
PEDAL
O
USE
STEREO
PLUG
ONLY
ORGAN
GATE
RAWSIG
O
PHONES
O
OUTPUT
CONTROL
VOLTAGES
The
CV
supplies
information
about
pitch,
e.g.,
the
higher
the
voltage
the
higher
the
pitch.
Moog
synthesizers
use a CV
of 1 volt
per
octave.
Many
other
manufacturers
use
this
system.
Control
voltages
enter
and
leave
Taurus
II
at
the
synthesizer
module
In/Out
connector
which
is a stereo
jack.
KEYBOARD
IN/OUT
OUTPUT
TIP
RING
INPUT
42
Page 44
TRIGGERS
A
trigger/gate
sends a signal
which
turns
ON
or
OFF
the
Contour
Generators
of
an
instrument.
Moog
has
customarily
used
S-triggers
(switch
triggers).
When
an
S-trigger
occurs,
the
voltage
(around
12
volts)
goes
from
+12
to
ground.
Acting
as a switch
in
the
circuit,
this
causes
the
Contour
Generators
to
turn
on.
Taurus
II
also
has a V-trigger
otherwise
known
as a gate. A V-trigger
occurs
when
the
voltage
(at 0 volts)
goes
from 0 to
+10
volts.
Taurus
(I
will
accept
input
voltages
from
+3v
to
+10
volts
as
V-triggers.
The
TRIG
IN/OUT
connector
is a stereo
jack
and
acts
as
either
an
input
or
output.
Tip
is
the
S-trigger
Ring
is
the
V-trigger/gate
TRIG
IN/OUT
TIP
S-TRIG
RING ^ V-TRIG/GATE
The
cables
required
to
interface
Taurus
II
with
other
Moog
products
are
available
from
Moog's
Service
Department
at a small
cost.
Alternatively,
you
can
make
up
these
cables
yourself
as
follows:
CV
OUT
TIP
CVIN
RING
43
Page 45
S-TRIG
IN
TIP
(FEMALE
CINCH-JONES
CONNECTOR)
S-TRIG
OUT
(MALE
CINCH-JONES
CONNECTOR)
Some
other
brands of
synthesizers
(and
some
newer
Moog
instruments)
may
not
use
the
Cinch-Jones
connectors.
Consult
the
instrument's
owner's
manual
for
proper
procedure.
44
Page 46
V-TRIG
V-TRIG/GATE
RING
Example
only.
The
wiring
of
these
jacks
will
depend
on
the
connector
they
are
being
plugged
into.
Refer
to a wiring
diagram,
if
available.
AUDIO
IN
Any
audio
signal
can be
processed
by
Taurus
ITs
filter
section.
(The
Audio
IN
connector
routes
the
signal
to
the
filter.)
The
signal
impedance
level
should be
around
18K.
Most
HI
LEVEL
audio
signals
are
within
this
general
range.
The
Taurus
II
filter
will
act
as a sophisticated
tone
control.
When
the
bypass
switch
is
ON,
the
filter
is
controlled
by
manually
adjusting
the
CUTOFF,
EMPHASIS
or
AMOUNT
sliders.
Alternatively,
with
the
VCA
Mode
switch
in
CONTOUR,
the
filter
can
be
controlled
by
depressing
a
pedal
and
using
the
ATTACK
and
DECAY
controls
to
open
and
close
the
filter.
Modulation
of
the
filter
can
also
be
introduced
via
the
MODULATION
WHEEL.
Patching
a guitar
through
the
AUDIO
IN
will
enable
you
to
control
the
tone
color,
but
will
not
cause
Taurus
II
to
play. A pitch
to
voltage
device
would
be
required
to
achieve
this.
Using
the
AUDIO
IN
can
produce
some
very
interesting
effects
in
conjunction
with
CV
and
Trig;
e.g.,
utilizing
the
Moog
filter
with a Roland
RS-09.
45
Page 47
EXAMPLE:.*,
1 • Take
the
GATE
OUT
from
the
RS-09
and
connect
it
to
the
V-GATE
IN
of
the
Taurus
IL
2.
Route
the
Audio
Output
of
the
RS-09
through
Taurus
II
via
the
AUDIO
IN.
3.
Set
the
OSC 1 and
OSC 2 sliders
of
Taurus
11
to
0.
4.
Play
the
R5-09.
Remember
that
envelopes
of
both
instruments
will
be
functioning.
The
envelope
with
the
shortest
cycle
will
dictate
when
the
sound
ceases.
Therefore,
long
decay,
sustain
and
release
times
work
best
with
this
example.
When
the
RS-09
is
played,
it
will
control
the
VCF
of
Taurus
II.
Result,
the
RS-09's
audio
signal
will
be
passing
through
the
Moog
filter,
with
its
full
contouring
control
and
the
famous
Moog
sound.
COMPATIBILITY
OF
CONTROL
VOLTAGES
The
CV
in
Taurus
II
comes
from
the
pedalboard.
The
bottom
pedal
is 0 volts,
the
top
pedal
will
give
1.5
volts.
If
the
bottom
note
of
the
instrument
being
interfaced
to
the
Taurus
II
is
C,
only a small
scale
and
range
adjustment
will
be
necessary
to
match
both
instruments.
In
most
cases,
it
is
the
slave
instrument
that
should
be
recalibrated.
For
bottom
notes
which
are
other
than
C,
larger
adjustments
or
modification
may
be
required.
Refer
to a Service
Manual
or
consult
a
Moog
Dealer
or
Service
Center
for
correct
retuning
procedures
for
interfacing.
46
Page 48
SPECIFICATIONS
Keyboard
Description:
18
note C to F low-note
priority
Glide
Time:
Linear,
continuously
variable
from 5 msec
to
2.3 sec
(Bottom
to
top
of
Keyboard)
Sample & Hold
Drift:
4mV/sec
maximum
Modulation
Low
Frequency
Oscillator
Rate:
Continuously
variable
from
0.26Hz
to
31
Hz
Wave
Shapes:
Triangle,
Square,
Random
(Sample & Hold)
Amount
(Square
Wave):
Oscillator,
Zero
to
18
Semitones;
Filter,
Zero
to 4 Octaves
Auto
Trig:
Triggers
contour
generator
at
LFO
rate
Pitch
Wheel
Range
greater
than ± perfect
fifth
Oscillators
Number:
Two
Master
Tuning
Control: + 2.8
semitones
Reference
Frequency:
Low C — 32.7Hz + 0.5Hz
Waveforms:
Osc 1 -
Sawtooth,
square
Osc 2 -
Sawtooth,
narrow
rectangular
(Duty
Cycle
85% ± 5%)
Octave
Footages:
32',
16',
8'
Octave
Error:
.2%
Maximum
Scale
Factor
Error:
2%
Maximum
Range
Drift
due
to
Temperature:
10°C
to
38°C
less
than
.05%/°C
Osc 2 Interval
Range:
16
semitones,
± 3 semitones
Oscillator
Synchronization
In
the
Sync
Mode
Oscillator
2's
sawtooth
wave
can
be
reset
by
itself
or
by
the
reset
pulse
from
Oscillator
1.
This
locks
the
fundamental
frequency
of
Oscillator
2
to
Oscillator
1,
generating
a
complex
waveform.
In
the
"Contoured"
sync
mode,
control
voltage
from
the
contour
generator
is
routed
only
to
Oscillator
2.
Contoured
Sync
range:
4.0
Octaves
maximum, ± 2
Octaves
Noise
Type:
Pseudorandom
digital
pink
noise
Mixer
When
the
Oscillator
level
sliders
are
set
at
5 or
higher,
the
Oscillators
over
drive
the
filter
input,
producing a small
amount
of
intermodulation
distortion
-
the
"Overdrive11
sound.
Mixer
settings
below 5 produce
normal
sound.
Voltage
Controlled
Low
Pass
Filter
Type:
24dB/Octave
cutoff
slope,
with
variable
height
resonant
peak
at
cutoff
frequency
Range
of
Cutoff:
20Hz
to
40kHz
Keyboard
Tracking:
Continuously
variable,
zero
to
full
keyboard
voltage
Sweep
of
cutoff
frequency
by
contour
generator:
Continuously
variable,
zero
to
6.3
octaves
Contour
Generator
Type:
Retriggerable
unconditional
ASR
Attack
Time:
Continuously
variable
from 4 msec
to 4 sec
■
,
Decay/Release
Time:
Continuously
variable
from
10
msec
to
15
sec
Sustain
Level:
Switchable,
zero
or
100%
of
peak
contour
Voltage
Controlled
Amplifier
(VCA)
Audio
Output
Level:
OdBm
>
■*
Operating
Modes:
Contour -VCA
is
controlled
by
contour
generator
Keyed -VCA
fully
on
when
key
is
depressed,
fully
off
when
key
is
released
By-Pass -VCA
fully
on
Rear
Panel
KB
Control
Voltage
In: 1 V/Octave + 1%.
Input
impedance:
100Mft
KB
Control
Voltage
In: 1 V/Octave ± 1%.
Output
impedance:
.O2£2
S-Trigger
In:
Switch
closure
to
ground
triggers
contour
generator
S-Trigger
Out:
Trigger
on
is
switch
closure
to
ground
V-Trigger
In: 3 V
in
Minimum;
60K H Input
impedance
V-Trigger
Out:
10
Volts
out;
20K
Q.
Output
impedance
Nominal
Audio
Input
Level:
OdBm
(Input
impedance
=
18K
SI)
Nominal
Audio
Output
Level:
OdBm
(Output
impedance
=
1K
£2
unbalanced)
Burn
In
(Aging)
Before
final
calibration,
units are
burned
in
for
24
hours
at
ambient
of
approximately
72°F
Power
Requirements
24V
AC
External
Power
Supply
Power
Consumption: 6 Watts
47
Page 49
INDEX
Amplification
5
Assembly
3
Articulators
36,37
Auto
Trig
;
v
34,
36
Audio
Generators
31,
32
Audio
In
45
Audio
Out
:
4
Contour
Generator
24,25
Contoured
Sync
24
Controllers
.
38,
39
Control
Voltages
42
Filter
*
26
Cutoff
Frequency
26
Emphasis
27
KB
Track
28
Contour
Amount
27
Glide
20,
38
Interfacing . .-rfTx.
40,
41
Procedure
'
1
40
Control
Voltage
42
Scaling
46
Range
46
Triggers
(IN/OUT)
43
Cables
43
Interval
23
Keyboard
IN/OUT
:
42
LFO
,
34
Maintenance
4
Master
Volume . . . .•
29
Mixer
'.."..•
28,38
Modifiers
•
33-35
Modulation
21,
22,
34
Mod
Wheel
21»
34
Mod
Shape
21>
34
Mod
Rate
21
LFO
34
Routing
34
Noise
29>31
Oscillators
22»
31
Oscillator
2
Interval
23,
31
Octaves
22
Osc Sync
(Osc 2 to
Osc
1)
23>
31
Tuning
20
Waveform
22>
31
Overdrive
29>38
Pedalboard
36>
38
Pitch
Wheel
21>
38
Sample
&
Hold
34
Sawtooth
Waveshape
3^
Setup
3
Sound
Charts
y-18
Specifications
4^
Square
Waveshape
22,
31
Sustain
25»36
Sync
23^
Tremolo
34
Triggers
43
Tuning
20>31
Interval
23
Rate
LFO
21'
34
VCA . . . ^
26
Vibrato
34
Waveforms
3^
Page 50
SUPPLEMENTARY
INFORMATION
A
Gig
Bag
is
provided
for
convenient
handling
of
the
instrument.
1.
Insert
the
stand
in
the
long
narrow pocket
which
runs
the
length
of
the
Gig
Bag.
(The
stand
will
act
as a support.)
2.
The
synthesizer
module
fits
in
the
left
side
pocket
of
the
Gig
Bag.
3.
The
cable
and
power
supply
fit
in
the
smaller
pocket
on
the
right
side
of
the
bag.
4.
The
two
small
straps
of
the
Gig
Bag
then
attach
to
the
two
strap
posts
located
at
the
top
of
the
pedal
unit.
The
whole
assembly
can then
be
carried
by
the
handle
at
the
rear
of
the pedal
unit.
Page 51
MOOG
MUSIC
INC
2500
Walden
Avenue
Buffalo,
New
York
14225
J93-045481-001
Copyright
1982
Moog
Music
Inc.
Printed
in
U.S.A. -T.G.-1000
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