Moog Music Minimoog Voyager XL User Manual
Minimoog
User’s Manual
Table of Contents
FOREWORD from Cyril Lance .................................. 4
THE BASICS
How to use this Manual ....................................... 6
Setup and Connections ........................................ 7
Overview and Features ........................................ 10
Signal Flow .................................................................... 12
THE COMPONENTS
A. Mixer Section ........................................................ 16
B. Oscillator Section ................................................ 18
C. Filter Section ......................................................... 21
D. Envelopes Section .............................................. 24
E. Output Section ..................................................... 27
F. Modulation Section .......................................... 28
G. Primary LFO/S&H Section .......................... 31
H. Keyboard & LH Controllers ......................... 33
I Ribbon Controller ................................................. 34
J Touch Surface Controller ................................. 35
K. Modular Patch Panel ........................................... 36
L. Back Panel .................................................................. 44
M. Interface Panel ...................................................... 45
THE USER INTERFACE
Panel Mode ............................................................................ 46
Edit Mode ................................................................................ 50
Master Mode ......................................................................... 65
How the Voyager XL handles MIDI ........................ 78
APPENDICES
A – Touch Surface LFO S&H: In Use ....................... 83
B – MIDI Basics .................................................................. 84
C – Initialization Parameters ...................................... 86
D – Synthesis Tutorial ....................................................... 88
E – MIDI Implementation ............................................... 93
F – Service & Support Information .......................... 94
G – Caring for the Voyager XL .................................... 94
H – Specications ................................................................. 95
GLOSSARY ...................................................................................... 96
PRESET LIST .................................................................................. 100
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Foreword
In early September 2005, Ileana Grams Moog asked me to go out to Bob’s place in the country and see what
the state of his workshop was. That day in North Carolina was impossibly beautiful. As we drove up a long,
windy gravel driveway in Turkey Cove, we came to this idyllic spot surrounded by mountain laurels, oaks and
babbling creeks. Standing there was a steel outbuilding eerily similar to my own workshop. This was the place
Bob called “Big Briar”.
Feeling a bit like Indiana Jones, we gured out which old key opened the building and turned on the
lights. Piles of papers, parts of electronics, old synthesizers, solder, screws, knobs, and tools were scattered
everywhere. Since I never had the chance to know Bob very well, I felt a little bit like I was transformed
back to a time when he must have been busy tinkering in his shop plying his unique blend of intuition and
intelligence.
After about an hour of poking around, my foot hit something hard on the oor – I looked down and there
was a black trash bag at my feet, just lying there like it had been abandoned and forgotten.
I opened it up and it was one of those moments when angels actually sing (of course, this time the voices
sounded very much like something from an old Wendy Carlos track…).
Inside this bag was a Minimoog in pristine condition. On it was a plaque stating it was one of the last 25 made
on the Minimoog line. I just started laughing. How BOB! This is how I was slowly starting to know him better;
this mythic instrument was probably brought in one night, placed on the oor as he headed to his workbench
to nish some circuit, and then forgotten.
The Minimoog has a very special place in the history of electronic instruments. They are loved, played, abused,
coveted, hidden away so as not be touched, talked about, blogged about, and on and on. They were noisy,
unstable, quirky, funky – everything that makes for a great soulmate! Now it’s 40 years later, and the Voyager
XL was born out of the desire to celebrate this history.
When we at Moog discussed this project, we decided that we needed to celebrate more than the Minimoog
per se, but the larger legacy of Bob’s work. To hark back to the original modular approach and to encourage
musicians to really take advantage of what I consider to be the singular most important aspect of our
instruments: the Control Voltage. Something so basic and simple but it is still revolutionizing the world of
sound.
The XL was born out of a lot of evolving ideas both internal and external since I have been here with Moog.
The request for a larger keyboard, the desire for Ribbon Controller, and for more LFO sources with different
ranges to further expand a musician’s ability to modulate – one of the most fundamental aspects of musicality.
We also felt strongly that this needed to be on the front panel. All these features needed to be immediate,
playable, and fully analog – they DEMAND you to craft your sounds and to architect your soundscapes in the
organic way that made the original modulars so magical.
The XL’s larger keyboard allows you to create much longer harmonic ideas but should also encourage you
to use this keyboard as a polyphonic controller and then further blow down the sonic doors by feeding
this polyphonic source back into the Voyager via the External Audio adding a whole other dimension of
possibilities!
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I am extremely excited about this instrument. It, of course, builds upon the Minimoog Voyager–Bob’s
seminal synthesizer–yet adds another option to our family of synths from the small (our new SLIM Phatty)
to the large (the Voyager XL). Each of these instruments have their own personality, their own voice, and
excel in different ways. But they all are direct descendants of that funky little Minimoog sitting on the oor
of Bob’s workshop that I stumbled upon accidentally that day. They are all direct descendents of the passion
that you, the artists, have put into making your voice heard through this incredible legacy.
As with any instrument, we spend many, many hours discussing and debating features with our customers.
I am extremely appreciative of the huge contributions and always-informative conversations with Moog
guru Brian Kehew, as well Drew Newman, Eric Levy and Roger O’Donnell among others. This continual
collaboration with the artists who use our instruments allows us to craft tools that meet the visions and
inspirations of folks like yourself.
HUGE thanks to my incredibly brilliant and dedicated engineering team: Steve Dunnington, Amos Gaynes,
Rich Shaich, and Eric Church. Nothing is possible without them (including my sanity!). Special thanks to Rudi
Linhard, Axel Hartman, David Rankin and Core Design for their expert contributions. To the terric team at
Moog who are involved in building, shipping, and selling instruments around the world – you are a wonderful
bunch! Thanks to the tireless efforts of our marketing team which gets the news out to you and beyond
and also continually strives to keep Bob’s vision alive. Thanks also to Greg Kist for this incredible manual – a
treasure trove of knowledge and help on the instrument.
To all of you who continually give us your ideas, your passions and your music – you are the bedrock of
Moog Music. We appreciate you all and honor what you do with our instruments. We can’t wait to hear
what you do with the XL.
Finally, without Mike Adams, our president, Moog Music would not be here and especially not continue to
maintain the excellence of spirit and intention through these times. His tireless work and fortitude cannot
be understated. The fact that we are here to celebrate the 40th anniversary of the MiniMoog owes a lot to
his vision and skills.
This morning I brought the rst working XL home and plunked it down in my living room. My six-year old
son’s eyes lit up and he jumped up on a little chair, turned it on, and immediately started crafting his own
sounds, plugging cables in and out, listening, adjusting and grooving – for over an hour until I unplugged it so I
could get back to work (he was not happy about that)!
Now it’s your turn!
It brings me great pleasure to present the Minimoog Voyager XL to you. I hope it brings you a lifetime of
pleasure and inspiration.
Sincerely,
Cyril Lance
Senior Engineer and Chief Technical Alchemist
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Voyager XL User’s Manual - The Basics
Voyager XL 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 XL.
The Setup and Connections section explains how to unpack, setup and connect the Voyager XL, and provides
a quick start to get you up and running with your new instrument.
The Components section offers detailed explanations of the Voyager XL components that create and modify
sound.
The Panel Mode, Edit Mode and Master Mode sections provide in-depth descriptions of the Voyager XL
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 D 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 XL handles MIDI, as well
as Appendix E, MIDI Implementation. Those who are new to MIDI should rst read MIDI Basics, found in Appendix B.
At the back of the manual, you’ll nd a Glossary that denes important synthesizer terminology, and a table
listing all of the Voyager XL 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. XL
This icon indicates a useful performance or programming tip.
This icon indicates technical information for the advanced user or the technically curious.
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Voyager XL User’s Manual - The Basics
Setup and Connections
For those of you who can’t wait to play your new Voyager XL 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 XL.
Check the contents in the shipping carton
The Voyager is shipped with the following items:
1. The Voyager XL Synthesizer
2. Patch Cable Kit
3. Power cord
4. This User’s Manual
5. Warranty registration card
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 XL
2. A ” instrument cable (for mono) or two ” instrument cables (for stereo) and an
amplier, or a pair of headphones
3. A properly wired AC outlet.
4. A few ” patch cords for trying various connections
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 and will not easily topple. Use caution when lifting the Voyager XL out
of the carton, and be sure to save the carton and all packing material in case you need to ship the Voyager
XL for any reason.
Connect to Power and Amplier
Make the connections as shown below. Connect the Voyager XL’s power receptacle (on the back panel) to
a wall outlet using the supplied AC power cord. The Voyager XL 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 Master Volume
control to minimum before making the connection to an amplier or headphones.
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Voyager XL User’s Manual - The Basics
Voyager XL User’s Manual - The Basics
Now Power up
Turn the Voyager XL power ON. The LCD screen will light up and display an “XL” 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 XL keyboard 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 8 banks). There are a total of 1024 preset locations in memory – 896 of which
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 51). If you wish to save your changes, press EDIT and select the SAVE PRESET function
(for more on the SAVE PRESET function, see page 64). 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 XL User’s Manual - The Basics
Making Your Own Sounds
To create your own sound from scratch, it’s good to start from the Voyager XL 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 XL, 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 XL to its fullest potential, it is very impor tant 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 interacts with other Voyager XL parameters.
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 XL 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 oscillators (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 XL has been stored outside the recommended operating temperature range).
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Voyager XL User’s Manual - The Basics
Voyager XL User’s Manual - The Basics
Overview and Features
Front Panel:
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Voyager XL User’s Manual - The Basics
Back Panel:
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Voyager XL User’s Manual - The Basics
Voyager XL User’s Manual - The Basics
Signal Flow
To understand the Voyager XL 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 XL 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 XL Audio Path
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Voyager XL 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 XL 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 (a CV input on the Patch
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 XL User’s Manual - The Basics
Voyager XL 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 control 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’).
Many more modulation possibilities are available through the Voyager XL’s Modular Patch Panel. The Patch
Panel offers an endless array of powerful modulation and control possibilities that go far beyond the built-in
features already mentioned - all you need is a few patch cords!
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 XL 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 XL User’s Manual - The Basics
Digital Features (con’t)
A Voyager XL 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
XL 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.
2. When the External Audio On/Off switch is OFF, the EXTERNAL level control can be used
to quickly scroll through the entire current bank. When the desired preset is reached,
pressing the ENTER button will load the new preset. (For more on using this function,
see QUICK MODE, on page 47).
3. The Voyager XL 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 family of
products. It can be purchased from the Moog Music website (www.moogmusic.com).
The Voyager XL has a full MIDI implementation. Its front panel rotary controls and switches send MIDI CCs,
and the Voyager XL synth engine receives and responds to these same commands. Presets can be sent as
SysEx data to a computer for storage, and the Voyager XL can receive SysEx data either for single presets,
preset banks, or for operating system updates.
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Voyager XL User’s Manual - The Components
Voyager XL User’s Manual - The Components
The Components
Now let’s take a look at the individual module components that make up the Voyager XL, starting with the
Mixer section. Then we’ll move on to the other panel functions (Oscillators, Filters, Envelopes, etc. ), performance controls (Keyboard, Ribbon and Left-Hand controls) the Modular Patch Panel, the Back Panel, and
nally the User Interface section.
A. The Mixer Section
The Mixer combines the main sound sources of the Voyager XL. 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 XL sound
sources can be switched 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 inser t cable is plugged into this jack however, the Mixer
output 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 17
for more information).
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 important 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 XL 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 XL 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. For more on
this feature, see ‘Quick Mode’ on page 47.
You can use the External Audio Input jack to route the Voyager XL 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 XL!
Got a few guitar stompboxes laying around? The Mix-Out loop allows you to easily insert guitar
pedal effects into the Voyager XL 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 XL User’s Manual - The Components
Voyager XL User’s Manual - The Components
B. The Oscillator Section
The Oscillators are the main sound source of the Voyager XL. The oscillators 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 an auxiliary LFO.
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) .
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.
NOTE: 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.
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Voyager XL User’s Manual - The Components
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.
TIP: Several factory presets illustrate the use of extreme modulation to force the rectangular
wave to silence. For examples, check out the “Waveform Dance” and “Relaxation Drone”
presets.
1-2 Sync:
The 1-2 SYNC switch is one of four switches located at the bottom of the oscillator panel. In the ON
position, 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.
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 sub-audio sound source (producing clicks) or as a modulation source (auxiliary LFO). When
the switch is in the HI position, Oscillator 3 operates with the same available frequency range as Oscillator 2.
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Voyager XL User’s Manual - The Components
Related Oscillator Controls:
Two other panel controls interact with the Voyager XL oscillators: Fine Tune and Glide. These controls are
located to the lower left of the Modulation Busses section
Fine Tune:
The FINE TUNE control is used to tune the 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 XL 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).
Oscillator CV Inputs on the Patch Panel:
PITCH -
The PITCH jack allows you to connect an external CV or Expression Pedal to control the Voyager XL’ 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 FREQUENCY control knob settings, and a negative CV will subtract
from the settings. If an Expression Pedal is used, 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 setting of the WAVE
control knob).
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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. 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.
Another important lter term 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, giving 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 XL User’s Manual - The Components
Voyager XL User’s Manual - The Components
The Voyager XL 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 XL 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, the resulting sound can vary from
something simple (like a mild phaser effect) to sounding
like two very different synths playing at the same time.
In Dual Lowpass mode, the RESONANCE control
affects both lters identically.
Highpass Lowpass Mode:
In Highpass/Lowpass mode, the Voyager XL 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 usual lter sounds.
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Voyager XL 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 (CW) of the indicator on the knob are the frequencies
that are ltered out. The frequencies to the left (CCW) 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 XL User’s Manual - The Components
Voyager XL User’s Manual - The Components
Filter CV Inputs on the Patch Panel:
CUTOFF -
The CUTOFF 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 knob 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.
Although CV Inputs for Filter Spacing and Resonance are not available on the Patch Panel, there are ways
to externally control these parameters. Filter Spacing can be selected as a Programmable Modulation
Destination in either Mod Bus, thus you could route the MOD2 input to control Filter Spacing through the
Mod Busses. Also, MOD1 or MOD 2 inputs may be routed using the POT MAPPING feature to control any
of the front panel knob functions, including Filter Spacing or Resonance.
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 adjusting 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 (see the ADSR
Envelope Signal gure).
The Voyager XL 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, and both EG’s are available as
individual CV Outputs on the Patch Panel.
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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 to 10 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 XL User’s Manual - The Components
Voyager XL 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 knob can
also be switched OFF using the RELEASE switch located on the left-hand control panel.
NOTES:
1. 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.
2. The RELEASE function can also be remotely controlled by sending MIDI CC message
64 with the following values:
0-63 = OFF
64-127 = ON
Envelope CV Inputs on the Patch Panel:
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 XL User’s Manual - The Components
E. The Output Section
The Voyager XL 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 XL.
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 XL.
Headphone Output:
The HEADPHONE OUTPUT connection is a ” TRS jack that outputs the audio signal
to a pair of stereo headphones.
VCA Inputs on the Patch Panel:
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 outputs. A CV of 5 Volts will control the full panning range, where:
-2.5V = Fully Left
+2.5V = 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 XL User’s Manual - The Components
Voyager XL User’s Manual - The Components
F – The Modulation Buss Section
Modulation is the heart of making interesting sounds with analog subtractive synthesis. The Voyager XL’s
two Modulation Busses open up a world of modulation possibilities.
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. The performance control for the
MOD WHEEL Buss is the Modulation Wheel itself, while the performance
control for the PEDAL/ON Buss is the MOD 1 Input jack on the Patch Panel.
NOTE: The MOD 1 parameter is also addressable through a MIDI CC2
message or through the EDIT Mode ‘Pot Mapping’ function.
The MOD 1 input can accept an Expression Pedal like the EP-2, and is used
like the Modulation Wheel 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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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 tr y 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 chosen
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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Voyager XL User’s Manual - The Components
Voyager XL User’s Manual - The Components
Destination:
The DESTINATION control selects the destination of the modulation. The modulation destination is cho-
sen in the same manner as the source. The modulation destination selections are:
- PITCH (the pitch of all three oscillators)
- OSC2 (the pitch of Oscillator 2 only)
- OSC3 (the pitch of Oscillator 3 only)
- FILTER (the Cutoff Frequency of the lter)
- WAVE (the waveforms of all 3 oscillators)
- LFO/PGM: This is a programmable destination for the Mod Bus; LFO Rate is the
default. Programmable Mod destinations are set in the EDIT mode using the
menu functions ‘PGM M-WHL DEST’ (Programmable Mod Wheel Destination)
and ‘PGM PEDAL DEST’ (Programmable Pedal Destination).
Amount:
The AMOUNT control is used to set the maximum amount of modulation that is sent to the modulation
destination. When the AMOUNT control is set to 0, no modulation will pass. When the AMOUNT is
set to 10, the maximum amount of modulation is sent to the destination when the performance controller
(Mod Wheel or MOD1 level) is all the way up.
Related Controls:
Mod Bus Performance Controllers:
The Mod Wheel and MOD 1 Input are performance controllers for the Mod Wheel Modulation Bus and
Pedal/ON bus respectively. These performance controllers are the nal stage in determining the amount
of modulation sent to the selected destination. When these controllers are set to maximum, the modulation amount is determined by the AMOUNT control. When these controllers are set to 0, the modulation
amount is 0.
Modulation Bus CV Inputs on the Patch Panel:
MOD 1:
The MOD 1 jack accepts an Expression Pedal or control voltage from 0 to 5 Volts. This input is used as the
performance control for the PEDAL/ON Mod Bus. With nothing plugged into this jack, the voltage here is
5V (the ‘ON’ state). With an input applied, when the voltage is at 0, no modulation is sent to the PEDAL/ON
Modulation Destination. When the Voltage at the MOD1 is at 5 Volts, the Modulation is sent to the destination at the level set by the PEDAL/ON AMOUNT control.
MOD 2:
The MOD 2 jack allows you to apply an external modulation source into the MOD busses. The input
accepts an Expression Pedal or a control voltage from 0 to +5 Volts. With nothing plugged into this jack, the
voltage here is 5 V (the ‘ON’ state). When the SOURCE control is set to ‘ON/MOD2’, the voltage applied to
this jack becomes the Modulation Source.
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Voyager XL User’s Manual - The Components
G – Primary LFO/Sample and Hold Section
The Primary LFO provides both Low Frequency Oscillator and Sample & Hold (S+H) modulation sources
for the Voyager XL Modulation Busses. The LFO provides triangle and square waves, while the S+H
produces a random voltage output. The LFO Frequency and S+H Rate are both controlled by the LFO
RATE knob, which is adjustable from 0.2 to 50 Hz. The LFO and S+H outputs are selectable as separate
modulation sources in both Modulation Busses.
To generate the S+H function, the LFO’s square wave is used as the S+H Trigger,
while the Voyager XL Noise source is used for the S+H Input signal. For each
positive-going cycle of the LFO square wave, the voltage at the input of the S+H
circuit is sampled and held until the next cycle. Since the sample source is Noise (a
random signal), the voltage that appears at the output of the S+H circuit is a random
voltage that changes in time with the LFO.
Inputs on the Modular Patch Panel allow additional exibility with the Sample and
Hold circuit. For example, if a plug is inserted into the S+H Gate input, it will
disconnect the LFO trigger; an external gate signal can then be used to trigger the
S+H circuit. Similarly, a plug inserted into the S+H Input jack disconnects the Noise
source from the S+H input. In this circumstance when the S+H circuit is triggered,
the voltage at the tip of the plug is held at the output of the S+H circuit. This makes
it possible to get “staircase” modulation patterns as shown below.
The Voyager XL Sample and Hold circuit
can create more than just random signals –
interesting stepped modulation patterns
are also possible.
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Voyager XL User’s Manual - The Components
Voyager XL User’s Manual - The Components
LFO/Sample and Hold Section Controls
LFO Rate:
The LFO RATE control sets the frequency of the LFO. The controllable range is 0.2 to 50 Hz.
LFO Sync:
The LFO SYNC control selects the trigger method for starting the LFO waveform. There are four trigger
modes:
- OFF/SYNC: This setting allows the LFO to be free running unless there is a
connection to the LFO SYNC input (see below).
- MIDI: This setting allows the division of the MIDI clock signal (set up in the EDIT
mode function ‘MIDI CLK Divider’) to retrigger the LFO. Note that the LFO is
an analog circuit, and does not automatically sync to MIDI clock; it is restarted
much in the manner of oscillator sync, and does not defeat the Rate control.
- KB (Keyboard): This setting allows the LFO to be retriggered when a MIDI ‘Note On’
message is received.
- ENV. GATE: This setting allows an input to the Envelope Gate Source jack (part of
the Envelope CV inputs) to restart the LFO.
LFO CV Inputs on the Patch Panel:
LFO RATE -
The LFO RATE jack accepts an Expression Pedal or a control voltage from -5 to +5V. A positive voltage
here adds to the position of the LFO RATE control knob, while a negative voltage will subtract from it.
By applying an external voltage to the LFO RATE jack you can control the LFO
frequency well beyond the specied range. Rates lower than one cycle per minute
are possible, as are frequencies that go well into the audio range.
LFO SYNC -
The LFO SYNC jack accepts a footswitch or a +5V Gate input. Closing the footswitch or applying a gate
here will retrigger the LFO waveform.
S&H IN (Sample and Hold Input) The S&H IN jack accepts an expression pedal or a control voltage from -5 to +5V. The voltage on this jack
is the signal source for the Sample and Hold circuit input.
S&H GATE (Sample and Hold Gate) The S&H GATE jack accepts a +5V Gate input. Applying a gate signal here will trigger the Sample and Hold
circuit.
The S&H GATE jack will only work with a +5V Gate input, not a footswitch.
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