Moog Music Minimoog Voyager Performer Edition User Manual
Table of Contents
User’s Manual
FOREWARD from Mike Adams .................................. 4
THE BASICS
How to use this Manual ....................................... 5
Setup and Connections ........................................ 6
Overview and Features ........................................ 11
Signal Flow .................................................................... 14
THE COMPONENTS
A. Mixer Section ........................................................ 18
B. Oscillator Section ................................................ 20
C. Filter Section ......................................................... 24
D. Envelopes Section .............................................. 27
E. Output Section ..................................................... 30
F. Modulation Section .......................................... 31
G. LFO/Sample & Hold Section ..................... 35
H. Keyboard & LH Controllers ......................... 37
I. Touch Surface Controller ................................. 38
J. Back Panel .................................................................. 39
K. Interface Panel ...................................................... 41
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THE USER INTERFACE
Panel Mode .......................................................................... 43
Edit Mode ................................................................................ 49
Master Mode ......................................................................... 63
How the Voyager handles MIDI .................................. 76
APPENDICES
A – Touch Surface LFO S&H: In Use ....................... 79
B – MIDI Basics .................................................................. 80
C – Initilization Parameters .......................................... 82
D – Synthesis Tutorial ....................................................... 84
E – MIDI Implementation ............................................. 89
F – Service & Support Information ......................... 90
G – Caring for the Voyager ............................................ 90
H – VX-351 & VX-352 CV Expanders ................. 92
I – Using the CP-251 with the Voyager .............. 104
J – Specications ................................................................. 108
K – Accessories ................................................................... 109
GLOSSARY ...................................................................................... 111
PRESET LIST .................................................................................. 115
Foreward
Congratulations, you now own the ultimate analog synthesizer; the most iconic product of its type ever created; the standard
by which all other synths will be measured; the successor to the synth that Sonic State has called the Number One Synth of All
Time! The Voyager is truly a piece of history and it is truly YOURS!
We are so pleased to bring this product to you, and expect it will give you a lifetime of musical satisfaction. We humbly feel
that you can spend a lifetime enjoying and exploring this instrument; there are not many instruments that you can say this
about. And the most interesting part is that the exploration is a musical journey as opposed to some mind-numbing (and
frustrating) search through endless computer menus. We expect you will enjoy this product today, tomorrow, and ten years
from now.
Of course, all of the credit goes to Bob Moog, who took four years to design this product and to whose specications we
use to build instruments everyday. The Voyager’s development process itself was a fascinating journey for those of us who
were around to witness it. Allow me to relate a brief story from that time: A couple of months prior to the rst production
release, I was nervous that we had yet to design the touch surface controller. Bob kept telling me not to worry. Well, time
was beginning to run short, and one day I said, “Bob, I have to see this design”. “I will bring in the prototype on Monday,” he
responded. So Monday comes and he’s got this printed circuit board with some black goop on it (his hands were covered in
it!), and with that famous, sly grin of his says to me “Here it is”. So I asked him where he got it from and how he did it. The
response was classic Bob. “I baked it in my oven at home!” he said. And so by the end of that day, we had the design of the
rst touch surface controller.
So now that you own a piece of that history, what’s next? Let me offer a few suggestions. First, I hope we hear from you.
Please ll out the included warranty card (or enter the warranty information online at www.moogmusic.com) and let us
know what you think in the ‘Comments’ section. We value every response that comes to us through our warranty registration
program. Second, we hope you will create some great music with your new Voyager. Whether it sounds great just to your
ears or to the ears of the world, simply create something and have a blast! And when you take a break, be sure to check
out all those connections on the back; they are there to help you create an even more expressive sonic palette. Third, read
this User’s Manual. It was created to help you get a complete understanding of how the Voyager operates, and offers helpful
suggestions and tips for getting the most from the instrument.
Finally, thank you for sharing your hard earned dollars, euros, sterling, or rupiahs with us. We never take that for granted and
we want to encourage you to contact us for any reason - hopefully it will be to simply say “I love this machine.”
And, if you are ever near Asheville, N.C. USA, please come by the Moog factory. We’d love to see you!
Warm Regards,
Mike Adams
President, Moog Music Inc.
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Voyager User’s Manual - The Basics
How to Use this Manual
This User’s Manual is organized into convenient sections to assist you in setting up, playing and exploring
your new Voyager.
The Setup and Connections section explains how to unpack, setup and connect the Voyager, and provides a
quick start to get you up and running with your new instrument.
The Components section offers detailed explanations of the Voyager components that create and modify
sound.
The Panel Mode, Edit Mode and Master Mode sections provide in-depth descriptions of the Voyager menus,
options and operation.
The Appendix provides additional information, such as technical specications, service and support info, and
making connections to optional external equipment. First time users should read Appendix C, Synthesis Tuto-
rial, where you will nd an explanation of sound and subtractive synthesis.
For those interested MIDI interface specics, see the section titled How the Voyager handles MIDI, as well as
Appendix D, MIDI Implementation. Those who are new to MIDI should rst read MIDI Basics, found in Appendix A.
At the back of the manual, you’ll nd a Glossary that denes important synthesizer terminology, and a twopage Preset chart that lists all of the Voyager’s 896 Presets.
Icons
Throughout the manual you will see icons that offer additional information. Here’s what they mean:
This icon indicates an impor tant note concerning the operation of the Voyager.
This icon indicates a useful performance or programming tip.
This icon indicates technical information for the advanced user or the technically curious.
For Voyager RME owners
Throughout this manual we’ve simplied things by saying just ‘Voyager’ whenever we’re referring to functions
and features that are common to all Voyager editions. Obviously, there are some differences between the
rack and keyboard models; we’ll point them out where they occur.
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Voyager User’s Manual - The Basics
Voyager User’s Manual - The Basics
Setup and Connections
In a perfect world, everyone would read the User’s Manual from cover to cover before connecting and
playing their new instrument. For those of you who don’t live in a perfect world and can’t wait to play your
new synthesizer (completely understandable!), the following should get you set up and running quickly.
We encourage you to read the entire manual at some point to learn more about the
instrument and gain a better understanding of what you can do with the Voyager.
Check the contents in the shipping carton
The Voyager is shipped with the following items:
1. The Voyager Synthesizer (Keyboard or RME)
2. Power cord
3. User’s Manual
4. Warranty registration card
5. Rack screws (RME only)
What you will need
In addition to the Voyager and provided accessories, you will need:
1. A stand or table sufcient to support the Voyager
2. A 1⁄4” instrument cable (for mono) or two 1/4” instrument cables (for stereo) and an
amplier, or a pair of headphones
3. A properly wired AC outlet.
If you have the Voyager Rack Mount Edition (RME), you will also need:
1. A MIDI controller, or a computer with a MIDI interface and MIDI sequencing software.
2. A MIDI cable for connection to the MIDI Out of the MIDI controlling device that
will be used to play the RME.
Set up
Make sure you have an adequate place to set it up. You will need a sturdy keyboard stand or at surface
that will provide the proper support (Voyager keyboard versions are 40 lbs, while the Voyager RME weighs
about 22 lbs.) and will not easily topple (mounting the RME into an equipment rack is highly recommended).
Use caution when lifting the Voyager out of the carton, and be sure to save the carton and all packing material in case you need to ship the Voyager for any reason.
Connect to Power and Amplier
Make the connections as shown below. Connect the Voyger’s power receptacle (on the back panel) to
a wall outlet using the supplied AC power cord. The Voyager’s universal power supply will operate with
a power source from 90 to 250 Volts AC, 50/60Hz. Do not switch on the power yet. Set the Voyager’s
Master Volume control to minimum before making the connection to an amplier or headphones.
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Voyager User’s Manual - The Basics
Make your MIDI connections (RME only)
Connect the MIDI Out of the the MIDI device that will control the RME to the MIDI In of the RME. Note
that the RME’s MIDI channel default is Channel 1. This must match the MIDI channel of the MIDI device
controlling the RME.
Congure Output Mode Switch (RME Only)
If you are connecting the Voyager RME to an unbalanced input using 1/4” TS instrument cables, such as an
amplier combo, or a mixer’s unbalanced inputs, make sure the switch on the back of the RME’s panel is set
to “UNBAL.” When connecting to a balanced input using 3-conductor cables (TRS to TRS or TRS to XLR),
such as the balanced inputs on a mixer or powered monitors, set the switch on the back of the RME to
“600 Ω BAL.”
Making connections with the Voyager Keyboard
Making connections with the Voyager Rack Mount Edition
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Voyager User’s Manual - The Basics
Voyager User’s Manual - The Basics
Now Power up
Turn the Voyager power ON. The LCD screen will light up and display a start-up message:
After a few seconds the start-up screen will disappear and the current preset will appear in the display. The
name of the current preset location (bank and preset number) will appear on the top line and the preset
name will be displayed on the middle line of the LCD screen:
Test for Sound and Set Levels
Play a few notes on the Voyager keyboard (or your MIDI controller if using the RME) while turning up the
volume of your amplication. Set the volume to a comfortable listening level.
Start Playing
Use the -1/+1 buttons to scroll through the presets. All preset locations are loaded with sounds from the
factory (128 presets each in 7 banks). There are a total of 896 locations in memory for presets – all are
user programmable. Note that once a preset is called up, you can tweak the parameters to your liking using
the front panel controls. Any changes made to the current preset will cause the display to change as shown,
with asterisks added to the preset name indicating that the preset has been modied:
If you make changes to a preset and want to return to the original sound, simply press ENTER. You can
toggle between the stored preset and the current edited preset by pressing the EDIT button and selecting
the COMPARE TO PRESET function. This function will allow you to toggle back and forth between the
original preset and the edited preset using the CURSOR button (for more on the COMPARE TO PRESET
function, see page 49). If you wish to save your changes, press EDIT and select the SAVE PRESET function
(for more on the SAVE PRESET function, see page 60). Any changes made to a preset will be lost if they
are not saved once you change to a new preset.
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Voyager User’s Manual - The Basics
Backlit Panel (applies to the Select Series, Electric Blue, and Rack Mount Editions only)
Check out the Backlit Panel! The Panel Brightness control knob is located on the far right side of the
keyboard on all Voyager keyboard editions, and in the lower right corner on the RME panel. This is the
intensity control for the Backlit Panel. When this knob is fully counter-clockwise, the panel light is OFF.
When the knob is fully clockwise the panel light is all the way ON. Moog Music recommends turning the
lamp OFF when not in use. See Appendix E for more information about the backlight lamp.
Making Your Own Sounds
To create your own sound from scratch, it’s good to start from the Voyager’s default parameters. This can
be done by the ‘Initializing Parameters’ command. Press the EDIT button, and press the +1 button until
INIT PARAMETERS is highlighted, then press ENTER. Use the CURSOR button to select ‘Yes’ and press
ENTER. This loads the default parameters temporarily into the current preset location. The default sound
is a basic one-oscillator square wave sound–think of it as a blank canvas for your sonic creations. Try the
controls to the right of the Mixer, one at a time, starting with FILTER CUTOFF, and notice how they affect
the sound. Then try combining different tones with the Mixer and Oscillators 2 and 3. Finally experiment
with the Mod Busses to see how different types of Modulation affect the sound.
To operate exclusively from the front panel and not from the presets, the ‘Real Panel Parameters’ must be
loaded. First initialize the parameters as described above. Then press the PANEL button twice. Use the -1
button to highlight ‘REAL PANEL PARAM’. Press ENTER, and you will see the prompt ‘Load actual panel
parameter? Yes/No’. Use the CURSOR to select Yes and press ENTER. The sound produced by the Voyager
is now determined by the settings of the front panel independently of preset memory.
When working with the Voyager, keep in mind that many of the controls are interactive, so there is
frequently more than one way to control a single parameter. This may be a source of confusion. For
instance, if the Sustain level of the Volume Envelope is all the way down, and the Attack and Decay times are
at zero, there will be no output. In another example, if you have a sound where the AMOUNT TO FILTER
control for the Filter Envelope is at zero, then changing the Filter Envelope ATTACK control will likely result
in no audible change. To use your Voyager to its fullest potential, it is very important to understand the
workings of all the controls and how they interact in order to understand how a sound (or lack thereof) is
produced. Don’t get frustrated, simply work systematically until you know what each control does and how
it works with the rest of the Voyager.
Installing the RME in an Equipment Rack
The Voyager RME comes with four 10-32 x ” oval head screws and four nish washers to be used to
secure the RME in an equipment rack. The RME occupies 5 standard rack spaces (8’). The angles of the
rear panel allow for standard ” plugs to be used for audio connections when rack mounted. A right angled
AC power connector is provided with the RME for installing it underneath a deep piece of rack-mounted
equipment. If the piece of gear that is to be above the RME is very deep, you will nd that it will be easier
to make the connections to the RME’s rear panel before installing it in the rack. When installing rackmounted gear, it is always best to install all four screws loosely before tightening any of the screws fully.
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Voyager User’s Manual - The Basics
Voyager User’s Manual - The Basics
Using the RME as a Table-top Unit
The Voyager Rack Mount Edition is designed so it can be used as a table-top unit with the front panel
tilted at an angle that is very convenient for tweaking. If your primar y use of the RME is as a table-top
unit, we highly recommend the purchase of the optional wood handles (Moog P/N VY-WOD-01). They
are functional, look really sharp (giving that vintage Moog vibe), and are available from moogmusic.com, or
authorized Moog Voyager dealers.
Warranty registration
Moog’s on-line warranty registration system is the best way to activate your warranty. Access the Moog
web site at www.moogmusic.com and click on the “Product Register” tab. If you complete all the requested
information, Moog Music will send you a complimentary gift.
The Voyager is recommended for an operating temperature between about 50 and 100 degrees
Fahrenheit. It is safe to operate the synthesizer outside of this range (between 0 and 125 degrees F), but the Voyager’s voltage controlled oscilators (VCOs) may not remain in tune.
It is recommended that a warm up period of about 15 minutes be allowed before using the
Voyager. This warm-up period is necessary for the proper operation of the VCO’s (the warm
up period may be longer if the Voyager has been stored outside the recommended operating
temperture range).
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Voyager User’s Manual - The Basics
Overview and Features
The Voyager is a monophonic analog synthesizer that is a descendant of the classic Minimoog. Its sound
sources are an external audio input, a noise source, and three analog, variable waveform oscillators. The
Voyager has front panel controls for real time control of its parameters (Voyager keyboard edition shown).
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Voyager User’s Manual - The Basics
Voyager User’s Manual - The Basics
RME Front Panel
The RME offers the same front panel controls as Voyager Keyboard Editions., and is nearly identical in its
layout, save for the Touch Surface (not offered on the RME) and a repositioned User Interface/LED Display.
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Voyager User’s Manual - The Basics
Back Panel:
The Voyager’s back panel offers connections for Power, MIDI, Control Voltage I/O and Audio I/O. For Voyager Keyboards, 14 CV inputs are provided on “ jacks. A jack with a red nut indicates a CV/Expression Pedal
input, while a jack with a blue nut indicates a gate/footswitch input. CV outputs are provided on a 25-pin accessory port. On the RME, CV input and output connections are provided on two 25-pin accessory ports.
Back Panel of Voyager Keyboard Editions
Back Panel of Voyager Rack Mount Edition
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Voyager User’s Manual - The Basics
Voyager User’s Manual - The Basics
Signal Flow
To understand the Voyager’s internal signal ow, it’s helpful to consider the three types of signal routings
in the system: the audio path, the control voltage path, and the modulation path.
Audio Path
The Voyager’s audio path includes all of the signal sources and signal modiers that produce an audio
output. These include the oscillators, mixer, lters and ampliers (VCAs).
The Oscillator section includes controls for selecting the octave and waveforms, adjusting the tuning of
the second and third oscillators, for setting the oscillator sync and linear FM functions, and for setting the
frequency range and keyboard control for Oscillator 3.
The Mixer section is where the oscillators and other sound sources (noise and external input) are
selected and mixed together. The output of the Mixer section is routed to the Filter section through a
Mixer Out/Filter In jack on the Voyager’s rear panel. This jack allows you to interrupt the signal routing
between the Mixer and Filter to insert an external effect, or take the output of the Mixer directly.
The Filter section is responsible for altering the harmonic content of the combined sound sources. The
Voyager’s Filter section contains two lters that work together in two different modes.: Dual LP and
HP/LP. Dual LP mode features two lowpass lters in parallel, while HP/LP (Highpass-Lowpass) mode
features a lowpass and highpass lter in series, creating a Bandpass lter response. In either mode,the
Filter Cutoff control affects the cutoff frequency of both lters, and the Spacing control is used to adjust
the difference between the cutoff frequencies. The outputs of the lters are routed to the Voltage
Controlled Ampliers (VCAs).
The VCAs shape the volume level of the audio signal using time-varying control signals called Envelopes.
The Envelopes section (part of the control voltage path) contains one Envelope Generator to control
the Filters, and one Envelope Generator to control the VCAs. The Voyager’s audio path is illustrated
below.
The Voyager’s Audio Path
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Voyager User’s Manual - The Basics
Control Voltage Path
When a key is pressed, or a MIDI Note On message is received, a Gate and Pitch Control Voltage (CV) are
produced. The Gate signal is used to trigger both the Filter and Volume Envelope Generators (EGs). The
Pitch CV is used to determine the pitch of the Oscillators and can be applied to a varying degree to the
Filters through the Keyboard Control Amount knob. The basic control voltage path is illustrated below.
The Voyager’s Control Voltage Path
Modulation Path
Modulation is performed through the Modulation Busses. There are two separate Mod busses. One is
controlled by the Mod Wheel, while the other is controlled by the MOD1 CV, which is a CV input on the
back panel. The MOD 1 CV input is normalled to +5V, so with nothing plugged into this jack, the PEDAL/
ON bus is on at the level determined by the PEDAL/ON Amount control. In each Mod Bus, a Modulation
Source, Shaping signal and Destination are selected. An overall maximum modulation amount can be set
with the Amount control. The Modulation Buss routing is illustrated in the gure on the next page.
The Voyager’s Low Frequency Oscillator (LFO) is assigned through the Modulation Busses. The LFO features
a triangle and a square wave, and both waves can be used at the same time. The LFO is also used to trigger
the Sample and Hold circuit, which means the speed of the Sample and Hold is adjusted by the LFO RATE
control.
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Voyager User’s Manual - The Basics
Voyager User’s Manual - The Basics
The Modulation Buss Path
Additional Modulation
The Touch Surface controller can control three parameters simultaneously. The position of a nger on the
touch pad generates a control voltage for the horizontal (X) position and a contorl voltage for the vertical
(Y) position. Pressing on the touch surface generates a control voltage based on the area (A) of the ngertip. A light touch causes less of your ngertip to touch the pad, while a heavy touch causes more contact
with the touch surface. Touch Surface Controller parameters (X & Y) are available as Modulation Sources
for both the Mod Wheel and Pedal/On busses through Edit Mode programming (See Edit Mode 2.1 & 2.3 ‘PGM M-WHL SOURCE’ and ‘PGM PEDAL SOURCE’). The four Touch Surface parameters (X, Y, A & Gate)
can also be programmed as modulation destinations through Edit Mode programming (see Edit Mode 5.1
- ‘T.S DESTINATIONS’).
Although the RME has no Touch Surface Controller, the TOUCH inputs on the
VX-352 RME CV Expander can be programmed just like the outputs of the Touch
Surface on the keyboard Voyager.
Digital Features
The Voyager has three operation modes: Panel, Edit, and Master. Panel Mode is used for accessing and
performing with the Voyager’s 7 banks of 128 user-writable presets (896 presets total). Panel Mode has
a menu that can be accessed for performance related functions such as “parameter display” which shows
stored and edited values as you edit a preset. Edit Mode contains all Voyager functions that can be stored in
a preset that are not set by the front panel controls, such as naming presets, and some advanced functions
like Pot Mapping, or Filter Poles. Master Mode is used for global settings, such as MIDI In and Out channels.
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Voyager User’s Manual - The Basics
Digital Features (con’t)
The Voyager preset is basically a “snapshot” of front panel settings combined with the parameters set in
Edit Mode. The preset that is loaded is referred to as the “Current Panel Preset” and is stored in a memory
buffer separate from the presets. This preset can be edited freely. The parameters are set by the Voyager’s
preset memory until a setting is changed, at which time the current position of that control takes over. The
Voyager has both a ‘Compare’, and ‘Recall Last Edit’ sound function. Changes to a preset can be saved to
any of the 896 preset locations using the Edit Mode function ‘Save Preset’. There are three ways to change
Presets:
1. Use the -1/+1 buttons. Note that if QUICK MODE is turned OFF, the ENTER button must also
be pressed to load the new preset (for more on QUICK MODE, see page 44).
2. When the External Audio On/Off switch is OFF, the EXTERNAL level control can be used to
scroll through the entire current bank. When the desired preset is reached, pressing the
ENTER button will load the new preset.
3. The Voyager responds to MIDI Bank Select and Program Change messages.
For storage and recall of more than 896 presets, Moog Music recommends purchasing the Voyager Editor/
Librarian, a Mac/PC program designed for creating, organizing and archiving presets for the Voyager. It can
be purchased from the Moog Music website (www.moogmusic.com).
The Voyager has a full MIDI implementation. Its front panel rotary controls and switches send MIDI CCs,
and the Voyager’s synth engine receives and responds to these same commands. Presets can be sent as
SysEx data to a computer for storage, and the Voyager can receive SysEx data either for single presets,
preset banks, or for operating system updates.
Multiple Voyagers (up to 16) can be connected to function as a polyphonic system. The Master Mode
function ‘MIDI Key Order’ assigns each Voyager to be a voice within the system, the size of which can be set
by the user.
The Moog Little Phatty synthesizer can also be used in a Voyager polyphonic
system. For more information, consult the LP User’s Manual.
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Voyager User’s Manual - The Components
Voyager User’s Manual - The Components
The Components
Now let’s take a look at the individual module components that make up the Voyager Synthesizer, starting with
the Mixer section. Then we’ll move on to the Oscillators, Filters, Envelopes, and Output Sections, the LFO and
Modulation sections, the Keyboard and Left-Hand controls, the Back Panel, and the User Interface section.
For each section, illustrations of both the the Voyager Keyboard and Voyager RME front panels will be shown.
A. The Mixer Section
The Mixer combines the main sound sources of the Voyager. It’s a good place to start when creating a new
sound from scratch, or guring out how a sound is put together. All ve of the Voyager’s sound sources can be
swicthed ON or OFF, and their levels can be individually adjusted.
The ve sound sources are:
- External Audio Input
- Oscillator 1
- Oscillator 2
- Oscillator 3
- Noise Source
Each sound source in the Mixer has a dedicated ON/OFF switch and
a level control.
The audio output of the Mixer is routed to the Filter through an
insert jack on the Voyager’s back panel. If an insert cable is plugged
into this jack however, the Mixer output be be routed through an
external effect and returned back into the Voyager’s signal path. This
jack can also be used as direct output of the Mixer if desired (see
page 14 for more information).
Voyager
Keyboard
Voyager
RME
Mixer Section Controls:
Oscillator 1, 2 & 3:
The OSCILLATOR controls in the Mixer allow each oscillator to be switched ON or OFF , and mixed in any
proportion. When the levels of the oscillators are set high, the output from the Mixer gently overdrives the
Filter section. This was one of the impor tant features in the original minimoog that gave it its characteristic
“fat” sound.
Noise:
The NOISE control is used to mix noise with the other sound sources. In the Voyager, noise is a white/pink
hybrid. It is useful for making ocean wave sounds, explosions, wide sounds, or adding subtle coloration to a
sound.
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Voyager User’s Manual - The Components
External:
The EXTERNAL control allows an external monophonic audio source to be routed into the Mixer, where
it can be mixed with the Oscillators and Noise source (an “Ext Audio In” jack on the Voyager back panel is
provided for this input). The LED above the EXTERNAL control knob begins to light up as the input signal
overdrives the Mixer input. When the light is faint, a small amount of soft clipping is occurring. When the
LED is bright, the signal is strongly overdriven. Judicious use of overdrive can really fatten up a sound. The
External Audio Input can accept a signal from instrument level to line level.
A secondary function of the EXTERNAL control knob is that it can be used to scroll through a
bank of presets when in PANEL mode when the EXTERNAL switch is set to OFF.
You can use the External Audio Input jack to route the Voyager output back into itself. This
classic feedback trick is a great way to produce a thicker, meatier sound when the gain is
properly set with the EXTERNAL control knob.
Mixer Back Panel Connections:
Mix-Out Loop:
The jack on the back labeled “Mix Out/Filter In” is an insert point between the Mixer output and the Filter
input. Using a standard inser t cable, an effect such as a moogerfooger® MF-102 Ring Modulator can be
inserted to add effects to the oscillator, noise source, and external audio in prior to the Filter stage. The
Mixer output signal appears at the tip of the insert cable jack as shown below. The return signal is applied
to the ring of the jack. A cable fully plugged into the jack breaks the connection between the Mixer and the
Filter, and unless the Return signal is sent to the ring of the jack, no signal will pass through to the Filter. The
level settings in the Mixer affect the output level, so keep this in mind as you try different devices in this loop.
The Mix-Out loop adds tremendous
exibility to the powerful sound
creation abilities of the Voyager!
Got a few guitar stompboxes laying around? The Mix-Out loop allows you to easily insert guitar
pedal effects into the Voyager’s signal path. What to try? Nearly any type of sound effects
device or sound modier is fair game (chorus, phaser, anger, overdrive, distortion, graphic/
parametric EQ, tube preamp, exciter, etc.) and worth checking out. As always, experimentation
is encouraged!
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Voyager User’s Manual - The Components
Voyager User’s Manual - The Components
B. The Oscillator Section
The Oscillators are the main sound source of the Voyager. The oscillators in the Voyager are all analog
Voltage Controlled Oscillators, or VCOs. They feature a temperature regulation circuit that provides them
with excellent tuning stability. The VCOs can produce a total musical range of 8 octaves! In addition, the
frequency of oscillator 3 can be set to the sub-audio range (<20Hz) for use as a second LFO.
Voyager
Keyboard
Voyager
RME
Oscillator 1 performs as a master oscillator to which Oscillator 2 and 3 are tuned. The timbres of the
oscillators are adjusted by their variable Waveform controls. In addition, there are switches for Oscillator
2 sync to 1; linear frequency modulation of Oscillator 1 by 3; Oscillator 3 keyboard control on/off; and
Oscillator 3 Lo or Hi frequency range. The frequencies of the Oscillators are controlled by a number of
sources. The main source is the pitch CV generated by keyboard or by MIDI Note ONs. A glide circuit can
be switched in between the Keyboard CV and the oscillators to slow the voltage changes between notes,
resulting in a glissando effect. The Keyboard CV then is mixed with the Octave switch CV, the Frequency
control (Oscillators 2 and 3), the Pitch Bend Wheel, the Fine Tune control, and the output of the Mod
Busses when the ‘Pitch’ destination is selected.
Oscillator Section Controls:
Octave:
Each Oscillator has a 6-position OCTAVE switch that selects the relative frequency range. To hear how it
works, turn off Oscillators 2 and 3 in the Mixer. Turn Oscillator 1 on and set its level to 5. Play a note on
the keyboard and rotate the Oscillator 1 octave switch clockwise one click – the note will rise an octave.
You can use this control to change the frequency range that the keyboard controls. The panel markings 32’
up to 1’ are octave standards based on organ stops. On the 16’ setting, MIDI Note number 93 is A440
(equivalent to the “A” key above middle C) .
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Voyager User’s Manual - The Components
Frequency:
Oscillators 2 and 3 have a FREQUENCY control. When the control is in the center position, the oscillators
should be in unison with the frequency of Oscillator 1 (when the octave switches for all three oscillators
are in the same position). The Frequency control can change the pitch of Oscillator 2 or 3 a total of +/- 7
semitones relative to Oscillator 1. This allows more than one frequency to be played when a key is pressed.
Adjusting the frequency of Oscillator 2 & 3 to be slightly out of tune with Oscillator 1 results in the classic
“oscillator beating” chorus sound.
The Oscillator FREQUENCY controls have no calibration - sometimes unisons are made
with the controls a little left or right of center. Oscillator 1 does not have a Frequency control
because it is designed to serve as a reference oscillator for the other 2 oscillators.
Wave:
Each oscillator features a continuously variable WAVE (waveform) control. The legend on the front panel
shows the pure waveforms that are available. They are triangle, sawtooth, square, and rectangular. The
waveform is morphed gradually from one to another as the waveform control is rotated. Because the
waveform is voltage controlled, this parameter can be modulated;
this generates some very interesting timbral changes. By limiting the
modulation between the square and skinny pulse waveform, you
can get pulse width modulation. Although the waveforms can be
set from the front panel individually for each oscillator, modulation
through the Mod Busses is applied to all three waveform controls
simultaneously. When using modulation, it is possible to make the
width of the rectangular wave so skinny that it becomes silent.
Several factory presets illustrate the use of extreme modulation to force the rectangular
wave to silence. Examples include “Waveform Dance” (preset 23 in the C bank, and “Relaxation Drone” (preset 89 in the D bank).
1-2 Sync:
The 1-2 SYNC switch is one of four switches located at the bottom of the oscillator panel. In the ON
postion, the 1-2 SYNC switch synchronizes Oscillator 2 to Oscillator 1. Oscillator sync is an effect caused
by resetting an oscillator waveform’s start point with another
oscillator as shown here (the effect is more noticeable if the synced
oscillator is a higher frequency than the reset oscillator). The main
frequency heard is that of the reset oscillator. As the frequency of
the synced oscillator is swept, it reinforces the harmonics of the
reset oscillator. Depending on how it is applied, the effect can be
aggressive or warm and vocal. This effect is much more dramatic
when Oscillator 2 is set to a higher octave than Oscillator 1.
3-1 FM:
In the ON position, the 3-1 FM switch establishes direct linear Frequency Modulation (FM) of Oscillator
1 by Oscillator 3. When an Oscillator is used as a CV source for another VCO, it is called frequency
modulation. Frequency modulation effects can vary from vibrato or trill effects to clangorous inharmonic
sounds to rich timbres that evoke acoustic sounds. Linear FM is the kind of frequency modulation used in
classic FM synths.
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Voyager User’s Manual - The Components
Voyager User’s Manual - The Components
3 KB Cont (Oscillator 3 Keyboard Control):
The 3 KB CONT switch disables keyboard control of Oscillator 3 when in the OFF position. By disabling
the keyboard control, you can use Oscillator 3 as a drone or as a modulation source whose frequency
doesn’t change with the key played. In addition to turning off the keyboard control of Oscillator 3, switching
to OFF increases the amount by which the Oscillator FREQUENCY control changes Oscillator 3’s
frequency.
3 Freq (Oscillator 3 Frequency):
The 3 FREQ switch selects Oscillator 3’s frequency range. When the switch is in the LO position, Oscillator
3 operates as a subaudio sound source (producing clicks) or as a modulation source (LFO). When the
swicth is in the HI position, Oscillator 3 operates with the same available frequency range as Oscillator 2.
Related Oscillator Controls:
Two other panel controls interact with the Voyager Oscillators: Fine Tune and Glide. These controls are
located in the lower left of the Voyager’s front panel
Voyager
Keyboard
Voyager
RME
Fine Tune:
The FINE TUNE control is used to tune the Voyager’s oscillators +/ – 2 semitones for matching an external
reference pitch.
Glide Rate:
Glide enables a glissando effect between notes. The GLIDE RATE control adjusts the rate of the glissando.
The glide rate can vary from a very fast to a very slow glide. It can be switched on or off using the GLIDE
switch in the Voyager keyboard left-hand controller section, or in the PANEL mode menu of the RME. You
can also turn glide on or off by sending a MIDI CC 65 message (0-63 = off, 64-127 = on).
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Voyager User’s Manual - The Components
Additional CV Connections (applies to all Voyager keyboards and the RME with the VX-352 CV Input Expander only):
Pitch:
The PITCH jack allows you to connect an external CV or expression pedal to control the Voyager’s pitch.
All three oscillators are effected by this connection. The effective input range is -5 to +5 V, where a positive
CV will add to the oscillator dial settings, and a negative CV will subtract from the settings. If an expression
pedal is plugged in, the pitch can only be made to increase since the pedal connection supplies only a positive voltage.
Wave:
The WAVE jack allows you to connect an external CV or expression pedal to control the oscillator wave-
forms. All three oscillators are effected by this connection. The effective input range is 0 to +5 V; the result
is dependant upon the panel WAVE control knob setting (a positive CV will add to the WAVE control
knob).
On the Voyager keyboard back panel, PITCH and WAVE are two of 14 jacks that are color-coded
with either red or blue nuts. A red nut indicates an input for either a CV or Expression Pedal,
while a blue nut indicates an input for either a Gate signal or a footswitch. All red jacks are the
TRS type, supplying +5V on the ring, and applying the input CV or variable pedal voltage return
on the tip. Color-coding is not used on the VX-352 CV Input Expander. Instead, CV/Expression
pedal input jacks are indicated by a white circle around the jack, while Gate/footswitch inputs are
marked with arrows on the sides. For more on the VX-352 CV Input Expander, see Appendix H.
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Voyager User’s Manual - The Components
Voyager User’s Manual - The Components
C – The Filter Section
Filters are used to adjust the tone color of an audio signal. Filters modify sounds by rejecting some
frequencies while allowing others to pass through. To understand the operation of lters and how they
process sound, there are a few important terms to know.
The rst term is ‘Cutoff Frequency’. The cutoff frequency is the point
at which an audio signal’s frequencies begin to be rejected. Then there
are the different types of lters; some of the most common and most
musically useful lter types are ‘lowpass’, ‘highpass’, and ‘bandpass’. A
lowpass lter behaves as its name indicates; it passes all frequencies
below the cutoff frequency and rejects frequencies above the cutoff. A
highpass lter does the opposite. It passes all frequencies above the
cutoff point and rejects the frequencies below the cutoff. A bandpass
lter does a bit of both, since it is created by combining lowpass and
highpass lters. In the case of a bandpass lter, the lowpass section
denes the maximum frequency that will pass through, while the
highpass section denes the minimum frequency that will pass through.
What’s left is a band of frequencies that will pass through the lters
unaffected, hence the name, bandpass.
Another key term is the ‘Cutoff Slope’. The cutoff slope determines
the amount of attenuation that occurs above the cutoff frequency.
Voyager
Keyboard
Voyager
RME
The cutoff slope is specied in decibels per octave (commonly
written as ‘dB/oct’). The electrical design of a lter determines the
cutoff slope. You may have heard the term ‘pole’ as it refers to lters.
A pole is simply a design aspect of a lter, and each pole in a lter
typically adds 6dB to the cutoff slope. This means that a one-pole lter has a cutoff slope of 6db/oct, a
2-pole lter has a 12dB/oct cutoff slope, etc. The classic Moog lter – the sound that started it all – is a
4-pole, 24dB/oct lowpass lter.
The nal lter term to dene is ‘Resonance’. Resonance refers to a peak that appears at the cutoff
frequency. In synthesizers, this resonant peak is usually an adjustable parameter (called ‘ Resonance’ ) that
is part of the lter controls. High resonance values emphasize the overtones that fall within the frequency
range of the resonant peak, givng the processed sound a character that
can be described as vocal, quacky or zappy, depending on the source
sound. When the resonance is turned up past about 8 on the dial, the
lter begins to self-oscillate at the cutoff frequency, producing a sine
wave tone. The Keyboard Control Amount control sets how much the
lters’ cutoff frequencies track the keyboard note that is played. As you
play higher on the keyboard, the cutoff frequency goes higher, too.
In the original Minimoog, the Resonance control was called ‘Emphasis’. Many of the
current Minimoog emulations (both hardware and software) use the term ‘Emphasis’
instead of ‘Resonance’ in the lter section to preserve the authentic vibe of the
original hardware.
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Voyager User’s Manual - The Components
The Voyager has two voltage controlled lters (VCF’s) that can be congured either as dual lowpass lters
or as a combination of highpass & lowpass through a front panel switch. Additionally, the cutoff slope of
each lter can be changed in software, resulting in a wide range of unique and interesting sounds.
Dual Lowpass Mode:
The Voyager’s Dual Lowpass lter mode features two
lowpass lters which are routed to the left and right
audio output, creating a stereo effect. The CUTOFF
knob controls the frequency cutoff of both lters.
The lters can be set to the same cutoff frequency,
or adjusted to different cutoff frequencies using the
SPACING control. When the two lters are set at
different cutoff frequencies and routed to two different
speakers, what you hear can be a fantastically swirly
and vocal sound – similar to a phaser effect. In Dual
Lowpass mode, the RESONANCE control affects both
lters identically.
Highpass Lowpass Mode:
In Highpass/Lowpass mode, the Voyager’s lters are
congured as a lowpass and highpass lter in series,
resulting in a bandpass lter. The output of the
bandpass lter is routed to both outputs. As with the
Dual Lowpass mode, the CUTOFF control changes
the cutoff frequency of both lters, and the SPACING
control sets the frequency difference between the
highpass lter and lowpass lter. The spacing between
the two lters creates a variable passband. In this mode,
the RESONANCE control affects only the lowpass lter,
thus making for some distinctive and ususal lter sounds.
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Voyager User’s Manual - The Components
Voyager User’s Manual - The Components
Filter Section Controls:
Cutoff:
The CUTOFF knob is the main lter control. This sets the cutoff frequency of both of the lters in the both
Dual Lowpass and Highpass/Lowpass mode.
In Dual Lowpass mode, the frequencies to the right of the indicator on the knob are the frequencies that
are ltered out. The frequencies to the left of the indicator are the frequencies that are allowed to pass
through the lter. This is why as you turn the control clockwise the cutoff frequency becomes higher and
the sound becomes brighter. Of course to hear the effect of a lowpass lter it helps to have a signal rich
in harmonics which provides high frequencies to lter. A good example of a sound rich in harmonics is a
sawtooth waveform.
In Highpass/ Lowpass mode, the combination of highpass and lowpass lters forms a bandpass lter. The
CUTOFF control changes the center frequency of the passband.
Spacing:
The SPACING control is used to determine the difference between the cutoff frequencies of the two lters
in both Dual Lowpass mode and Highpass/ Lowpass mode. The numbers on the legend around the knob
refer to octaves. When the SPACING control is centered, the cutoff frequencies of the two lters are
identical and the lter sounds like a classic Moog Filter. Setting the SPACING control to +1 in Dual Lowpass
mode means that the right lter has a cutoff frequency equal to where the CUTOFF control knob is set,
and the left frequency has a cutoff frequency that is one octave higher than the right lter. This means when
the CUTOFF control is swept, two resonant peaks are heard, giving the lter a unique quality.
In Highpass/Lowpass mode, the SPACING control sets the difference between the cutoff frequencies by
shifting the highpass lter’s cutoff frequency up or down. When the SPACING control is fully clockwise, the
cutoff frequencies of the two lters are the same, making for a very narrow bandpass lter.
Resonance:
The RESONANCE control causes feedback in the lter circuit that adds harmonic emphasis at the cutoff
frequency. This control affects the lowpass lters in either lter mode, but not the highpass lter. When the
RESONANCE control is all the way down, the lowpass lters act as a tone control, rolling off high end as
the CUTOFF control is turned down. As the resonance increases, the lter begins to form a peak at the
cutoff frequency. Harmonic content within the frequency range of this resonant peak is emphasized, and the
sound takes on a vocal-like quality. As the RESONANCE control is turned up the peak increases in strength
until the control is set to 8 or higher, when the lter begins to self-oscillate – creating sine waves with the
same frequency as the cutoff frequency.
Keyboard Control Amount:
The KEYBOARD CONTROL AMOUNT knob allows the lter cutoff to follow the key played on the
Voyager keyboard (or the keyboard controlling the Voyager RME). A higher key will cause a higher cutoff
frequency. This allows a sound to retain its brightness as it is played higher on the keyboard.
Mode:
The lter MODE switch selects either the dual lowpass conguration (DUAL LP) or the highpass/lowpass
conguration (HP/LP).
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Voyager User’s Manual - The Components
Additional CV Connections (applies to all Voyager keyboards and the RME with the VX-352 CV Input Expander only):
Filter:
The FILTER jack allows you to connect an external CV or expression pedal to control the lter cutoff
frequency. Both lters are effected by this connection, regardless of the lter mode setting. The effective
input range is -5 to +5 V, where a positive CV will add to the lter cutoff dial setting, and a negative CV will
subtract from the setting. Note that if an expression pedal is plugged into this jack, the cutoff can only be
made to increase from the cutoff dial setting since the pedal connection supplies only a positive voltage.
D. The Envelopes Section
Musical sounds have a start, middle and an end. For example, a plucked string sound starts with an initial
burst of energy and then slowly fades out until it is silent. In synthesis terms, this progression is called an
envelope – a shape that denes the changes that occur in a sound over time. An envelope can dene any
aspect of change in a sound – volume, timbre, or pitch. The circuits that create envelope control signals in
synthesizers are called Envelope Generators (EGs).
When triggered, EG’s produce a time-varying control voltage that has a specic start, middle and end prole. The
parameters that dene this CV prole are Attack, Decay,
Sustain and Release, sometimes abbreviated as ADSR.
Attack determines the character of the onset of the sound.
The EG’s ATTACK knob controls this parameter by adjust-
ing the time it takes for the envelope to go from zero to
full value (in other words, the fade-in time). The DECAY
control adjusts the second stage in the envelope’s evolution by determining the time that it takes for the signal to
drop from the full level to the level set by the SUSTAIN
control. The envelope will remain at the Sustain level as
long as an envelope gate signal is present (i.e. a key is held
down). When the gate signal is released, the RELEASE
control determines the time it takes for the envelope
to transition from the Sustain level to zero (refer to the
ADSR Envelope Signal gure below).
Voyager
Keyboard
Voyager
RME
TheVoyager has two identical EG circuits; one EG is dedicated
to the lter (to control the cutoff frequency), and one is EG
dedicated to the amplier (to control the volume). Both EG’s
can also be used as a modulation sources or modulation shaping through the Modulation Busses..
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Voyager User’s Manual - The Components
Voyager User’s Manual - The Components
Envelope Section Controls:
Attack:
The ATTACK control sets the attack time of the corresponding envelope generator, from 1 msec to 10
seconds.
Decay:
The DECAY control sets the decay time of the corresponding envelope generator, from 1 msec to 10
seconds.
Sustain:
The SUSTAIN control sets the corresponding level for the sustained part of the envelope.
Release:
The RELEASE control sets the release time of the corresponding envelope (the time for the envelope
to transition from the sustain level to zero), from 1 msec to10 seconds.
Amount To Filter :
For the lter envelope, there is an AMOUNT TO FILTER control that adjusts the amount that the lter
envelope signal modulates the lter. The AMOUNT TO FILTER control has both positive and negative
values. If it is set to a positive value (say ‘+2’), the envelope will add to the CUTOFF control setting. If
it is a negative value (say ‘–2’), the envelope will subtract from the CUTOFF control setting.
Envelope Gate:
The envelopes are triggered by a gate signal. The envelopes will sustain as long as a gate signal is
present. When the gate is off, the Release portion of the envelope is executed as shown below. The
switch labeled KEYB/ ON/EXT selects whether the envelopes are triggered from the keyboard, or
from a programmable gate source. When KEYB (Keyboard) triggering is selected, the envelopes are
triggered by a MIDI Note On. When the switch is set for ON/EXT (On/External), the envelope gate
sources are set by the programmable gate sources in EDIT mode, called ‘Fil. ENV Gate SRC’ (Filter
Envelope Gate Source) and ‘Vol. ENV Gate SRC’ (Volume Envelope Gate Source). The default for the
programmable gate sources is ‘Env Gate Input’ which defaults to ON. In this case the envelopes sustain
at the level determined by the respective envelope SUSTAIN controls. This is useful for keeping the
envelopes sustaining without holding a key down, when you want to process an external audio signal
through the lters with out using the keyboard, or to create drones. This also allows separate gate
sources for the two envelopes.
Envelopes sustain as long as a Gate
Trigger is present. The Release phase
starts when the Gate Trigger stops.
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Voyager User’s Manual - The Components
Related Controls:
Release Switch:
The release time of the envelopes is set by their respective RELEASE control knob, but this control can also
be switched OFF. On the Voyager keyboard , there’s a dedicated RELEASE switch located in the left-hand
control panel for this. On the RME, the RELEASE function is switched on or off in software (in the PANEL
mode menu). The RELEASE function can also be activated by sending a MIDI CC message 64 (0-63 = OFF,
64-127 = ON) to either the Voyager keyboard or RME.
The Release function is actually a divider for the release time, so if the RELEASE
control knob is set to 10, the release of the envelopes will not be absolutely abrupt
with the RELEASE ON/OFF function switched off.
Additional CV Control (applies to all Voyager keyboards and the RME with the VX-352 CV Input Expander only):
Gate (Envelope Gate Input):
The GATE jack allows you to connect a footswitch or input a CV gate signal to remotely trigger both
Envelope Generators. This input triggers the EG’s only when the front panel ENV GATE switch is set to
‘ON/EXT’. If the ENV GATE switch is set to ‘KEYB’, any input on the GATE jack will be ignored.
Release:
The RELEASE jack allows you to connect a footswitch or input a CV gate signal. Pressing the footswitch
or applying a gate signal (+5V) enables the Release phase of both Envelope Generators regardless of
the setting of the RELEASE switch.
Rate (Rate Control Input):
The RATE jack is a CV input for external control of the Voyager’s envelope time constants, using either a
CV or expression pedal. The effective input range is-5V to +5V and effects both envelopes. A positive
voltage applied to the RATE jack will decrease the attack, decay
and release times from the envelope panel knob settings, and a
negative voltage will increase the attack, decay and release times
from the panel knob settings as shown.
The envelope AD&R parameters
will expand and contract based on
the voltage at the RATE jack.
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Voyager User’s Manual - The Components
Voyager User’s Manual - The Components
E. The Output Section
The Voyager has two audio outputs. There is a Voltage Controlled Amplier (VCA) for each output, which
allows for stereo functions such as panning or the dual lowpass ltering. The main control for the volume is
the Master Volume control. The Volume Envelope modulates the output VCAs.
Output Section controls:
Master Volume:
The MASTER VOLUME knob is the main volume control. Full-clockwise
is maximum output, full-counterclockwise silences the Voyager. .
Headphone Volume:
This HEADPHONE VOLUME knob controls the volume that appears
on the HEADPHONE OUTPUT jack. Full-clockwise is maximum
output, full-counterclockwise silences the Voyager.
In the RME, the Headphone Volume knob can be
reprogrammed to act as a Modulation Wheel controller.
Voyager
RME
Headphone Output:
The HEADPHONE OUTPUT connection is a ” TRS jack that outputs
the Voyager signal to a pair of stereo headphones.
Voyager
Keyboard
Additional CV Control (applies to all Voyager keyboards and the RME with the VX-352 CV Input Expander
only):
Volume:
The VOLUME jack allows you to connect an external CV or expression pedal to control the output
volume. Both VCA’s are effected by this connection. The effective input range is 0 to +5 V, where
0V = Volume OFF, and +5V = Full Volume.
Pan:
The PAN jack allows you to connect an external CV or expression pedal to control panning between
the right and left outouts. The effective input range is -5 to +5 V, where -5V = Fully Left and
+5V = Fully Right. If an expression pedal is plugged into the PAN jack, the pedal will reach its full
positive effect over just half of its useful travel, since it gets +5v from the PAN jack. Note also that you will
not be able to pan left with the pedal without additional offset programming because the expression pedal
voltage does not go below 0V.
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Voyager User’s Manual - The Components
F – The Modulation Buss Section
Modulation is the heart of making interesting sounds with analog subtractive synthesis. The Voyager’s two
Modulation Busses open up a world of modulation possibilities that were not available on the original
Minimoog.
The Modulation Busses allow you to select a variety
of modulation sources, destinations, modulation
shaping, and amounts. The two Mod Busses are
labeled MOD WHEEL and PEDAL/ON (labeled as
‘MW’ and ‘P’ on the Voyager RME, respectively). The
performance control for the MOD WHEEL Buss is
the Modulation Wheel itself (on the RME, it’s MIDI
CC1, which is the default Mod Wheel CC message).
The performance control for the PEDAL/ON Buss is
the MOD 1 Input on the Voyager keyboard; for the
RME, it’s the MOD 1 input on the RME VX-352 CV
Expander (the MOD 1 parameter is also addressable
through a MIDI CC2 message or through the EDIT
Mode function called ‘Pot Mapping’).
The MOD 1 input can accept an expression pedal
like the EP-2, and is used like the Modulation Wheel
Voyager
Keyboard
Voyager
RME
to fade in and fade out the desired modulation.
With nothing plugged into the MOD 1 input, the
AMOUNT control of the PEDAL/ON buss sets the
modulation amount.
The diagram below shows the conguration of a single Mod Buss, but the controls for both busses are the
same.
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Voyager User’s Manual - The Components
Voyager User’s Manual - The Components
Three controls modify the amount of modulation: the AMOUNT control, the SHAPING control, and the
Mod Wheel (for the Mod Wheel Mod Buss) or MOD1 level (for the Pedal/On Mod Buss). The AMOUNT
control sets how much both the Mod Wheel/MOD1 Input and the Shaping CV allow the mod source
through to the mod destination.
To try out a simple modulation effect, make the following settings on the MOD WHEEL Buss:
- Set the LFO RATE control to about 6 Hz
- Set the SOURCE control to the Triangle wave
- Set the SHAPING control to ON/PGM
- Set the DESTINATION control to PITCH
- Set the AMOUNT control to 5
These settings allow the Mod Wheel performance control to be used to fade in the modulation, which
should sound something like vibrato. This is a simple use of a Mod Buss. The exibility of the two Modulation Busses offer a wealth of modulation possibilities which make the Voyager an incredible sound design
tool.
Modulation Buss Section Controls:
Source:
The SOURCE control selects the source of the modulation. The modulation source is actually choosen
through a combination of the SOURCE control and software modulation options. The Source selections
are:
- (the LFO Triangle wave)
- (the LFO Square wave)
- OSC 3 (Oscillator 3)
- S+H (the LFO Sample and Hold output)
- ON/MOD2: If nothing is plugged into the MOD2 jack, this selection is ON, but it can also
be addressed either through the EDIT Mode function ‘Pot Mapping’, or MIDI CC 4.
- NOISE/PGM: This is a programmable source for the mod bus. Noise is the default.
The programmable modulation sources are set in the EDIT mode menu
functions ‘MOD WHEEL PGM SOURCE’ or ‘PEDAL PGM SOURCE’.
Shaping:
The SHAPING control selects the modulation shaping options. Shaping is a way to dynamically change the
amount of modulation . The Shaping selections are:
- FILT ENV: This allows the Filter Envelope to shape the amount of Modulation before the
Mod Wheel or MOD1.
- VELOCITY: This allows Keyboard Velocity to shape the amount of Modulation before the
Mod Wheel or MOD1.
- PRESSURE: This allows Keyboard Aftertouch (Pressure) to shape the amount of Modulation
before the Mod Wheel or MOD1.
- ON/PGM: This is a programmable shaping option for the mod bus; ON is the default. Both
Mod Busses share two programmable Shaping Sources that are summed together.
These sources are available in the EDIT mode as ‘PGM Shaping 1 SRC’ and
‘PGM Shaping 2 SRC’.
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