Moog THE SOURCE Owner's Manual

I

in

_nJ

s

OWNER'S

MANUAL

by

Rock

Wehrmann

Congratulations!

Now, I realize

that

about

80

percent

of

all

owner's

manuals

start

with

that

word

but,

in

this

case,

it's

justified.

The

fact

that

you've

purchased

THE SOURCE

says

several

things

about

you

as a musician:

—

You're

not

afraid

of

what

could

be

called a "computer-controlled

instrument";

rather,

you're

ready

to

work

with

the

advantages

presented

by a microprocessor-based

synthesizer.

—

You

are

quality

and

cost

conscious.

THE

SOURCE

contains a built-in

sequencer,

arpeggiator

and

program

sequencer

and

costs

less

than

some

non-programmable

synthesizers.

—

Finally,

and

perhaps

most

importantly,

you

just

want

to

make

good

music.

This

manual

will

help

you

to

realize

just

how

versatile

an

instrument

THE

SOURCE

truly

is.

Section I will

show

you

how

to

use

each function

on

the

instrument;

Section

II

explains

the

theory

behind

each

function

and

gives

tips

on

how

to

use

that

function

more

efficiently.

Margin

comments

periodically

explain,

in

detail,

points

made

in

the

main

copy.

After

you've

read

the

manual,

you

should

have a good

working

knowledge

of

digitally-controlled

synthesizers

and

you

should

realize

that,

rather

than

producing

"robot

music,"

digitally

programmable

synthesizers

take

care

of

the

"busy

work"

and

leave

you

free

to

make

your

own

kind

of

music.

And

when

you're

done

with

this

manual,

you'll

be

ready

to

earn

the

congratulations

which

really

count

—

the

applause

of

your

friends

and

audiences

for

making

great

music

with

THE

SOURCE.

Good

playing,

Rock

Wehrmann

MOOG

MUSIC

INC.

HI

CONTENTS

Section I Basic

Operation

. .

General

Maintenance

Setup

Tuning

Up

Playing

Programs

Factory

Programs

Performance

Controls

....

Editing

Programs

Storing

Programs

The

Hold

Control

Repositioning

Programs

....

Section

II

References

The

Analog

Synthesizer

Signal

Sources

Oscillators

Waveshapes

Sync

Noise

Modifiers

Voltage-Controlled

Filter . .

Emphasis

Contour

Amount

KB

Track

Voltage-Controlled

Amplifier

Controllers

Keyboard

Contour

Generators

Modulation

(LFO)

SECTION

I

1

Level 2 Functions

1

Using

the

Sequencer

2

Using

the

Arpeggiator

3

Using

the

Program

Sequencer

4

Storage

and

Loading

of

Data

21

5

Using

the

Remaining

Level

2

Controls

23

6

Auto

Trig

7

S&H

11

S&HFitt

£

12

Ext

Trig

12

SECTION

II

41

25

Digital

Functions

25

The

Sequencer

26 The

Arpeggiator

26

The

Program

Sequencer

45

27

Unconditional

Tuning

28

The

Incremental

Control

46

29

Interfacing

30

Outputs

*®

30

Inputs

31 Cables

^

32

Troubleshooting

33

Tuning

34

Cassette

Operations

35

Level 2 Functions

•

35

Incremental

Resolution

36

Sound

Charts

38

Index

75

IV

SECTION

I

BASIC

OPERATION

GENERAL

MAINTENANCE

The

components

of

the

shipping

carton

for

The

Source

should

be

saved

in

case

short-distance

transport

is

required.

Do

not

repack

The

Source

without

surrounding

it

with

some

kind

of

plastic

(similar

to

the

bag

in

which

it

was

shipped).

Putting

the

instrument

directly

inside

the

styrofoam

end

pieces

without

any

protection

can

generate

harmful

static

changes

and

may

also

damage

the

wood

side

pieces. A carrying

case

is

recommended

for

long-distance

transport.

The

wood

side

and

trim

pieces

are

walnut.

These

should

be

periodically

rubbed

down

with

linseed

oil

to

maintain a rich

finish.

The

body

of

the

instrument

is

constructed

of

brushed

aluminum

and,

when

needed,

should

be

cleaned

with a slightly

damp

(not

wet)

cloth.

The

touch

panel

may

be

cleaned

in

the

same

manner,

taking

care

not

to

let

water

accumulate

on

any

surfaces.

The

touch

panel

is

highly

resistant

to

all

forms

of

damage

except

heat.

Do

not

allow

open

flame

or

lighted

cigarettes

near

the

touch

panel.

SETUP

The

initial

setup

of

The

Source

is

as

follows:

o

9 9

r

sa

is

(It

With

the

power

switch

OFF,

connect

the

detachable

line

cord

first

to

The

Source,

and

then

to a grounded

wall

socket.

Run a 1/4-inch

mono

cable

from

the

Source's

Audio

Out

to

the

amplification

system.

Connect

desired

interface

cables.

(See

Interfacing,

page

48,

for

proper

procedures.)

Set

amp

volume

and

Source

volume

to

zero.

Turn

the

power

switch

on

The

Source

ON.

The

numeral

1

should

appear

in

the

program

display

(upper

left

corner).

Turn

on

the

amplifier.

Turn

up

the

volume

on

the

amplifier

to

an

accustomed

listening

level.

With

the

volume

control

on

The

Source

still

down,

depress

any

key.

Turn

up

The

Source's

volume

to a comfortable

level.

Note

these

volume

settings.

POWER

SUPPLY

AMPLIFIER

Follow

this

procedure

whenever

the

instrument

is

used.

TUNING

UP

After

The

Source

has

warmed

up

(4

to 5 minutes),

follow

this

tuning

procedure:

VOLTAGE

CONTROLLED

FILTER

KB

TRACK

LOUONE8B

CONTOUR

Touch

program

Q.

Using

the

rear

panel

FINE

TUNE

control,

tune

The

Source

to

any

reliable

pitch

source

(an

organ,

piano,

tuning

fork,

etc.).

Touch

program

Q.Touch

the

ERBISBI

control

and,

while

still

holding

it

down,

touch

the

E§EH

controlin

the

Mixer

section.

Now

hold

down

the

top

key

on

the

keyboard,

and

turn

the

Incremental

Controller

until

the

two

oscillators

are

exactly

in

tune

(the

"beating"

effect

will

stop).

Touch

any

program

number.

THE

SOURCE

IS

NOW

TUNED

UP

AND

READY

TO

PLAY.

(If

the

factory

programs

have

changed,

use the

tuning

procedure

listed

in

the

Troubleshooting

section

on

page

56.)

PLAYING

PROGRAMS

To

call

up a programmed

sound,

touch

the

appropriate

program.

If

the

selected

program

does

not

come

up

immediately,

one

of

two

conditions

exists:

Touching a program

position

immediately

resets

every

circuit

of

the

analog

synthe

sizer

and

resets

all

digital

functions.

CONTROLLED

FILTER

KB

THACK

LOUDNEBB

CONTOUR

1.

The

Source

is

in

the

HOLD

mode

(see

Storing

Programs

on

page

11).

If

this

is

the

case, a semi-colon

figure

will

appear

in

the

Program

Display.

To

escape

the

HOLD

mode,

touch

HtSHBI.

The

semi-colon

figure

will

disappear.

2.

The

Source

is

operating

in

Level 2 (see

Level 2 Functions

on

page

15).

To

escape

Level

2,

touch

LEVEL

1

FACTORY

PROGRAMS

The

factory

programs

(programs

in

memory

when

The

Source

is

shipped)

are:

1.

Lead

1: a "fat"

lead

sound,

reminiscent

of

the

Minimoog.

2.

Lead

2: a guitarlike

lead

voice;

effective

with

pitch

bending.

3.

Horn: a simulation

of

brass

instruments;

realistic

over a wide

range.

4.

Flute:

voiced

with

tremolo,

this

program

sounds

best

with

the

modulation

wheel

set

at

approximately

75%.

5.

Clav

Bass: a bright,

funky

bass

voice

with a "plucked"

sound.

6.

Vibes:

this

voice

has a touch-dependent

envelope;

playing

and

holding

a

key

produces

a

different

sound

than

does

"tapping"

and

releasing

a

key.

Set

the

modulation

wheel

to

75%

for

tremolo.

7.

String

Bass: a

mellow

bass

sound

with

the

touch-dependent

envelope

described

in

program

6.

8.

Harpsichord:

a

bright,

plucked

sound.

9.

Organ:

this

voice

uses

single

triggering

for a "percussive"

attack

when

desired.

10.

Trill

Voice:

the

modulation

wheel

will

"tune"

the

upper

note

of a trill.

11.

Taurus:

the

same

rich,

deep

sound

as

the

Moog

Taurus

Pedal

Synthesizer

12.

Synthevox:

a

resonant

singing

lead-line

sound.

13.

Sax: a nasal,

biting

sound

characteristic

of

an

alto

or

soprano

saxophone.

14.

Wind:

this

voice

uses

noise

as a signal

source.

Turn

the

modulation

wheel

up

to

full

for a "sweeping"

effect.

15.

Snare

Drum:

different

areas

of

the

keyboard

will

produce

differently

"tuned"

drums.

16. A duplication

of

program

1.

Program

16

can

be

used

as a holding

position

for

rearrangement

of

program

positions.

PERFORMANCE

CONTROLS

THE

PERFORMANCE

CONTROLS

ON

THE

SOURCE

ARE

NOT

PROGRAMMABLE.

THEY

ARE

ALWAYS

ACTIVE

AND

READY

TO

BE

USED.

The

Performance

Controls

are:

32'

I I

IS'

I

FOOTAGE

0

El

0

CM

I

SING I IMULT

TRIGGER

MEMORY

HE

0 0

FOOTAGE

WAVESHA

I

interval!

OSCILLATOR

BANK

X/OLTAOE

CONTROLLED

FILTER

I I

KB

TRACK

II

CUTOFF

|

|EMPHASIS|

|

"gjJJTR

STOP

CONTINUE.

PLAY 1 PLAT

2

ARPEGGIO

SSH

SSHFILT

AUTOTfllQ

E

DBBD

HQDQBIiEliIliB

FILTER

CONTOUR

ONESS

CONTOUR

PRQGRAM5

1.

Volume -Final

master

gain.

This

determines

the

output

level

of

all

signals

from

The

Source.

2.

Octave

-

The

Octave

controls

(Zero

and

+1)

transpose

the

oscillators

and

filter

up

or

down

an

octave.

3.

Pitch

Wheel -This

wheel

changes

the

pitch

of

the

oscillators

up

or

down.

4.

Modulation

Wheel -Moving

this

wheel

up

(towards

the

volume

control)

introduces

vibrato

or

other

modulation

effects

{see

"Modulation"

on

page

38).

EDITING

PROGRAMS

As

previously

shown,

The

Source

may

be

used

exclusively

as a

preset

synthesizer.

However,

during

performance,

it

is

desirable

to

change

the

quality

of a sound.

For

this

and

other

reasons,

The

Source

has

extensive

editing

capabilities.

Editing

may

be

defined

as

"changing

the

memory

values

of a function.'

the

functions

on

any

synthesizer

fall

into

one

of

two

categories:

Switching

functions

or

incremental

functions.

The

Source's

touch

panel

and

incremental

controller

allow

access

to

all

these

functions.

The

touch

panel

is

laid

out

in a manner

similar

to a conventional

monophonic

synthesizer.

Major

function

blocks — oscillators,

filter,

modulation

-

are

grouped

in

visual

sections.

Switching

controls

on

The

Source

touch

panel

are

square-shaped

and

are

either

orange

(memory

controls)

or

light

blue

(synthesizer

controls).

To

edit a switching

function,

touch

the

control

positions

corresponding

to

the

desired

change.

For

example:

Hie

touch

panel

is

a

unique

instant-access

entry

system.

The

Source's

microprocessor

recognizes

an

entry

(touch)

on

the

panel

in

under 3 milliseconds.

For

an

explanation

of

touch

panel

functions,

see

The

Analog

Synthesizer

on

page

25.

SING

iMULTl

TRIGGER

MEMORY

VOLTAQS

CONTROLLED

FILTER

I I KB

TRACK

1/2

I I

CUTOFF I EMPHASIS!

FILTER

CONTOUR

LOUONE8Q

MODIFIERS

AY1 -PIAY2,*

RE

HtCl

MtL*

aiur

t-unimuc

.£>;

nwi i -rJ

^"_m_

■.__n^_

;^^Z^/;ii;

"^~" * ^^^^_".-^^^^^ -^^^^_

,,

..'

^^^^_

^^^^HV

^^^^H ' ^^■H ' ' ' '

^^1^1

fl^^^l

PROGRAMS

1.

Touch

program

Q -Hold

down

any

key.

2.

Touch

LI

in

the

OSC 1 section.

The

oscillator

changes

octaves

immediately.

(Note

that

the

edit

LED

tights

up.)

3.

Touch

Q?H

in

the

OSC 1 section.

(The

oscillator

returns

to

the

lower

octave.)

Switching

functions

are

unconditional;

either

ON

or

OFF,

16'

or

8',

etc.

Incremental

functions

are

continually

adjustable,

and

are

represented

on

the

touch

panel

by

yellow

rectangles.

Touching

an

incremental

function

assigns

the

incremental

controller

to

that

function.

Incremental

functions

are

adjusted

as

follows:

The

edit

LED

illuminates

after

a

front

panel

control

is

touched.

While

the

control

is

being

held

down,

the

LED

shuts

off

to

show

that

contact

has

been

made.

When

the

control

is

released,

the

LED

illuminates

again.

VOLTAGE

CONTROLLED

FILTER

KB

TRACK

1.

Touch

programQ.

2.

Touch

|5J3JJJ'n

the

Mixer

section.

The

incremental

controller

is

now

controlling

the

audio

level

of

OSC

1.

The

display

next

to

the

incremental

controller

illuminates,

displaying

"99."

Most

of

the

incremental

controls

are

divided

into

100

increments

-

0

to

99.

In

this

case,

the

display

indicates

that

OSC 1 level

is

at

maximum.

3.

Hold

down

any

key.

Turn

the

incremental

controller

counterclockwise.

As

the

numbers

in

the

display

decrease,

the

level

of

OSC 1 decreases.

When

the

display

shows

zero,

Osc 1 is

inaudible.

The

input

of

OSC 1 has

been

turned

down

in

the

mixer.

Note

that

touching a program

control cancels

all

previous

editing.

Note

that

the

incremental

con-

«>

troller

can

still

turn

freely

when,

y

the

display

reaches

zero.

For

an

'-M

explanation

of

the

characteristics.

of

the

incremental

controller,

see'

Digital

Functions

on

page

41,

-

8

i

*

4.

Touch

PBftW

in

the

Mixer

section.

The

edit

LED

momentarily

goes

off

(showing

that

contact

has

been

made),

and

the

display

reads

"99f"

showing

that

Osc 2 is

at

maximum

level.

The

previous

editing

(Osc 1 level

changed

to

zero)

is

kept

in

memory.

At

this

point,

turning

the

incremental

controller

will

change

the

level

of

Osc

2.

5.

"Review"

the

IZQEEl

control

in

the

Mixer

section

by

touching

it

and

noting

the

display

value

(in

this

case,

zero).

6.

Touch

ISSJEI

again.

If

no

changes

were

made

in

Step

4,

the

display

should

now

read

"99."

Turn

the

incremental

counterclockwise

until

the

display

reads

zero.

Depress

any

key.

No

signal

is

heard.

Why?

1.

Osc 1 level

was

set

to

zero

in

Step

3.

That

setting

was

held

in

memory.

2.

Noise

level

was

proved

to

have

been

programmed

at

zero

by

reviewing

(

Step

5).

3.

Current

editing

displays

zero

level

for

Osc

2.

All

signal

sources

are

at

zero,

so

no

output

is

heard.

Any

incremental

control

may

be

reviewed

or

edited

in

the

same

way.

For

example:

Touching

an

incremental

function,

without

turning

the

incremental

controller,

will

display

the

current

memory

value,

but

will

not

change

that

value.

Controls

may

be

"reviewed"

in

rapid

succession

to

get a mental

picture

of

a

particular

sound.

VOLTAGE

CONTROLLED

FILTER

KB

TRACK

9

1.

Touch

program Q (this

cancels

all

previous

editing).

Play

the

keyboard and

note

the

quality

of the

sound.

2.

Review

lafliasrivisi

in

the

Filter

section.

The

display

reads

zero.

3.

Touch

MlhMdJ

in

the

Filter

section.

The

display

reads

41.

Turn

the

incremental

controller

while

repeatedly

striking

a

key.

Note

the

change

in

sound

quality.

At

any

point,

touching

another

control

will

hold

the

last

value

of

the

Cutoff

control

in

memory.

SUMMARY:

1.

Touching

any

front

panel

synthesizer

control

puts

The

Source

into

Edit

mode.

2.

When

consecutive

edit

changes

are

made,

all

previous

editing

is

held

in

memory.

3.

Switching

functions

may

be

edited

by

direct

entry.

4.

Incremental

functions

may

be:

a)

Reviewed,

by

touching

an

incremental

control,

noting

the

display

value,

making

no

changes,

and

proceeding

to

another

control.

b)

Edited,

by

touching

an

incremental

control,

changing

its

value

with

the

incremental

controller,

and

proceeding

to

another

control.

5.

All

editing

is

cancelled

by

touching

a

program

control.

10

STORING

PROGRAMS

A

point

mentioned

several

times

earlier

in

this

manual

is

that

if a program

position

was

touched,

all

previous

editing

was

"erased."

Often,

however,

an

edited

version

of a program

may

be

preferred

over

the

original

program.

Changes

made

in

existing

programs

may

be

stored

in

memory

as

new

programs.

In

fact,

changing

existing

programs

is

the

only

way

to

produce

new

sounds.

TO

STORE A PROGRAM,

FOLLOW

THIS

PROCEDURE:

1.

Set

up

the

desired

sound.

2.

Touch

■SOTBM . (Two

dots

light

up

in

the

program

display.)

3.

Touch

KKtiaa

and

the

intended

program

location

simultaneously.

For

example:

Note

that

in

all

the

following

examples,

the

final

sound

stored

in

memory

began

as

an

existing

program.

The

existing

program

was

substantially

changed,

and a new,

desirable

sound

resulted.

VOLTAGE

CONTROLLED

FILTER

KB

TRACK

26

73

27

FILTER

0

65

42

11

0 53

99

0

MODIFIERS

11

1.

Touch

program

2.

Using

the

previous

sound

chart,

edit

all

indicated

controls

by

touching

the

appropriate

switching

functions

and

adjusting

each

incremental

function.

3.

When

all

indicated

editing

has

been

completed,

follow the

storing

procedure

on

page

11

to

store

the

new

program

at

program

4.

Now

touch

program Q .

The

editing

in

the previous

sound

chart

equals

the

values

in

memory

for

factory

program

2,

so

the

program

stored

in

16

should

duplicate

the

program

in

2.

Note

that

program

16

is a duplication

of

program

1.

No

original

programs

are

lost

during

this

procedure.

THE

HOLD

CONTROL

The

Hold

control

does

two

things:

(1)

freezes

the

front

panel

(so

no

further

editing

is

possible),

and

(2)

activates

the

Store

control.

(Normally,

the

Store

control

is

"dead"

to

prevent

accidental

erasure

of

programs.)

While

the

Hold

control

is

active,

other

programs

may

be

momentarily

reviewed

by

touching

and

holding

the

program

control.

When

the

program

control

is

released,

The

Source

returns

to

the

sound

set

up

on

the

front

panel.

The

Hold

control

is

reversible

-

touching

it

again

will

turn

it

"on"

if it

is

"off,"

or

vice

versa.

REPOSITIONING

PROGRAMS

For a particular

performance,

the

programs

may

need

to

be put

in a different

order,

so

it's a good

idea

to

reserve

program

[0

as a kind

of

"holding"

position

to

allow

repositioning

of programs.

To

switch

any

two

program

positions

(4

and

8,

for

example),

follow

the

procedure

outlined

with

the

next

sound

chart.

Active

Hold

status

is

indicated

by

two

illuminated

dots

in

the

program

display.

12

VOLTAGE

CONTROLLED

FILTER

KB

TRACK

CUTOFF

EMPHASIS

~"~

FILTER

CONTOUR

LQUDNEBB

CONTOUR

WAVESHAPE

INTERVAL

OSCILLATOR

BANK

0 I |_

S

MODIFIERS

1.

Move

the

first

program

(4)

to

position

16.

a)

Touch

program

Q

.

b)

Touch

HUHI

.

c)

Touch

Rmiaai

and

program

simultaneously.

2.

Move

the

second

program

(8)

to

the

original

location

of

the

first

program

(4).

a)

Touch

program

Q

.

c)

Touch

QyQQJ

and

program

Q

simultaneously.

3.

Move

the

first

program

to

the

original

location

of the

second.

Touching

then

QQE9

control

simultaneously

will

store

the

current

front

panel

settings

(edited

or

not)

at

the

indicated

program.

a)

Touch

program

c)

Touch

EHSEEi

and

program

El

simultaneously.

13

SUMMARY:

1.

To

store a program,

touch

|i[*]321

,

then

touch

pifKM

and

a

2.

The

iSMWiJ

control

allows

reviewing

of

existing

programs

and

is

reversible.

3.

Reserving

program

[Q

as a "holding"

position

allows

relocation

of

programs.

PROGRAM

NUMBER

simultaneously.

14

LEVEL 2 FUNCTIONS

Since

The

Source

is a microprocessor-based

instrument,

a

single

control

may

have

several

different

functions,

depending

on

the

level

of

operation.

Many

of

the

controls

on

The

Source

have

alternate

functions,

accessed

by

entering

Level

2,

an

"expanded-operation"

mode.

Level 2 allows

access

to

real-time

functions

such

as

the

sequencer,

the

arpeggiator,

and

the

program

sequencer.

The

operation

of

these

functions

will

be

explained

in

this

section.

USING

THE

SEQUENCER

The

Source

has a self-contained

digital

sequencer

capable

of

storing 2 sequences

of

up

to

88

events

each.

The

Source

has

been

shipped

from

the

factory

with

two

sequences.

To

play

back

sequences,

follow

this

procedure.

Touching

converts

the

program

selectors

to

the

Level 2 functions

written

in

small

letters

above

the

program

number.

After

the

Level 2 function

has

been

activated,

control

generally

reverts

to

Level

1.

VOLTAGE

CONTROLLED

FILTER

K6

TRACK

A

_J | 0 -I I S

^1 I R

LOUDNEBB

CONTOUR

1.

Touch

the

program

number

of

the

desired

sound.

2.

Touch

IJQQHS^Iat

the

lower

right

corner

of

the

touch

panel.

3.

Touch

lawarJiM

(program

5).

15

4.

The

Source

is

repeatedly

playing

Sequence

1.

To

change

the

playback

rate,

touch

in

the

modulation

section,

and

adjust

the sequencer

rate

with

the

incremental

controller.

5.

While

the

sequencer

is

playing,

the

incremental

display

"counts

up."

Other

programs

may

be

selected

and

edited

using

editing

techniques

while

the

sequencer

is

running.

6.

To

stop

the

sequencer,

touch

■■»«■«,

then

touch

from

the

last

sequencer

note

played,

touch

To

restart

from

the

beginning

of

the

sequence,

touch

To

hear

Sequence

2,

follow

the

above

procedure

using

To

record

new

sequences,

follow

this

procedure:

PLAY

2

,

then

(program

6).

To

continue

l(program

4).

<Pr°9ram

5).

The

last

playback

rate

chosen

will

be

held

in

memory

when

the

sequencer

is

stopped;

subsequent

sequences

will

start

at

this

rate.

VOLTAQ6

CONTROLLED

FILTER

KB

TRACK

A

^J

I'

0^1

|_ S I 1

H

LOUONE8B

CONTOUR

1.

Touch

U3BHJ5I'tnen

':<a—

(program

1).

The

incremental

display

shows

88,

the

number

of

recordable

events.

2.

The

sequencer

will

begin

recording

with

the

depression

of

the

first

key.

The

display

counts

down,

continuously

displaying

the

number

of

events

left.

Rests,

or

spaces

between

notes,

are

counted

as

events.

For

efficient

sequencer

use,

see

Digital

Functions

on

page

41.

16

3.

At

the

end

of

the

last

desired

event,

touch

(program

3).

To

hear a recorded

sequence,

follow

the

sequence

playback

procedure.

The

sequence

plays

back

at

the

last

sequencer

rate

entered.

To

record

the

second

sequence,

follow

the

above

procedure

using

second

sequence

is

controlled

by

MUWixmfM

(program

6).

(program

2).

Playback of

the

USING

THE

ARPEGGIATOR

The

arpeggiator

can

be

thought

of

as a kind

of

"instant

sequencer."

It

performs

many

of

the

functions

of

the

sequencer,

but

uses

none

of

the

sequencer

memory.

To

use

the

arpeggiator,

proceed

as

follows:

VOLTAGE

COIMTBOLJ-ED

FILTER

KB

TRACK

n

[a]

|7B

A -I I 0 ^ | | S

~l I '

R

LOUDNEBB

CONTOUR

FOOTAGE

WAVESHAPE

INTERVAL

OBCII.LATOR

BANK

5161718

1.

Touch

B3SI3SSM'then

touch

program

displaying

the

arpeggiator

playback

rate.

(Arpeggio).

The

incremental

display

lights

up,

2.

Play

the

notes

of

the

desired

musical

pattern

one

by

one

without

repeating

the

first

note

played.

As

keys

are

depressed,

the

display

counts

down

from

24.

The

repetition

of the

first

note

will

indicate

the

end

of

the

pattern

and

switch

the

arpeggiator

to

the

playback

mode.

17

Example:

First

note

is

repeated;

Arpeggiator

immediately

begins

metronomic

playback

of

first

eight

notes.

I

3.

To

change

the

playback

rate

while

the

arpeggiator

is

running,

touch

|j&3|3

in

the

modulation

section

and

adjust

the

playback

rate

with

the

incremental

controller.

While

the

arpeggiator

is

running,

The

Source

is

in

Level

1;

programs

may

be

selected

and/or

edited.

4.

To

stop

playback,

touch

QjQ^Q , then

EU*m

(program

3).

5.

To

replay

the

last

arpeggio

stored,

touch

QJQ3S

'E3itil3£ISJ9'

MWl'then

6.

Touching

any

key

during

playback

instantly

switches

the

arpeggiator

to

the

record

mode.

CONTINUE

SUMMARY:

1.

The

arpeggiator

records

up

to

24

notes.

The

repetition

of the

first

note

immediately

switches

its

function

from

recording

to

metronomic

playback.

LEVEL

2

,

then

HHIJ

(program

3).

and

p*«iMiifliiT3

(program

4)

will

start

playback

4.

Touching

any

key,

during

playback,

immediately

switches

the

arpeggiator

from

playback

to

record.

2.

Playback

of

the

arpeggiator

may

be

stopped

by

touching

This

does

not

erase

the

arpeggio

from

memory.

3.

Touching

of

the

last

arpeggio

stored.

EVEL 2 ■

ARPEGGIO

■■

LEVEL

2

The

last

arpeggiator

rate

used

is

held

in

memory;

the

arpeggiator

will

play

at

this

rate

the

next

time

it

is

started.

If,

while

the

arpeggiator

is

running, a new

pattern

is

played

on

the

keyboard

at

the

current

playback

rate,

the

arpeggiator

will

play

back

the

new

pattern

with

no

break

in

rhythm.

This

is

an

especially

power

ful

performance

feature.

18

USING

THE

PROGRAM

SEQUENCER

The

program

sequencer

allows

different

events

of

the

sequencer

to

be

played

with

different

programs.

For

example,

a

16-note

sequence

can

play

the

first

four

notes

on

program

1,

the

next

eight

notes

on

program

2,

and

the

last

four

notes

on

program

3.

Each

note

in a sequence

(up

to

88

notes)

has

the

capability

of

being

assigned

to

an

individual

program.

To

record

with

the

program

sequencer,

follow

this

procedure:

If

the

factory

sequences

have

not

been

changed,

program

sequencing

can

be demonstrated

touching

(program

8),

then

Hie

information

dictating

program

changes

is

stored

concurrently

with

the

sequencer

pitch

and

duration

information;

program

changes

may

also

occur

during a rest.

VOLTAQE

CONTROLLED

FILTER

0 0

[Hi

LOUDNCBB

COMTOOP

fOOTACI

WAWSMAff

INTERVAL

OSCILLATOR

BANK

MODIFIERS

1.

Start

playback

of

Sequence

1.

(See

Using

the

Sequencer

on

page

15.)

Practice

changing

programs

manually

as

the

notes

in

the

sequence

are

played

(the

sequence

playback

may

be

slowed

using

the

Mod

|i£]13

control).

2.

When

the

final

sequence

of

program

changes

has

been

decided,

touch

the

first

program

to

be

heard,

then

touch

LEVEL

2

19

3.

Touch

lllSMtl;iafligWi:«iI

(program

7).

The

sequence

will

play

once

from

the

beginning.

As

the

notes

are

played,

touch

programs

at

the

appropriate

times.

4.

At

this

point,

the

sequencer

can

play

back

with

or

without

program

changes.

For

playback

with

program

changes,

touch

tmi^WtM

,

then

HSBBISHBISHSlSl^n

(program

12),

then

IJBMH

(or

QQ^]).

F°r

Payback

without

program

changes,

follow

normal

sequencer

procedure

(see

Using

the

Sequencer

on

page

15).

5. A different

sequence

of

program

changes

may

be

recorded

for

Sequence

2.

SUMMARY:

1.

The

program

sequencer

will

automatically

change

programs

when

the

sequencer

is

running.

2.

The

program

sequencer

is

loaded

by

touching

program

numbers

while

the

sequencer

plays

back.

3.

Sequencer

playback

can

occur

with or

without

program

changes.

A

program

change

recorded

at

any

point

in

the

duration

of a note

will

occur

at

the

beginning

of

that

note

during

playback.

(For

efficient

operation,

see

The

Program

Sequencer

in

the

Digital

Functions

section

on

page

45.)

20

STORAGE

AND

LOADING

OF

DATA

All

information

held

in

The

Source's

memory

may

be

stored

on

tape

for

reference

and

later

use.

The

following

information

will

be

saved

on

tape:

1.

All

control

values

for

16

programs.

2.

Last

two

sequences

entered

(and

sequencer

playback

rate).

3.

Last

arpeggio

entered

(and

arpeggiator

playback

rate).

4.

Last

program

sequences

entered.

The

first

cassette

operation

should

be

making a copy

of

the

factory

programs.

To

save

information

on

tape,

follow

this

procedure:

TO

CASSETTE

3

0

El

0

SMS I I

TRIGGER

32-I I

16

I

FOOTAGE

STOP

CONTINUE

El

El

0

WAVESIH

I

INTERVAL

I

:iLLATOR

BANK

PlAV

;::,-

ARPEGGIO

VOLTAGE

CONTROLLED

FILTER

I I

KB

TRACK

^i

r^n

u»™^

sn

FILTER

CONTOUR

LOUONEBB

CONTOUR

A

| | D 1 I S|

MODIFIERS

SfcHFUT r AUTO

TRIG ' -

EXT.

TRIG . SAVE ■ VEf

PROGRAMS

1.

Connect

a

cassette

recorder

(Radio

Shack

CTR-80

or

equivalent)

to

the

rear

panel

Cassette

Interface

DIN

Connector.(To

connect

other

cassette

recorders,

see

Cassette

Operations

on

page

55

in

the

Troubleshooting

section

of

this

manual.)

2.

Using a computer

cassette

(with

no

leader

tape),

rewind

to

the

beginning

of

the

tape

and

set

the

tape

counter

to

zero.

21

3.

Put the

cassette

recorder

in

the

record

mode.

On

The

Source

front

panel,

touch

then

rirflaa«««aB«

(program

14).

The

cassette

recorder's

motor

starts,

and a short

blank

leader

is

recorded

(with

the

display

showing^

rj^),

followed

by

data.

As

data

are

being

saved,

the

display

shows^ □ .

(The

program

display

will

be

blank

during

this

operation.)

When

data

are

finished,

the

cassette

motor

stops.

To

ensure

that

data

have

been

saved

accurately,

follow

this

procedure:

1.

Rewind

the

tape

to

an

area

before

the

data

file

(somewhere

in

the

blank

leader

area).

LEVEL

2BRHHICASSETTE

VERIFY

2.

Put

the

cassette

recorder

in

the

play

mode.

Touch

nxmrnn,

then

(program

15).

The

cassette's

motor

starts.

In

the

verify

mode,

the

data

on

tape

are

examined

for

validity.

If

any

datum

is

missing,

or

if

key

data

are

incorrect,

the

incremental

display

will

show

the

error

message

'—'

'—'

.

If

this

occurs,

the

data

should

be

re-recorded.

(See

Cassette

Operations

in

the

Troubleshooting

section

of

this

manual.)

To

load a previously

recorded

cassette

(after

saving

present

programs

with

the

procedure

described

above),

follow

this

procedure:

1.

Rewind

the

tape

to

the

beginning

of

the

data

file

(in

the

blank

leader

area).

2.

Set

the

recorder

to

the

play

mode.

Touch

iiaMati,

then

itfcttBiaMMtraiJ

(program

16).

The

recorder's

motor

starts.

As

the

data

are

loaded,

the

incremental

display

will

show

r^

|

*

When

all

information

has

been

loaded,

the

recorder

stops,

and

the

program

display

comes

on

with

the

program

most

recently

selected.

The

Source

has

now

been

re-programmed

with

the

information

on

tape.

By

recording

new

sets

of

programs

one

after

another,

literally

hundreds

of

programs

may

be

represented

on

the

two

sides

of a single

cassette.

Arranging

these

data

files

in

the

right

order

means

that

an

entire

concert's

worth

of

music -120

or

more

programs -may

be

stored,

and

recalled,

from

one

side

of a cassette.

For

more

detailed

explanations

of

the

cassette

functions,

see

Cassette

Operations

in

the

Troubleshooting

section

of

this

manual

22

USING

THE

REMAINING

LEVEL 2 CONTROLS

AUTO

TRIG

The

Auto

Trig

function

generates

a

metronomic

trigger

at

the

LFO

rate.

The

pitch

heard

is

determined

by

the

last

key

depressed.

To

use

the

Auto

Trig

function:

1.

Play

the

desired

key.

2.

Touch

nxiUWA,

then

rawiHM

(program

12).

3.

Adjust

trigger

rate

with

the

modulation

psfiii^

control.

4.

To

shut

off

the

automatic

triggering,

touch

■■aaaaei , then

AUTO

TRIG

Since

keyboard

voltage

is

stored

as a digital

value,

pitch

drift

cannot

occur

if

Auto

Trig

is

left

running.

again.

When

the

function

has

been

acti

vated,

control

returns

to

Level

1.

S&H

(SAMPLE & HOLD)

The

Sample & Hold

function

generates

successive

random

control

voltage

amounts,

which

are

sent to

the

oscillators

and/or

the

filter.

The

rate

of

change

of

this

voltage

is

determined

by

the

rate

of

the

low-frequency

oscillator

(LFO).

Triggers

are

generated

to

coincide

with

voltage

changes.

To

use

the

Sample & Hold:

VOLTAGE

CONTROLLED

FIlXBR

KB

TRACK

LOUONE8B

CONTOUR

23

1.

Play a desired

key.

(This

sets

up a general

range

of

frequencies;

it

has

no

influence

on

the

actual

frequencies

generated.)

2.

Touch

BSQS3

'then

touch

QSE1

(program

10).

3.

At

this

point,

adjusting

the

Q^Xl

control

in

the

Mod

section

will

change

the

Sample

&

Hold

rate

and

modify

the

apparent

"pattern"

of

voltage

changes.

4.

To

cancel

the

Sample

&

Hold

effect,

touch

■■Mia»ei.

then

touch

|£fg£]again.

S&HFILT

This

control

(program

11)

routes

the

random

Sample & Hold

voltage

to

the

filter

alone.

The

operational

procedure

is

the

same

as

for

program

10

(S & H).

EXT

TRIG

If a slave

synthesizer

is

interfaced

with

The

Source

(as

described

in

the

Interface

section

of

this

manual),

its

playing

status

is

determined

by

this

switch.

Note:

This

switch

defeats

triggers

only.

The

oscillators

of the

slave

synthesizer

will

always be

affected

by

The

Source's

keyboard

voltage.

Keep

this

in

mind

when

playing

multi-keyboard

setups.

A

table

is

provided

in

Section

II

that

lists

the

functions

and

actions

of

all

Level 2 controls.

24

section

n

REFERENCES

THE

ANALOG

SYNTHESIZER

The

part

of

The

Source

that

actually

produces

sound

is a monophonic

analog

synthesizer.

This

synthesizer

is

controlled

by

digital

devices

(explained

in

Digital

Functions

on

page

41),

but

the

synthesizer

itself

has

many

points

in

common

with

existing

established

models

such

as

the

Minimoog.

There

are

three

major

kinds

of

circuits in

the

sound

chain

of

any

synthesizer

—

monophonic

or

polyphonic.

These

circuits

are:

1.

Signal

Sources:

The

original

source

of

sounds

in

the

synthesizer.

Signal

sources

are

classified

as

pitched

or

unpitched.

In

The

Source,

the

pitched

signal

sources

are

two

voltage-controlled

oscillators.

The

unpitched

signal

source

is a noise

generator.

2.

Modifiers:

Circuits

that

alter

the

quality

of

the

basic

sound

produced

by

the

signal

sources.

The

two

main

modifiers

on

The

Source

are

the

voltage-controlled

filter,

which

produces

changes

in

tone

color,

and

the

voltage-controlled

amplifier,

which

produces

changes

in

loudness.

3.

Controllers:

Circuits

that

control

other

circuits.

The

primary

controllers

are

the

keyboard,

the

contour

generators,

and

the

low-frequency

oscillator.

The

general

relationship

of

these

major

circuits

is

illustrated

below:

SIGNAL

SOURCE(S)

t

MODIFIER

CONTROLLER

CONTROLLER

MODIFIER

I

-I

I

I

((OTHER

MODIFIERS

'

OR

PLAYBACK

J

J

I

SYSTEM)

,

I

I

r

i

i

I

I

(ANY

OTHER

I

CONTROLLERS)

{

I

I

25

A

synthesizer

design

may,

in

theory,

incorporate

any

number

of

signal

sources,

modifiers,

and/or

controllers.

Note,

also,

that

the

output

of a controller

may

theoretically

be

sent to

the

control

input

of

any

voltage

controlled

device.

The

major

circuits

("modules")

are

explained

here,

roughly

in

order

of

importance

and

occurrence

in

the

signal

path.

SIGNAL

SOURCES

OSCILLATORS

The

Source

has

two

audio

oscillators.

These

oscillators

put

out

electrical

signals

called

waveshapes

or

waveforms,

illustrated

on

the

waveshape

controls.

The

oscillators

generate

waveforms

continuously.

The

completion

of

one

waveform

is

called a cycle;

the

number

of

cycles

completed

in a specified

time

period

is

the

oscillator's

frequency

and

is

generally

expressed

in

cycles

per

second

(cps)

or

Hertz

(Hz).

If

the

oscillator's

frequency

is

between

20Hz

and

20,000Hz

(20KHz),

human

ears

can

perceive

it

as

pitch.

The

changes

of

oscillator

frequency

produce

the

different

pitches

heard

from

The

Source.

The

oscillators

are

voltage-controlled;

applying

a

positive

voltage

to

their

control

inputs

will

produce a positive

change

in

frequency

(the

pitch

will

rise).

Touch

program

3:

VOLTAGE

CONTROLLED

FILTER

KB

TRACK

26

1.

Hold

down

any

key.

2.

Touch

different

octave

controls.

Note

the

change

in

pitch.

3.

Touch

program

Q,

then

||£||3iKfiD

m

t^ie

^^ 2 ration.

4.

Turn

the

incremental

control

clockwise.

Note

that

Osc

2, in

addition

to

octave

controls,

has

an

interval

adjustment.

Osc 2 may

be

tuned

as

much

as

two

octaves

up

from

the

chosen

octave

control.

5.

Both

oscillators

will

be

adjusted

by

turning

the

FINE

TUNE

control

on

the

rear

panel.

SUMMARY:

1.

The

Source's

oscillators

are

voltage-controlled;

their

frequency

is

determined

by

the

keyboard.

2.

The

frequency

of

both

oscillators

is

changed

by

adjusting

the

rear

panel

FINE

TUNE

control.

3.

The

frequency

of

either

oscillator

can

be

changed

by

its

OCTAVE

controls.

4.

Osc 2 may

be

detuned

from

Osc 1 by up

to 2 octaves

by

using

the

INTERVAL

control.

WAVESHAPES

fer.

The

audio

oscillators

can

output

one

of

three

waveshapes.

The

wavefonn

selected

will

determine

the

basic

tone

color.

Touch

program

Q,

then

touch

the

indicated

controls

and,

using

the

incremental

control,

adjust

to

the

values

shown:

VOLTAGE

CONTROLLED

FILTER

KB

TRACK

0 0

LOUDIME88

CONTOUR

99

27

1.

Touch

Id

in

the

Osc 1 section.

Hold

down

any

key.

This

is

an

unfiltered

sawtooth

waveshape.

The

sawtooth

waveform

is

rich

in

harmonics,

and

has a "bright"

sound.

2.

Touch Q in

the

Osc 1 section.

This

is a triangular

waveshape.

It

has a harmonic

structure

unlike

acoustic

instruments,

so

it

sounds

very " electronic."

3.

Touch

IliBil

.

The

rectangular

waveshape

has

an

adjustable

duty

cycle

(comparative

time

of

the

positive

portion

of

the

waveshape).

The

incremental

control

will

change

the

duty

cycle

from

5%

to

95%.

Setting

the

duty

cycle

at

50%

produces

a

square

wave,

with a characteristic

"hollow"

sound.

Other

settings

produce

brighter,

"reedy"

sounds.

SYNC

Osc 2 may

be

"locked"

to

the

frequency

of

Osc 1 by

activating

the

Sync

function

(located

between

the

two

oscillators

on

the

front

panel).

When

the

two

oscillators

are

synchronized,

new

waveforms

are

produced

when

an

attempt

is

made

to

change

the

frequency

of

Osc

2.

Osc 2

may

be

statically

detuned

by

changing

the

Interval

and/or

Octave

controls,

or

dynamically

detuned

by

moving

the

pitch

wheel

(when

the

Sync

function

is

programmed

"on,"

the

pitch

wheel

is

routed

to

Osc 2

only).

Touch

program

12:

VOLTAGE

CONTROLLED

FILTER

KB

TRACK

28

1.

This

factory

program

is

voiced

with

Sync

on.

Change

the

frequency

of

Osc 2 (with

the

Octave

and

Interval

controls)

and

note

the

change

in

tone

color.

2.

While

holding

down a key,

switch

the

two

oscillators

are,

turning

alternately

off

and

on.

No

matter

how

far

apart

in

frequency

on

will

lock

them

together,

eliminating

any

"beating."

3.

Hold

down

any

key

and

move

the

pitch

wheel.

When

Sync

is

on,

the

pitch

wheel

becomes

a

"tone

color

wheel."

These

dynamic

tone

color

changes

are

useful

in

performance.

NOISE

Noise

is

an

unpitched

signal

source.

The

noise

generator

outputs

a

signal

called

Pink

Noise,

a

composite

of

low,

mid-range

and

high

frequencies.

Touch

program

VOLTAGE

CONTROLLED

FILTER

I I K6

TRACK

I

STORE

I

MEMORY

OSCIU-ATOR

FILTER

CONTOUR

LOUDNEBB

CONTOUR

I 0 I I S

MODIFIERS

5 4 H

S&HFILT

AUTO

TRIG

£X1

;ave

verify

loud

REC1

RtCZ

stvr

tUNilNUt

flflTi

ruu

nz\.

ri.«»

^m^uu^u

^^^.

^^^^

.^^^^^.

^^^^B

^^^^B

SBCTIIMI

_■■

■

■■■^■1

^^^^|

PROGRAMS

1.

Play

any

key.

This

factory

program

uses

noise

as

the

primary

signal

source;

no

single

pitch

predominates.

Factory

programs

4,

14

and

15

use

noise

as a signal

source

(in

varying

intensities).

29

MODIFIERS

A

modifier

alters

or

attenuates

the

basic

output

of

the

signal

sources.

A

modifier

characteristically

has a signal

input

and a signal

output;

the

signal

from

the

oscillator(s)

and/or

noise

must

"pass

through'*

the

modifier.

There

is

theoretically

no

limit

to

the

number

of

modifiers

that

may

be

used

in a synthesizer.

The

Source

employs

two: a voltage-controlled

filter

and a voltage-controlled

amplifier.

VOLTAGE-CONTROLLED

FILTER

The

filter

section

of

The

Source

changes

the

tone

color

of

the

signal

sources.

The

Source

employs

a

low-pass

filter.

As

the

name

implies,

this

filter

passes

low

frequencies

and

rejects

high

frequencies.

The

point

at

which

frequencies

start

to

be

rejected

is

called

the

cutoff

frequency.

This

cutoff

frequency

may

be

adjusted

manually

or

electronically.

Touch

program

Q

:

VOLTAGE

CONTROLLED

FILTER

I I KB

TRACK

32' I I

16'

I

FOOTAGE

[3

El

0

I

SING

IMUL1

TRIGGER

FILTER

CONTOUR

32'

I I

11

I

FOOTAGE

MEMORY

INTERVAL

I

OSCILLATOR

BANK

LOUONEBB

CONTOUR

MODIFIERS

REC1

REC2

:I^'-STGP

CONTINUE

-^-PLAY 1 PLAY Z ■

REC

PlAY . ARPEGGIO

S4H S & H FILT^

AUTO

TR(G

EXT.TRIG

SAVE

VERIFY

LOAD

1.

Touch

CUTOFFiFREQ

PROGRAMS

in

the

filter

section.

Hold

down

any

key.

2.

Turn

the

incremental

control

clockwise.

As

the

cutoff

frequency

is

set

higher,

more

of

the

high

frequencies

of

the

oscillator

signal

are

heard,

and

the

sound

becomes

"brighter."

30

3.

Turn

the

incremental

control

counterclockwise.

As

the

cutoff

frequency

is

set

lower,

more

of

the

high

frequencies

are

rejected,

and

the

sound

loses

its

"brightness"

and

becomes

more

muted.

4.

Touch

the

L£UiIfl!l3

position

labelled

OEQ9

Now

turn

the

controller.

Note

that

the

resolution

of

the

controller

is

much

finer.

This

makes

"tuning"

the

filter

easier

when

the

filter

is

used

as

an

audio

source

(see

Emphasis).

EMPHASIS

The

frequencies

immediately

around

the

cutoff

point

can

be

emphasized,

giving

the

sound a nasal,

resonant

quality.

Touch

program

1.

Sweep

the

cutoff

frequency

up

and

down

(as

in

the

preceding

exercise).

The

sound

smoothly

becomes

brighter

and

darker.

2.

Touch

EMPHASIS

;

set

the

incrementer

to

70.

3.

Now

sweep

the

cutoff

frequency

again.

Note

how

higher

emphasis

settings

affect

the

sound.

The

harmonics

near

the

cutoff

frequency

are

stronger,

so,

as

the

cutoff

frequency

moves

up

and

down,

different

harmonics

are

emphasized,

making

filter

changes

more

pronounced.

31

4.

Set

IdAIJiHcH^

tn

99.

Touch

1^:1

J;ftWM

mm.

Set

IWtlfliUHUnwtlilMB

and

all

Mixer

controls

to

zero.

Play

different

keys.

At

maximum

emphasis,

the

filter

oscillates

and

produces

a

controllable

sine

wave.

CONTOUR

AMOUNT

The

Source's

filter

is

voltage

controlled;

a

positive

voltage

at

its

control

input

raises

the

cutoff

frequency.

The

filter

accepts

voltages

from

many

places

on

The

Source,

but

the

main

voltage

source

is

the

filter

contour

generator.

The

Contour

Amount

circuit

controls

the

amount

of

voltage that

goes

to

the

filter

from

the

contour

generator.

(The

contour

generator

is

explained

more

fully

in

the

Controllers

section

beginning

on

page

35.)

Touch

program

MEMORY

jfj

Ld

LJ OH

l£J

FOOTAGE

WAVESHAPE

SYNC

|

OFF I I

ON

'

2—1

M* 1 I

16

I

FOOTAGE

[7]

(K)

0

I

INTERVALI

OSCILLATOR

BANK

VOLTAGE

CONTROLLEO

FILTER

HK6

TRACK

Iff

CUTOFF I EMPHASIS

FILTER

CONTOUR

LOUONESS

CONTOUR

I P I I S I |

ft

MODIFIERS

REcV".:-

REC2:Vj"'"'STOP

CONTINUE , J'^PtAY 1 PLAY 2 ■

REC -PLAY.-

'"

ARPEGGIO,.

.'

S&H

S& H flLT:>AUTO

TRIG

EXT.TRIG

:SAVE

VERIFY

LOAD . ^^^

^^^

PROGRAMS

' . *'i

CASSETTE

l.Set

CONTOUR

AMOUNT

to

zero.

Hold

down

any

key.

There

is

no

change

in

the

brightness

of

the

sound.

2.

Now

set

Q^^QQSSEQQSlSlfl

^°

&Q-

Hold

down

any

key.

The

voltage

from

the

contour

generator

opens

and

closes

the

filter

(by

raising

and

lowering

the

cutoff

frequency).

Experiment

with

different

settings

of

the

Contour

Amount

control.

32

KB

TRACK

As

mentioned

above,

The

Source's

filter

is

voltage-controlled;

voltage

at

its

control

input

will

raise

the

cutoff

frequency.

The

KB

Track

switches

route

the

keyboard

voltage

(the

same

voltage

that

controls

the

oscQlators)

to

the

filter.

Without

this

voltage,

higher

notes

will

sound

disproportionately

"dull"

because

the

filter

is

not

following

pitch

relationships.

The

keyboard

voltage

may

be

applied

fully,

attenuated

to

half,

or

cut

off

entirely.

Touch

program

1.

Touch

|f<i:fHjfira»

ftiaa

Play

from

the

lowest

key

to

the

highest.

Note

how

the

sound

lessens

in

intensity

toward

the

upper

end

of

the

keyboard.

2.

Repeat

Step 1 with

across

the

keyboard.

KB

TRACK

at

and

at

The

character

of

the

sound

is

more

consistent

KB

TRACK

3.

Set

QjJ2|QQ33BQQ2J]

and

all

Mixer

controls

to

zero.

Set

EJjgjEaH

to

99.

Touch

Play

different

notes

on

the

keyboard.

In

this

mode,

the

filter

may

be

"played"

in

the

same

manner

as

the

oscillators.

33

r

VOLTAGE-CONTROLLED

AMPLIFIER

(VCA)

The

Voltage-Controlled

Amplifier

(VCA)

is

the

final

point

in

The

Source's

signal

path.

Like

the

filter,

it

responds

to

a

positive

voltage

at

its

control

input; the

response,

however,

is

an

increase

not

in

brightness,

but

in

loudness.

»

The

VCA

itself

is

not

pictured

on

the

front

panel,

but

its

primary

controller,

the

loudness

contour

generator,

is.

Voltage

from

the

loudness

contour

generator

opens

and

closes

the

VCA.

(The

contour

generator

is

explained

more

fully

in

the

Controllers

section.)

Touch

program 0 :

VOLTAGE

CONTROLLED

FILTER

KB

TRACK

LOUONES8

CONTOUR

WAVESHAPE

INTERVAl

OSCILLATOR

BANK

8

H

9

110111112913114115116

1.

Hold

down

any

key.

The

VCA

opens

and

closes

quickly.

When

the

voltage

controlled

amplifier

has

no

voltage

at

its

control

input,

it

closes

down,

shutting off

all

audio

signals.

Review

the

loudness

contour

controls

to

note

the

exact

duration

of

each

note.

Although

the

VCA

is

represented

by

only

four

front

panel

controls,

in

many

ways

it

is

the

most

important

circuit

in

the

synthesizer.

If

the

VCA

is

closed

down,

nothing

will

be

heard.

The

first

rule

of

synthesis

is:

Open

the

VCA!

34

CONTROLLERS

As

discussed

before,

a

controller

is a circuit

that

controls

another

circuit.

A

controller

usually

has

only

an

output;

the

audio

signal

rarely

"passes

through"

a

controller.

A

controller

may

control

a

signal

source,

a

modifier,

or

another

controller.

The

output

of a controller

is

generally

sent to

the

control

input

of

the

circuit

to

be

controlled.

KEYBOARD

The

most

important

controller

on

The

Source

is

the

keyboard.

The

keyboard

outputs

two

essential

pieces

of

information:

control

voltage

and

trigger

state.

The

keyboard

control

voltage

is

unique

for

each

key,

and

is

calibrated

at 1 volt

per

octave,

or

1/12

volt

per

key.

If a given

key

generates

1

volt,

the

key

one-half

step

higher

will

generate

1 + 1/12

volts,

and

so

on.

The

voltage-controlled

circuits

in

The

Source

are

calibrated

to

this

system.

The

octave

transpose

switch

labeled

"+1"

adds

one

volt

to

the

keyboard

voltage;

the

"zero"

switch

returns

to

nominal

keyboard

voltage.

The

keyboard

voltage

determines

the

frequency

of

the

oscillators

and

controls

the

filter's

cutoff

frequency

in

varying

amounts.

Normally,

changes

in

keyboard

voltages

are

instantaneous,

but a lag

in

change

rates

can

be

applied

with

the

KB

Glide

control.

Touch

program

VOLTAOE

CONTROLLED

FILTER

| | KB

TRACK

32'

I I

IV

I

FOOTAGE

I

SING I |MUL1

TRIGGER

MEMORY

FOOTAGE

WAVESHAPE

I

INTERVALI

OSCILLATOR

BANK

FILTER

CONTOUR

LOUOIMEBB

CONTOUR

MODIFIERS

REC1

REC2

STOP

CONTINUE

PLAY 1 PLAY 2 -

REC

PLAY

ARKGGIO

S&H

S&HFI

EXTJTRIG

SAVE

VERIFY

LOAD

REC2

STOP

CONTINUE

PLAY 1 PLAY 2 REC

PLA

AG ^

J

^^^

^^^

PROGRAMS

35

KB

GLIDE

1.

Set

note

to

note.

to

60.

Alternately

play

the

lowest

and

highest

keys.

Note

how

the

pitch

glides

from

2.

Set

ia:gcm»]^

to

99;

set

VCA

lifflgEEm

to

"•

Play

the

lowest

key-

After

the

Pitch

has

settled,

release

the

lowest

key

and

quickly

touch

and

release

the

highest

key.

Keyboard

glide

is

unconditional;

it

will

continue

until

it

reaches

the

pitch

of

the

last

key

played.

3.

Simultaneously

hold

down

two

keys — one

high

and

one

low.

Note

that

the

pitch

glides

down

to

the

lowest

key

depressed.

The

Source

uses a low

note

priority

keyboard;

the

lowest

key

depressed

determines

the

pitch

heard.

The

depression

of a key

generates

a

Trigger,

which

initiates

the

action

of

the

contour

generators.

As

illustrated

on

the

front

panel,

triggers

can

be

generated

in

one

of

two

fashions:

Single

Triggering,

where

all

keys

must

be

released

before a key

depression

will

initiate

a

new

trigger;

and

Multiple

Triggering,

where a trigger

is

generated

whenever

the

keyboard

voltage

changes.

CONTOUR

GENERATORS

As

mentioned

earlier,

the

voltage-controlled

filter

and

the

voltage-controlled

amplifier

are

controlled

by

their

respective

contour

generators.

The

two

contour

generators

function

identically,

and

will

output

the

same

voltage

patterns

if

their

controls

are

set

identically.

That

voltage

pattern

is a four-part

contour

that

can

be

generically

graphed

as

shown:

VOLTAGE

AMOUNT

TIME

KEY

RELEASED

36

1.

Attack

time:

Time

taken

for

voltage

to

increase

from

zero

(initiated

by

trigger)

to

maximum.

2.

Decay

time:

Time

taken

for

voltage

to

decrease

from

maximum

to

sustain

level.

3.

Sustain

level:

A

static

voltage

amount

that,

once

initiated,

continues

as

long

as a key,

or

keys,

is

held

down.

4.

Release:

Time

taken

for

voltage

to

drop

from

sustain

level

to

zero

after

the

key

is

released.

Different

settings

of

these

times

and

levels

will

produce

markedly

different

contours.

Some

examples

are

shown

below:

60

A

30

D

30

'V-

99

99

S

50

R

so

50

LOUDNESS

CONTOUR

»

FILTER

CONTOUR

It

is

important

to

remember

that

although

the

two

contour

generators

can

output

radically

different

contour

patterns,

the

loudness

contour

will

have

"priority"

over

the

filter

contour.

If

the

filter

is

going

through

a

long,

involved

contour,

and

the

VCA

has

already

closed,

it

makes

no

difference,

because

no

audio

signal

is

heard.

The

output

of

the

filter

contour

generator

can

be

attenuated,

or

lessened,

by

adjusting

the

Contour

Amount

control

(described

in

the

Filter

section

on

page

32).

The

voltage

from

the

loudness

contour

generator

to

the

VCA

is

not

attenuated.

37

MODULATION

(Low-Frequency

Oscillator)

All

the

controllers

mentioned

up

to

this

point

have

generated

non-repetitive

voltages;

the

keyboard

generates

a

static

voltage

level

for

each

key,

and

the

contour

generators

output a "one-shot"

voltage

pattern.

Musical

sounds

demand

repetitive

changes

such

as

vibrato,

trills,

or

tremolo.

On

The

Source,

repetitive

changes

are

controlled

by a low-frequency

oscillator

This

oscillator

generates

waveforms

exactly

like

the

audio

oscillators,

but

operates

in a much

lower frequency

range

(1

cycle

every 3 seconds

to

30

cycles

per

second).

The

output

of

this

oscillator

is a triangular

or

square

waveform.

This

output

voltage

may

be

routed

to

the

control

inputs

of

the

oscillators

and/or

filter,

through

the

Mod

wheel.

Touch

program

H:

ir I I

16-I

FOOTAGE

SJMG

IMUL1

TRIQQER

32 I IE

I

FOOTAGE

K]

[a]

[ra

WAVESHAPE

I

INTERVAL

OSCILLATOR

BANK

VOLTAGE

CONTROLLED

FICT

—I

KB

TRACK

m I |

CUTOFF

| |

EMPHASIS

|

FULL

I

FILTER

CONTOUR

LOUONEB8

CONTOUR

A

^| | D | I

S

MODIFIERS

1EC1

■■■REC2-;

•r.STOP

CONTINUE

vjj'PLAY 1 PLAY2^!rEC -"

FLAY

ARPEGGIO

S&H

SB H FtLTr

AUTO

TRIG

EXT.TRIG : SAVE

VERK

B^^BH ■ HIH

^^^^^H

^^^^^B

.\

^^^^^B

'^^^^^"

..^^^^^M

^^^^^^ ■ -

^^^^^M ■ ^^^^^*

■

.

,

.-

\ . t:».."

■

PROGRAMS

38

1.

Hold

down

any

key.

Turn

the

Mod

wheel

up. A low-frequency

triangular

waveform

is

changing

the

oscillator

frequency,

causing

the

pitch

to

move

up

and

down.

(The

Mod

Rate

LED

flashes

at

the

rate

of

the

low-frequency

oscillator).

2.

Touch

|i£||3

in

the

Mod

section.

Change

the

incremental

control.

The

setting

of the

low-frequency

oscillator

determines

the

rate

of

the

pitch

change.

3.

Touch

mi

in

the

Mod

section.

The

pattern

of

pitch

change

now

has

two

distinct

pitch

levels,

corresponding

to

the

upper

and

lower

voltage

levels

of

the

square

waveform.

The

four

lowermost

switching

controls

in

the

Mod

section

are

routing

controls.

The

switches

labeled

TO

OSC

control

the

routing

of

the

modulation

voltage

to

the

oscillators;

the

switches

labeled

TO

FILTER

determine

routing

to

the

filter.

Touch

program

Q:

VOLTAGE

COIMTRDU_EO

FILTER

KB

TRACK

0

03

0

Hii

WAVESHAPE

INTEfiVAl

OSCILLATOB

BANK

39

Bfel

1.

Hold

down

any

key.

Turn

up

the

Mod

wheel.

Modulation

to

the

oscillators

produces a vibrato

effect.

2.

Switch

modulation

|t]gg|

to

Osc

and

|2U|

to

Filter.

Modulation

of

the

filter

cutoff

frequency

is

called

tremolo;

it

is a more

subtle

effect

and

will

usually

be

hidden

by

vibrato.

3.

Touch

Ml

and

repeat

steps

1

and

2.

The

square

wave

can

also

control

the

oscillators

or

filter.

The

Source

may

be

thought

of

as

having

two

main

operating

sections

—

the

analog

synthesizer

and

the

digital

control

circuits.

The

analog

functions

have

been

described;

the

next

section

deals

with

the

digital

functions

that

send

control

signals

to

the

analog

synthesizer.

40

DIGITAL

FUNCTIONS

The

microprocessor,

in

addition

to

storing

programs,

directs

and

controls

all

Level

2

functions.

Some

of

the

Level

2

functions,

such

as

Auto

Trig

and

Interface

on-off,

are

basically

"change-of-status"

functions,

and

require

little

memory

The

"recording"

functions

—

the

sequencer,

the

arpeggiator,

and

the

program

sequencer

-

require

recording,

not

only

of

status

and

voltage

amounts,

but

of

time

values.

This

requires

a

time-measuring

circuit,

so

the

low-frequency

oscillator

(LFO)

is

used

as a clocking

circuit.

The

resulting

pitch

and

timing

information

is

stored

in

memory,

and

recalled

when

the

appropriate

"real-time"

function

is

selected.

THE

SEQUENCER

In

the

sequencer

record

mode,

the

microprocessor

determines

and

stores

trigger

status

and

keyboard

control

voltage.

When

the

sequencer

mode

is

activated,

the

LFO

is

unconditionally

set

at

67

Hz.

This

allows

timing

discrimination

of

7.5

milliseconds

(the

duration

of a note

will

never

be

off

by

more

than

7.5

milliseconds).

The

sequencer

stores

every

change

in

trigger

status

and

every

change

in

keyboard

voltage,

whether

or

not

they

occur

simultaneously.

The

following

musical

example:

will

be

stored

in

this

manner.

(VOLTAGE

LEVEL)

TIME

41

The

absolute

value

of

keyboard

voltage

is

stored,

so the

setting

of

the

octave

transpose

switch

during

recording

will

determine

the

octave

of

sequence

playback.

Note

that

when

sequences

are

recorded,

rests,

or

spaces

between

notes,

are

recorded

as

events,

and

take

up

one

event

position

each.

To

store

the

maximum

number

of

actual

notes

in a sequence,

follow

this

procedure:

1.

When

recording,

play

all

notes

in

legato

(smooth)

style,

lifting

off

the

keys

only

when

an

actual

rest

is

desired.

2.

For

playback,

use a program

set

in

the

multiple

trigger

mode.

This

will

retrigger

the

contour

generators

whenever

the

keyboard

voltage

changes.

Normally,

a

retrigger

would

be

accomplished

during

recording

only

by

releasing

all

keys

between

notes.

Following

the

above

procedure

will

prevent

a

loss

of

recording

length

that

can

run

as

high

as

30%.

The

longest

time

duration

that

can

be

held

in

one

storage

location

is

30

seconds.

If a note

or

rest

exceeds

30

seconds,

it

will

merely

take

up

two

event

positions,

and

playback

will

exactly

duplicate

the

recording

(no

"glitches"

or

retriggers).

Note:

The

sequencer

will

stop

recording

only

when

g|£2U|

or

another

Level 2 control

is

touched.

Since

the

sequencer

plays

the

sequence

continuously,

the

duration

of

the

final

event

is

critical.

In

this

musical

sequence

...

B)

...

touching

JSWia

(or

any

other

Level 2 function)

at

beat

"A"

would

make

the

sequence

three

measures

long.

To

reproduce

the

example

as

written,

the

last

key

must

be

released

at

beat

"A,"

and

four

beats

of

rest

must

be

counted

silently

before

touching

QQQ

at

beat

"B."

In

the

playback

mode,

the

sequencer

output

replaces

the

keyboard

output,

and

the

keyboard

is

"dead";

the

control

voltage,

octave

transpose

switches,

and

trigger

are

disconnected.

Glide,

however,

can

be

applied

to

a

sequence

during

playback

(having

Glide

on

during

recording

makes no

difference).

42

THE

ARPEGGIATOR

The

Arpeggiator

will

store

up

to

twenty-four

control

voltage

values

and

metronomically

play

them

back

at

the

LFO

rate.

The

first

note recorded

cannot

be

repeated

during

the

arpeggio;

replaying

the

first

note

shifts

the

arpeggiator

into

the

playback

mode.

The

arpeggiator

records

the

keyboard

control

voltage

present

at

the

initiation

of

each

new

note;

it

does

not

record

timing

information.

Note

the

musical

pattern

below:

B

(A)

The

notes

in

section

"A"

may

be

played

in

at

any

tempo

or

rhythm.

After

playing

the

last

note

in

"A,"

the

arpeggiator

will

still

be

in

the

record

mode,

waiting

for

new

information.

Playing

note

**B"

(repeating

the

first

note

played)

at

any

point

afterward

immediately

initiates

repeated

playback

of

the

first

eight

notes.

With

this

technique,

an

arpeggio

can

be

loaded

into a kind

of

"holding"

status,

to

be

initiated

on

command.

Touching

H«MI«flH

W£iSIMJctdI#j.

iia^I3^^9,

K^SZSMMImSIs

will

play,

from

the

beginning,

tne

last

arpeggio

entered.

Once

playback

is

initiated,

operational

sequence

is

as

described

in

Section

L

The

only

limitation

to

note

entry

is

that

the

first

note

cannot

be

repeated.

All

other

notes

or

combinations

of

notes

are

viable.

If a note

is

played

several

times

in

succession

while

loading

the

arpeggiator,

it

will

be

played

back

as

one

note

with

the

total

duration

of

the

successive

notes

played.

This

allows a

limited

timing

discrimination

to

be

recorded.

43

In

other

words,

entering

these

notes:

i

results

in

this

playback

pattern:

This

occurs

because,

in

the

arpeggiator

record

mode,

triggers

are

stored

only

when

the

keyboard

voltage

changes.

Repetitions

of

the

same

note

produce

no

keyboard

voltage

changes,

so

no

triggers

are

stored.

This

feature

can

be

used

to

produce

arpeggios

with

rhythmic

variations.

As

described

in

the

first

section

of

this

manual,

touching

any key

while

the

arpeggiator

is

playing

instantly

selects

the

record

mode,

so a new

arpeggio

pattern

may

be

entered

without

"breaking

rhythm."

44

THE

PROGRAM

SEQUENCER

The

program

sequencer

works

in

conjunction

with

the

two

sequencers

and,

in

fact,

stores

its

information

in

the

same

general

memory

locations.

Each

event

of

each

sequence

is

stored

in

memory

as a digital

value. A portion

of

that

digital

value

is

reserved

for

program

sequence

information.

When

the

program

sequencer

playback

is

activated,

it

looks

at

the

sequencer

memory

for

information.

If

no

program

sequencer

information

has

been

recorded,

the

program

will

not

change.

A

reliable

procedure

for

recording

program

sequence

information

is

as

follows:

1.

After

recording

a

sequence,

play

it

back

very

slowly.

Rehearse

the

intended

program

changes.

2.

When

all

the

program

changes

have

been

decided,

touch

|j||^Sli&Ultsl3Slii3!^

•

The

sequencer

will

start

over

from

the

beginning.

3.

Don't

try

to

synchronize

note

changes

with

program

changes.

Wait

until

the

sequencer

plays a note,

then

make

the

program

change.

The

program

sequencer

will

remember

the

last

program

called

during

an

event,

so

if

more

than

one

change

is

made

during a note

(or

rest),

make

sure

the

final

program

is

the

desired

one.

4.

When

the

program

sequencer

is

in

the

record

mode,

the

notes

in

the

sequencer

will

be

played

only

once.

At

the

end

of

one

cycle,

operation

will

revert

to

Level

1.

5.

Note:

Tf

■a:flct:riWiM»i:l3Bl

is

touched

and

no

program

changes

are

specified,

all

sequencer

events

will

be

"loaded"

with

the

program

currently

displayed.

Note,

also,

that

entering

a

new

sequence

erases

the

previous

program

sequence

changes.

When a sequence

is

entered,

the

program

sequence

information

is

set

to a default

value

of

program

1;

i.e.,

if

the

program

sequencer

playback

is

activated

without

previously

recording

some

program

changes,

all

events

in

the

sequencer

will

be

played

with

program

1.

45

UNCONDITIONAL

TUNING

("AUTO

TUNE")

It

is

possible

that,

after

warm-up

and

stabilization,

the

two

audio

oscillators

in

The

Source

may

not

be

nominally

tuned

to

exact

unison.

A

procedure

to

correct

this

is

described

in

Tuning

Up,

on

page 3 .

This

procedure

involves

unconditional

access

to

oscillator

2

and

should

be

explained

further.

Simultaneously

touching

|8||t|2|g

and

|tggU

Level

connects

the

incremental

control

to

the

master

tuning

input

for

Osc

2.

Turning

the

incremental

control

will

adjust

the

tuning

of

Osc

2,

relative

to

Osc

1,

without

changing

the

stored

values

for

Osc 2 interval

for

each

voice.

The

range

of

adjustment

in

this

mode

is

approximately

1

semitone.

The

factory

programs

are

voiced

with

careful

attention

to

the

tuning

of

Osc

2.

Osc 2 is

generally

tuned

to

some

consonant

interval

—

an

octave,

a

major

tenth,

etc.

These

interval

values

are

set

in

memory

on

the

assumption

that

Osc 1 and

Osc 2 are

tuned

as

close

to

exact

unison

as

possible.

A

general

tuning

procedure

is

described

in

the

Troubleshooting

Section

beginning

on

page

53.

THE

INCREMENTAL

CONTROL

The

incremental

control

is

the

most

important

single

control

on

The

Source.

It

controls

the

settings

of

all

variable

parameters,

and

determines

the

rate

of

operation

for

most

Level 2 functions.

Its

operation

should

be

thoroughly

understood.

The

incrementer

is a freely-turning

opto-electronic

controller.

An

optical

sensor

notes a change

from

light

to

dark,

which

is

generated

by

passing

spaced

bars

through

the sensor

(as

shown

in

the

figure

below).

There

are

120

opaque

bars

on

the

transparent

incrementer,

allowing

240

changes

of

status.

(LIGHT

SOURCE/

LIGHT

SENSOR

MECHANISM)

46

Iliis

system

permits

adjustable

resolution.

Relatively

coarse

controls,

such

as

the

mixer

level

controls,

may

go

from

minimum

to

maximum

in

one

complete

turn.

This

means

that

100

values

(0

to

99)

are

controlled

by

240

status

changes,

resulting

in a resolution

of

approximately

0.41%.

In

other

words,

12

changes

of

status

produce a change

of

5%.

On

sensitive

controls,

such

as

Osc 2 frequency,

minimum

to

maximum

can

take

up

to

16

complete

turns,

yielding

a

resolution

of

0.025%.

In

this

mode,

192

changes

of

status

are

needed

to

produce a 5%

change.

The

circuitry

in

the

incrementer

can

reliably

track

over

300

status

changes

per

second — much

faster

than

the

knob

can

normally

be

turned,

so

the

incrementer

always

responds

correctly

to

any

movement.

"Spinning"

the

control

knob

is

generally

not

recommended;

if a second

control

is

touched

while

the

knob

is

moving

freely,

the

setting

of

that

control

may

be

inadvertently

altered.

A

unique

advantage

to

the

*'one-knob"

approach

appears

in

editing.

If a control

is

accessed

for

editing,

it

comes

up

at

the

value

in

memory

and

is

smoothly

adjusted

up

or

down

from

that

point.

On

other

programmable

systems,

a

control

becomes

active

when

it

is

physically

moved.

If

the

physical

position

of

that

control

is

radically

different

from

the

value

in

memory, a sudden

"jump**

occurs.

The

incremental

controller

overcomes

this

limitation

and

ensures

smooth,

subtle

editing

changes

under

all

conditions.

47

INTERFACING

The

Source

communicates

with

the

outside

world

through

its

rear

panel

connections.

The

audio

output

has

already

been

discussed;

without

it,

no

signals

can

be

heard.

The

remaining

jacks

send

control

signals

to

and

from

The

Source.

Communication

between

electronic

devices

is

called

interfacing.

The

audio

connection

between

The

Source

and

an

amplifier

is a very

simple

interface;

more

sophisticated

interfaces

will

allow

The

Source

to

control,

or be

controlled

by,

other

synthesizers.

OUTPUTS

Control

Voltage

Out

The

control

voltage

(CV)

in/out

is a dual

function

jack

that

sends

and/or

receives

control

voltages,

depending

on

the

plug

used.

When

used

as

an

output,

the

CV

jack

outputs

all

control

voltages

generated

by

The

Source

(except

the

two

contour

generators).

This

includes

the

keyboard,

LFO,

pitch

wheel,

both

sequences,

arpeggiator,

and

sample and

hold.

The

voltage

at

the

CV

output

is

intentionally

scaled

high

to

allow

for

discrepancies

in

other

synthesizers.

The

output

voltage

may

have

to

be

run

through a 10K

linear

potentiometer

to

achieve

1.00

volts/octave.

Trigger

Out

Used

as

an

output,

the

trigger

in/out

jack

generates

an

S-Trig

(switch

trigger — a

short

to

ground)

when a trigger

is

generated

in

The

Source.

This

occurs

when:

1. A new

key

is

depressed

in

the

multiple-trigger

mode,

or

all

keys

are

released

and a new

key

(or

keys)

is

depressed

in

the

single-trigger

mode.

2.

The

sequencer

generates a trigger.

3.

The

arpeggiator

is

running.

4.

The

Auto

Trig

is

active.

5.

The

sample

and

hold

is

running.

Note:

If

the

Level

2

[S3S3S

(Pr°£ram

13)

is

set

to

OFF,

all

external

triggers

are

defeated.

48

INPUTS

Control

Voltage

In

As

an

input,

the

CV

jack

sends

any

control

voltage

received

to

the

oscillators

and

filter,

which

track

this

incoming

voltage

at 1 volt/octave.

Any

device

that

outputs

a

control

voltage

— a Moog

1120

Foot

Pedal

Controller,

an

external

sequencer,

or

another

synthesizer's

keyboard — may

be

used

as a control

input.

Trigger

In

The

Source's

contour

generators

will

be

triggered

whenever

an

S-trig

(a

shorting

connection)

appears

at

the

input

portion

of

the

Trig

jack.

This

S-trig

may

be

generated

by

another

synthesizer,

synthesizer

accessory,

or a simple

mechanical

switch

closure.

Such a closure

must

be

opened

and

reclosed

to

generate

any

successive

triggers.

CABLES

To

use the

interface

connections

correctly,

3-conductor

(stereo)

plugs

must

be

used.

Input

connections

appear

at

the

ring;

output

connections

are

at

the

tip.

Output

cables

should

be

constructed

as

follows:

TRIGGER

OUT:

TIP

FROM

SOURCE

(MALE

CINCH-JONES

CONNECTOR)

NOTE:

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.

49

CV

OUT:

TIP

Input

cables

are

made

as

follows:

TRIGGER

IN:

CVIN:

(FEMALE

CINCH-JONES

CONNECTOR)

50

Simultaneous

input/output

control

voltage

connections

can

be

accessed

with a cable

setup

as

shown:

a::"::::j(

(FROM

SOURCE

INPUT/OUTPUT

JACK)

a:::::::::

The

same

cable

could

be

used

for

simultaneous

trigger

input/output

connections.

(TO

CV

INPUT

ON

EXTERNAL

SYNTHESIZER)

(FROM

EXTERNAL

CV

SOURCE:

PEDAL

CONTROLLER,

SEQUENCER,

ETC.)

To

interface

two

Sources

together,

two

stereo

(3-conductor)

cables,

wired

ring-to-tip

and

ground-to-ground,

will

be

needed.

The

Source

at

the

"tip"

end

of

the

cables

will

be

the

"master"

synthesizer;

the

other

Source

will

be

"slaved"

to

the

outputs

of

the

first

unit.

4

(TO

"SLAVE"

SOURCE)

(FROM

"MASTER"

SOURCE)

51

As

mentioned

earlier,

the

Level 2 MEiMfflci

control

determines

the

presence

or

absence

of

triggers

at

the

trigger

output.

However,

switching

this

control

off

does

not

defeat

the

control

voltage

output.

If

an

external

synthesizer

is

connected,

it

will

always

be

affected

(transposed)

by

The

Source's

CV

output.

To

scale

the

CV

output,

follow

this

procedure:

1.

Connect

a

10K

linear

potentiometer

in

series

between

The

Source's

CV

output

and

the

second

("slave")

synthesizer's

OSC

or

CV

input.

2.

Connect

the

appropriate

trigger

cable;

turn

the

l:»:«i;uci

output

on.

3.

Turn

down

The

Source's

volume;

alternately

play

The

Source's

low F and

the F 2

octaves

higher.

Adjust

the

potentiometer

until

the

two

pitches

sounded

by

the

slave

synthesizer

are

in

tune.

4.

Turn

up

The

Source.

Play

low F and

tune

the

slave

synthesizer

to

unison.

The

slave

synthesizer

will

be

triggered

by

The

Source

and

will

follow

The

Source's

keyboard,

LFO,

pitch

wheel,

sample

and

hold,

sequencer,

and

arpeggiator.

52

TROUBLESHOOTING

If a problem

exists

on

The

Source,

check

the

symptoms

listed

below.

If

the

solutions

listed

(or

common

sense)

won't

correct

the

problems,

the

instrument

should

be

taken

to

an

authorized

service

center

for

examination

and/or

repair.

53

54

55

TUNING

A

generalized

tuning

procedure

is

as

follows:

1.

Select a program

using

only

Osc 1 as a signal

source.

Hold

down

any

key and

tune

to

the

desired

pitch

source,

using

the

rear

panel

FINE

TUNE

control.

2.

Select a program

using

both

Oscillators

that

has

Osc 2 set at a known

interval

(fifth,

octave,

etc.)

Touch

MWa^

and

PUflj^j

simultaneously.

This

connects

the

incrementer

to

the

master

tuning

control

for

Osc

2.

Adjust

the

incremental

controller

until

Osc 2 is

at

precisely

the

known

interval.

3.

Touch

any

program.

The

interval

settings

for

Osc 2 for

each

program

have

not

been

changed,

so

all

programs

should

be

"in

tune."

If a new

interval

tuning

(or

beat

rate)

is

desired,

change

the

setting

of

the

Osc 2 interval

control.

CASSETTE

OPERATIONS

The

Source

outputs

all

pertinent

data

in a restorable

format

to a standard

cassette

recorder.

Any

cassette

recorder

with

remote

microphone

start/stop

capabilities

will

work; a special

"computer

cassette

deck"

is

not

necessary

(but

is

recommended).

A

standard

5-Pin

DIN

connector

is

used.

Pin

assignment

is

as

follows:

1.

Pin

1:

Relay

(Motor

On/Off -to

REM

jack).

2.

Pin

2:

Ground

3.

Pin

3:

Relay

4.

Pin

4:

Data

In

(from

EARPHONE

or

LINE

out)

5.

Pin

5:

Data

Out

(to

AUX

or

LINE

input)

Note:

Recording

and

playback

levels

are

quite

different

from

ordinary

audio

recording.

Recording

levels

should

be 0 dB

or

higher

("into

the

red"

on

VU

meters).

Smaller

cassette

decks,

or

computer

cassette

recorders,

incorporate

an

automatic

level

control

that

sets

correct

levels

internally.

Playback

levels

should

be

set

correspondingly

higher. A good

rule

of

thumb

is

to

set

the

output

level

at

between

60%

and

75%

of

full

volume.

If

cassette

load

operations

continually

fail

(produce

error

messages),

adjust

the

cassette

output

level.

56

As

mentioned

earlier,

a

high-quality

leaderless

cassette

tape

should

be

used.

If

the

tape

is

to

be

reused,

it

must

be

totally

erased

with a bulk

eraser

or

demagnetizes

Since,

in

the

"verify"

mode,

each

piece

of

data

is

counted

and

compared

to a

master

checksum,

the

presence

of

any

additional

or

residual

data

will

cause

an

error.

LEVEL 2 FUNCTIONS

The

following

is a quick

reference

chart

for

the functions

of

the

Level 2 controls.

All

controls

in

this

chart

are

activated

by

touching

the

Level 2 control

first.

Some

of

the

controls

activate

a

temporary

function

that

ends

when

certain.conditions

have

been

satisfied;

i.

e.,

touching

03233313

activates

the

arpeggiator

record

mode

until

24

notes

have

been

entered,

at

which

time

the

instrument's

status

changes.

These

temporary

conditions

are

listed

in

STATUS

WHEN

ACTIVATED;

eventual

status

is

listed

under

CONTINUAL

STATUS.

CONTROL

STATUS

WHEN

ACTIVATED

CONTINUAL

STATUS

Level 2 Seq

Record

Mode;

sequence

begins

recording

with

first

note

depressed,

Level 2 until

raPM

or

another

Level

2

control

is

touched-

Defeats

ARPEGGIO

Immediately

reverts

to

Level

1.

CONTINUE

Continues

Sequencer

playback

from

stopping

point.

After

fjiziaattwi.

starts

from

beginning

of

last

arpeggio

played.

Immediate

Level

1.

PLAY

1

PLAY

2

Starts

Sequencer

playback

from

beginning.

Immediate

Level 1 (with

Sequencer

playback).

ARPEGGIO

Activates

Arpeggiator.

If

key

is

depressed,

Arpeggiator

shifts

to

record

mode.

If

ggimmm<jg

is

touched,

Arpeggiator

plays

back.

Arpeggiator

is

active;

Level 1 (programs

may

be

chosen).

57

58

INCREMENTAL

RESOLUTION

This

chart

shows

the

different

resolutions

present

on

the

incremental

controller

when

incremental

(adjustable)

functions

are

selected.

Generally

speaking,

if a function

is

critical,

it

will

have

very

fine

resolution.

Less

critical

functions

will

generally

need

only

one

turn

to

cover

all

ranges

of

that

function.

59

SOUND

CHARTS

PROGRAM

1:

LEAD

1

STORE

MEMORY

H

El

H

0

IM

FOOTAGE

WAVESHAFE

SYNC

10H

WAVESHAPE

OSCILLATOR

SANK

VOLTAGE

CONTROLLED

FILTER

HKB

TRACK

16

56 56

FILTER

CONTOUR

69 68 68

LOUDNESB

CONTOUR

0

77

99

80

MODIFIERS

■■-■■.

REC1

REC 2 :::tj"-::

STOP

CONTINUE

,Jf

JPLAY 1 PLAY

2

S&H

S& H FILT

'AUTO

TRIG

EXT.THIG : SAVE

PROGRAMS

The

high

settings

of

the

mixer

controls

(maximum

for

both

oscillators)

overdrive

the

filter

input

and

produce

the

controlled

distortion

that

characterizes

the

"Minimoog

Sound.*'

This

voice

is

very

effective

when

used

with

the

sequencer

or

arpeggiator.

60

PROGRAM

2:

LEAD

2

CONTROLLEO

FILTER

KB

TRACK

26

73

27

FILTER

CCMVTOUR

65 42

The

foundation

of

this

voice

is

the

use

of

square

waves

through

a

filter

with

high

resonance

and

low

contour

amount.

Playing

"guitar-like"

melody

lines — with

pitch-bending

and

vibrato

—

produces

excellent

results.

61

PROGRAM

3:

HORN

Full

keyboard

tracking

gives

this

voice a tuba-like

quality

in

the

lower

octaves

and a brighter,

trumpet-like

quality

in

the

higher

registers.

Vibrato

is

available

at

the

modulation

wheel.

62

PROGRAM

4:

FLUTE

VOLTAGE

COIMTROU-ED

FILTER

KB

TRACK

30

0

0

CUTOFF

I I

EMPHASIS

This

program

uses a small

amount

of

noise

to simulate

the

sound

of

air

blowing

over a flute

mouthpiece.

Tremolo

is

available

at

the

modulation

wheel

and

should

be

used

for

most

authentic

results.

63

PROGRAM

5:

CLAV

BASS

■it

VOLTAGE

CONTROLLED

RLTER

KB

TRACK

2

4

80

EMPHASIS

0

67

11

A

^J | '

D

LOUDNEBB

CONTOUR

Narrow

rectangular

waveshapes

simulate

the

sound

of a plucked

string.

A

high

contour

amount

setting

gives

this

program

a

very

bright

sound.

Pitch-bending

is

effective

with

this

voice.

64

PROGRAM

6:

VIBES

CONTROLLED

FILTER

KB

TRACK

10

20

40

LOUOIME8S

COfSfTOUP

Turn

the

mod

wheel

up

to

approximately

75%

for

tremolo.

Note

the

settings

of

the

contour

generators.

If a key

is

depressed

and

held

down,

the

contour

generators

reach

the

sustain

level

(zero)

and

stop

all

sound,

producing

a

"damped"

sound.

If a key

is

tapped

and

released

quickly,

the

contours

"skip"

the

sustain

setting

and

move

immediately

to

the

long

release

time,

producing

a

"ringing"

vibes

sound.

65

PROGRAM

7:

STRING

BASS

VOLTAGE

CONTROLLED

FILTER

K8

TRACK

18

0

26

CONTOUR

FILTER

CONTOUR

0

OUDNE88

CONTOUP

0

65

0

81

o | |

s

MODIFIERS

OSCILLATOR

BANK

iif

!;■♦•'

This

voice

sounds

best

toward

the

bottom

of

the

keyboard.

This

program

is

voiced

with

the

same

touch-dependent

effect

described

in

program

6,

so

certain

notes

may

be

allowed

to

"ring"

longer

than

others.

66

PROGRAM

8:

HARPSICHORD

CONTROLLED

FILTER

KB

TRACK

74

0

21

EMPHASIS

LOUDNE8B

CONTOUR

0

69

0 43

This

voice

pitches

the

second

oscillator

an

octave

higher

to

simulate

the

octave

strings

of

full

harpsichord

stops.

For

an

"absolutely

in

tune"

harpsichord

sound,

touch

SYNC

ON.

Leaving

sync

off,

however,

may

produce

a

more

authentic

sound.

67

PROGRAM

9:

ORGAN

VOLTAGE

CONTROLLED

FILTER

KB

TRACK

26

0

The

percussive

attack

of

the

filter

contour

will

be

heard

only

after

all

keys

have

been

released

and a new

key

(or

keys)

has

been

played.

This

enables

particular

notes

within a phrase

to

be

accented.

68

PROGRAM

10:

TRILL

VOICE

VOLTAGE

CONTROLLED

FILTER

K8

TRACK

13

This

program

is

one

of

several

voiced

to

sound

"electronic"

—

unlike

any

traditional

instrument.

The

modulation

wheel

will

set

the

upper

note

of a

trill.

Sync

is

voiced

ON;

move

the

pitch

wheel

to

hear

the

sync

effect.

69

PROGRAM

11:

TAURUS

VOLTAGE

CONTROOEO

FILTER

KB

TRACK

21

0

70

1/2 I I

CUTOFF I I

EMPHASIS

One

of

the

keys

to

the

power

of

this

voice

is

the

tuning

of

Osc

2.

If

the

tuning

procedure

listed

in

the

Troubleshooting

Section

is

followed

correctly,

the

two

oscillators

should

be

detuned

just

enough

to

produce a rich,

rolling

sound.

70

PROGRAM

12:

SYNTHEVOX

Another

"electronic"

voice — especially

good

for

long,

singing

solo

lines.

The

oscillators

are

tuned

an

octave

apart

and

long

attack

times

are

set

up on

both

contour

generators.

71

PROGRAM

13:

SAX

REC2.V.i,&STDP

CONTlNUi

OSCILLATOR

,\Oi>r

S&H

S&

HfrLT.-AUTC

AQE

CONTROLLED

FILTER

'

^

8

B3

MODIFIER]

tti . SAVt

VtRlhV

LOAD

,

PROGRAMS

The

use

of

narrow

rectangular

waveforms

as

audio

signals

gives

this

program

the

high

resonance

present

in

the

sound

of

an

alto

or

soprano

saxophone.

This

voice

sounds

more

realistic

when

pitch-bending

and

modulation

are

used.

72

PROGRAM

14:

WIND

VOLTAGE

CONTROLLED

FILTER

KB

TRACK

18

80

0

1/2 I I

CUTOFF I I

EMPHASIS

LOUDNEBB

CONTOUR

Noise

is

the

audio

signal

here.

Emphasis

is

set

high

to

give

the

noise

signal a "pitch"

(by

sharply

accenting

a

narrow

band

of

frequencies).

The

filter

may

be

slowly

moved

up

and

down

(by

raising

the

modulation

wheel)

to

simulate

a

"sweeping"

wind

sound.

73

PROGRAM

15:

SNARE

DRUM

VOLTAGE

CONTROLLED

FILTER

KB

TRACK

52

0

37

LOUDNE88

CONTOUR

A

high-level

noise

signal

is

mixed

with a low-level

triangle

wave

to

give

the

sudden

drum

sound a sense

of

pitch.

The

pitch,

or

tuning,

of

the

drum

is

determined

by

the

key

played.

Setting

LFO

rate

to

between

65

and

70

and

turning

on

AUTO

TRIG

will

produce a drum

roll.

PROGRAM

16:

DUPLICATION

OF

PROGRAM

1

Program

16

may

be

used

to

store a personal

program

without

erasing

the

factory

programs

or

can

be

used

to

rearrange

programs

(see

Repositioning

Programs,

page

12).

74

INDEX

Amplification

2

Arpeggiator

17,43

Loading

17

Playback

18

Rhythmic

Arpeggios

44

Attack

Time

36

Auto

Trig

23

Auto-Tune

3,46,

56

Cassette

Operations

21,

56

Loading

22

Saving

21

Verifying

22

Connectors

56

Recording

Level

56

Types

of

Data

Stored

21

Contour

Generators

36

Defined

36

Filter

Contour

32,

37

Loudness

Contour

34,37

Controllers

35

Decay

Time

37

Display

2,8

Program

2

Incremental

8

Editing

Programs

7

Ext

Trig

24

Factory

Programs

5

Charts

60-75

Filter

30

Cutoff

Frequency

30

Emphasis

31

KB

Track

33

Contour

Amount

32

Fine

Tune

Control

3

Frequency

26

Oscillator

26

Cutoff

30

Glide

35

Hold

Control

.-

- -

12

Incremental

Controller

46

Diagram

46

Resolution

Table

59

Interfacing

48

Procedure

52

Control

Voltage

48,49

Triggers

48,49

Scaling

52

Cables

49-51

Interval

27

KB

Track

33

Keyboard

35

As

Controller

35

Priority

36

Triggering

36

Voltage

35

Glide

35

LED

8v

Level

1 4V

Level

2

15

Definition

•

15

Function

Table

57

LFO

38

Used

with

Sequencer

16,

41

Used

with

Arpeggiator

18

Used

with

Sample & Hold

24

As

Modulation

Source

38

75

Maintenance

1

Microprocessor

15

Mixer

8-9

Modifiers

30

Modulation

38

Defined

38

LFO

38

Routing

39

Wheel

6

Modules

26

Multiple

Triggering

36

Noise

29

Octave

Switches

6

Oscillator

26

Octaves

27

Tuning

2,

27

Waveshapes

27-28

Pitch

Wheel 6

Program

Sequencer

19,45

Loading

19-20

Activation

20

Cancelling

,

58

Programs

14

Factory

14

Playing

4

Editing

7

Storing

11

Repositioning

12

Rectangular

Waveshape

28

Release

Time

37

Resolution

59

Reviewing

Programs

9

Sample & Hold

23-24

TO

OSC

23

TO

FILT

24

Sawtooth

Waveshape

28

Sequencer

15,41

Operation

15

Playback

15

Recording

16

Efficient

Loading

42

Setup

2

Signal

Sources

26

Single

Triggering

36

Square

Waveshape

28

Store

Control

11

Sustain

Level

37

Switching

Functions

7-8

Sync

28

Touch

Panel

2,7

Tremolo

40

Triangular

Waveshape

28

Trigger

36

Troubleshooting

53

Tuning

3

Oscillators

3,27

Interval

27

Filter

30

Rate

LFO

39

VCA

(Voltage

Controlled

Amplifier)

34

Vibrato

40

Voltage

Control

26,

32,

34,

35

Volume

6

Waveshape

27-28

A

comprehensive

Service

Manual

is

available

(Moog

P/N

993-045393-001).

Contact

your

local

dealer

or

write

to:

MOOG

MUSIC

INC.,

2500

Walden

Avenue,

Buffalo,

New

York

14225,

Attn:

Service

Department

76

GENERAL

INFORMATION

Under

normal

playing

conditions,

the

rear

panel

of

The

Source

will

feel

quite

warm

to

the

touch.

This

is

not a malfunction;

The

Source's

internal

components

are

calibrated

to

operate

correctly

at

this

temperature.

The

Source

is a software-based

instrument.

As

new

developments

are

completed,

additions

to

the

Owner's

Manual

will

consist

of

drop-in

sheets

stating

a

revision

number

and a description

of

the

software

function

changes.

Additional

cassette

files

with

voices

created

by

prominent

keyboard

artists

and

consultants

to

Moog

may

be

purchased

by

writing:

Moog

Music

Inc.

2500

Walden

Avenue

Buffalo,

New

York

14225

Attn:

Marketing

Department

Permission

is

given

to

reproduce

the

sound

chart

below

for

non-commercial

purposes.

AGE

CONTROLLED

FILTER

KB

TRACK

77

MOOG

MUSIC

INC.

2500

Walden

Avenue

Buffalo,

New

York

14225

993-045352-001

Copyright

1981

Moog

Music

-nc.

Printed

in

U.S.A.-TG-3500