Moog Music 500 User Manual

500 SERIES - ANALOG DELAY

MOOG 500 SERIES ANALOG DELAY

Thank you for purchasing the Moog 500 Series Analog Delay - the world’s
first delay designed exclusively for the 500 Series format. The Analog De­lay features 800ms of the warmest, and most musical analog delay on the
planet, an all-analog signal path, and a LFO capable of modulating Delay
Time for a wide array of modulated delay line ef fects including chorus,
pitch shifting, vibrato, and tape delay.

The Analog Delay is stereo linkable and designed to work with a wide
range of line-level signals from both -10dB and +4dB balanced standards.
Its assignable TAP/CV input accepts a tap tempo switch, expression pedal
or other control voltage for controlling Delay Time, Feedback Amount, LFO
Amount, LFO Wave Shape, and LFO Rate.

The Moog 500 Series Analog Delay is handcrafted in Asheville, NC with
premium components for the lowest noise and best performance possible.
No software emulation can impart the same depth and life into your mixes
like the Analog Delay.

DOWNLOAD & INSTALL THE EDITOR

Included with your Analog Delay is a VST/AU/RTAS/Stand-Alone editor
offering complete under-the-hood control of the module. To download the
free installer, register your product at www.moogmusic.com/register. Then
go to www.moogmusic.com/analogdelay and click the downloads tab.

TERMINOLOGY

The term Delay Line refers only to the Bucket Brigade Devices (BBDs) and
analog signal processing between the input and output stages. Delay and
Analog Delay refer to the entire 500 Series Module.

GAIN STAGING

Unlike digital delays, pushing the Analog Delay into overdrive is a ver y
musically useful effect. When the LEVEL LED flashes ORANGE, built-in
limiters are activated. Beyond this point, higher DRIVE settings will result
in gentle saturation and increasing harmonic content added to the signal.
RED flashes indicate clipping. We encourage you to experiment with dif fer­ent DRIVE settings and their effect on multiple sound sources.

NOTE: For many audio interfaces, a DRIVE setting for unity gain will be
between 2 and 4, with an OUTPUT setting between 6 and 8 . DELAY TIME
and FEEDBACK settings also affect the output level from the Delay Line.
Increasing FEEDBACK increases the output level due to the cumulative ef­fect of sending output signals back into the BBDs. Decreasing the D E LAY
TIME decreases the output level via shorter voltage charge and discharge
rate of the capacitance sections in the BBDs.

FREQUENCY RESPONSE AND LEVELS

The Analog Delay was designed with an area of filter overlap in the 0.5x
(Short) and 1.0x (Long) delay ranges, with the 0.5x range (35ms-400ms)
having a broader frequency response. This provides the ability to fine tune
the tonal characteristics of the delayed sound.
age charge and discharge rate of the capacitance sections in the BBDs.

10 KHz

Bright

35

Dark

70

400

SHORT

(

0.5x

)

(

)

1.0x

LONG

800 msec

High Frequency Cutoff vs. Delay Time

CONTROLS, INDICATORS, AND INPUTS

The Analog Delay has been designed with a combination of physical and
virtual controls for modern studio and live sound workflow. Primary con­trols for the Delay Line are located on the Delay’s front panel.

The 6-waveshape LFO is controlled by the free plugin/stand-alone editor
or via MIDI messages. There are no LFO controls on the front panel.

NOTE: Upon launching the editor for the first time you will be prompted to
set the MIDI port for the Analog Delay.

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FRONT PANEL

DRIVE: Sets the input sensitivity of the Analog

Delay providing a 30dB range of adjustment for
optimum signal path, level matching, or over­driven sounds.

LEVEL LED: Works in conjunction with the

DRIVE control. RED indicates clipping (this can

be used for adding color). ORANGE flashes
indicate the start of limiting.
GREEN indicates the presence of signal at or
below the nominal level. Steady GREEN with
brief, occasional ORANGE flashes indicates the
nominal signal level for best signal-to-noise
ratio.

OUTPUT: Allows gain or attenuation of the out­put signal for level optimization. The OUTPUT
control is designed so that an overall boost,
attenuation or unity gain state can be achieved
with any DRIVE setting.

TIME LED:

•Flashes RED to indicate the DELAY TIME is
controlled by the TIME knob or via MIDI.

•Flashes GREEN once indicating the Tap Tempo
destination is set to DELAY TIME. Flashes
GREEN when synced to tap tempo beat.

•Flashes ORANGE when synced to MIDI clock.

LFO LED:

•Flashes RED to indicate LFO RATE and
SHAPE, with the transition between on and off

states indicating the selected WAVEFORM.

•Flashes GREEN once indicating the Tap Tempo
destination is set to LFO R ATE. Flashes GREEN
when synced to tap tempo beat.

•Flashes ORANGE when synced to MIDI clock.

4 6

DRIVE

TIME

LFO

4

2

0

FEEDBACK

BYPASS

10

LEVEL

200

mS

80

mS

8

∞

MIDI

ANALOG DELAY

4 6

0

OUTPUT

DRY WET

TAP/CV

800
mS

0.5x

1.0x

100

400
mS

TIME KNOB: Adjusts delay times from 35­400mS (0.5x setting) and 70-800mS (1.0x set­ting). NOTE: Also controllable with the plug-in/

stand-alone editor or via MIDI message. See
separate sections on Tap Tempo and Control
Voltage.

5

FRONT PANEL CONTINUED

TIME RANGE : Selects between short (0.5x)

and long (1.0x) delay times. Switching from

0.5x to 1.0x will lower the sound in the “feed­back loop” one octave, while switching the
other direction will double the pitch and time
of sound in the Delay Line. This control also
selects between Bright (0.5x) and Dark (1.0x)
filter settings. Since the Delay’s internal anti­alias filter must change with the Delay Time,
the 0.5x setting yields a brighter tone for the
same delay time as 1.0x. Note: The default

filter associations can be overridden using the
DELAY FILTER switch in the editor.

FEEDBACK : Sets the amount of Delay Line
output fed back into the input of the BBDs.
The feedback is variable from zero to infinite
repeats. Self-oscillation and swelling delay
sounds will occur at settings above 8.

NOTE: Also controllable with the plug-in/
stand-alone editor or via MIDI message.

MIX: Cross fader control to vary the amount
of wet vs. dry signal heard on output.

MIDI LED: Illuminates to indicate received
MIDI messages, but not clock.

4 6

DRIVE

TIME

80

mS

LFO

4

2

0

FEEDBACK

MIDI

200

4 6

0

OUTPUT

800
mS

0.5x

1.0x

100

400
mS

10

LEVEL

mS

8

∞

DRY WET

TAP/CV

MIDI IN: 5 Pin DIN input for controlling the
Analog Delay via MIDI.

TAP/CV IN : Assignable 1⁄4” TRS jack that can
be used with a Moog EP-2 expression pedal
for variable control, Moog FS-1 tap switch for
tap tempo, or external control voltage source.

NOTE: The TRS input provides a +5V refer-
ence on the ring, input on the tip and ground
on the sleeve. NOTE: See separate sections on
Tap Tempo and Control Voltage.

BYPASS BUTTON: The BYPASS BUTTON is
illuminated when the delay is engaged. When
the Delay is off, the BYPASS BUTTON is off.

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ANALOG DELAY

BYPASS

DELAY LINE CONTROL – VIA EDITOR

The editor provides additional “under the hood” control of the Delay Line.
For controls that are available on both the front panel and the editor, set­tings made using the editor (or via MIDI) will take priority over front panel
settings. Adjusting a front panel control will re-establish priority until an­other editor or MIDI message supersedes it.

The following section details the editor’s Delay Section controls and
corresponding MIDI CC#:

DELAY SYNC: When SYNC is on, DELAY TIME is linked to MIDI clock and
delay knob is set to a CLOCK DIVISION of the current MIDI BPM .

MIDI CC#: 76

FEEDBACK: Sets the amount of Delay Line output fed back into the input
of the BBDs. NOTE: Also controllable via front panel or MIDI message.

MIDI CC#: MSB-13, LSB-45

DELAY TIME: Adjusts delay times from 35-400mS (0.5x setting) and 70­800mS (1.0x setting). NOTE: Also controllable via front panel or MIDI mes-

sage. Sets clock divisions in MIDI sync mode.

MIDI CC#: MSB-12, LSB- 44

TIME RANGE: Selects between short (0.5x) and long (1.0x) delay time.

NOTE: Also controllable via front panel or MIDI message. MIDI CC# - 74

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