Multimoog Musical Instrument, Electronic Keyboard Operation Manual
Mutefmoog
Multimoog
Muitimoog
Multimoog
OPERATION
MANUAL
by
Tom
Rhea
introduction
The
Multimoog
is
for
performers
who
recognize
the
power
of
physical
control
of
electronic
musical
instruments.
Before
we
had
electronic
musical^
instruments
there
was
no
issue—if
you
didn't
involve
your
body
you
couldn't
make
music.
Acoustic
instruments
require
human
energy
during
performance-they
must
be
struck,
scraped,
plucked,
or
blown
into
before
they
will
make
sound.
Therein
lies
their
power—musical
nuance
is
achieved
through
subtle
physical
control.
The
performer
is
an
integral
part
of
the
instrument.
On
the
other
hand,
electronics
makes
it
possible
to
produce
sound
that
is
disembodied.
We
can
create
complex
sonic
events—clouds
of
sound—with
minimal
physical
contact.
But
most
musicians
choose
to
use
the
synthesizer
primarily
as
a
powerful
voice
within
an
ensemble.
This
usage,
and
the
immediacy
of
live
performance
require
physical
involvement
to
yield
musical
nuance.
Circuitry
simply
can't
match
human
judgment
in
anticipating
the
dynamic
situation
on
stage.
Fixed
circuit
values
that
govern
attack,
vibrato
rate
and
amount,
and
other
constraints
often
forced
on
the
synthesist
are
simply
unacceptable
to
other
instrumentalists.
This
has
come
about
because
we
have
asked
"what
will
this
synthesizer
do?"
instead
of
"what
can
/
do
with
it?"
But
those
who
have
progressed
beyond
the
romance
phase
of
"infinite
control"
using
circuitry
are
beginning
to
demand
more
and
better things
to
put
your
hands
on
while
playing
the
synthesizer.
It
is
for
these
musicians
that
the
Multimoog
was
conceived.
It's
a
very
complete
variable
synthesizer
with
some
new
bells
and
whistles.
More
important,
the
Multimoog
is
an
advance
in
musical
engineering
that
puts
new
power
to
make
music
where
it
belongs—in
your
hands.
What
does
its
sophisticated
left-hand
controller
and
force-sensitive
keyboard
mean?
If
you
don't
use
them,
nothing.
If
you
do,
everything—nuance.
Thomas L Rhea,
PhD
Electronic
Music
Consultant
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setting
up
the
multimoog
Amplifier
connection
procedure
getting
a
SOUnd
Sound
check.
Sure
way
to
get
a
sound
tuning
U
p
Tu
ning
procedure
SOUnd
Charts
Exploring
the
Multimoog's
sonic
vocabulary
do-it-yourself
demo—Hints
for
exploring
on
your
own
guided
synthesizer
tour
sound
and
synthesis—
General
guided
tour—
Multimoog
specifics
and
20
exercises
System
Rear
panel
input/output
review
of
functions
written
in
"synthesizerese"
•
'review
technical
data—specs,
schematics
91978
Norlin
L
setting
up
the
multimoog
A.
Before
plugging
in
the
Multimoog,
check
the
115/230
switch
on
the
rear
panel. Set
this
for
the
appropriate
operating
voltage
(115
for
U.S.A.).
B.
Plug
the
power
cord
into
any
conventional
A.C.
outlet.
C.
Use
an
appropriate
patchcord
to
connect
either
LO
AUDIO
or
HI
AUDIO
on
the
Multimoog
to
your
monitoring
system.
If
you
are
using
a
P.A.
system
or
a
portable
guitar-type
amplifier,
connect
the
LO
AUDIO
OUTPUT
of
the
Multimoog
to
the
input
of
your
amplifier.
If
you
are
using
a
high
fidelity
monitoring
system,
connect
the
HI
AUDIO
OUTPUT
of
the
Multimoog
to
the
input
of
the
power
amplifier.
In
either
case,
always
advance
the
VOLUME
control
of
the
Multimoog
slowly
from
"0"
to
check
sound
level.
For
best
signal-to-noise
ratio,
choose
gain
settings
on
your
monitor
that
allow
you
to
use
a
high
VOLUME
setting
(about
"8")
on
the
Multimoog.
D.
Turn
on
the
POWER
switch
on
the
rear
panel
of
the
Multimoog.
The
temperature-regulated
oscillators
attain
operating
temperature
in
about
five
minutes;
tune
after
that
time
and
the
Multimoog
will
remain
completely
pitch-stable.
E.
Refer
to
GETTING
A
SOUND
section
of
this
manual
for
first
sound.
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1.
Turn
power
on
and
allow
heated-
chip
oscillators
to
completely
sta
bilize
(5
min.)
2.
Fine
tune
Oscillator
B
using
fine
tune
control
on
rear
panel.
POWER
•iAPE
tuning
up
□
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3.
Tune
Oscillator
A
to
match
Oscil
lator
B
using
INTERVAL
control.
FINE
TUNE
FINE
TUNE
ON
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INTERVAL . WAVESHAPE
OSCILLATOR
A
MIX
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4.
Boogie!
ii
sound
charts
Sound
charts
are
the
"paint
by
numbers"
approach
to
the
synthesizer.
This
section
shows
you
how
to
create
sounds
easily
by
duplicating
sound
charts
settings
on
the
control
panel
of
the
Multimoog.
The
Multimoog
makes
sounds
that
you
have
synthesized,
or
created
from
the
basic
elements
of
sound
such
as
pitch,
tone
color,
and
loudness.
The
Multimoog
can
produce a lot
of
different
sounds
because
it
can
manipulate
elements
of
sound.
Unlike
the
traditional
arranger,
who
chooses
from a group
of
instruments
with
somewhat
fixed
characteristics,
the
synthesist
is
confronted
by a continuous
spectrum
of
instrumental
and
other
sound
textures.
Because
the
sounds
of
the
synthesizer
are not
as
fixed
and
well-
known
as
many
other
instruments,
it
is
necessary
to
have a notation
system
that
describes
synthesized
sound—sound
charts.
A
sound
chart
is a "picture"
of
control
panel
settings
that
produce
a
certain
sound.
Multimoog
sound
charts
are
line
drawings
of
the
front
control
panel
and
lower
performance
panel.
Rotary
potentiometers
(pots)
and
selectors
are
represented
by
circles;
slide
switches
are
represented
by
segmen
ted
rectangles:
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MULTIMOOC
SOUND
CHART
The
setting
for a rotary
control
or
selector
appears
within
the
circle
in
numbers
or
characters
appropriate
to
that
control.
The
setting
is
also
indicated
by a mark
on
the
edge
of
the
circle.
Blank
circles
indicate
that
the
control
should
be
turned
completely
counterclockwise,
or
it
may
interfere
with
the
sound
chart.
See
below
for
example:
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The
tuning
of
OSCILLATOR A relative
to
OSCILLATOR
B
is
shown
within
the
INTERVAL
circle
using
standard
musical
nomenclature
(m3=minor
third;
M2=Major
second;
P5=perfect
fifth;
AUG4=
Tritone).
A
plus
sign
indicates
OSCILLATOR
A
is
tuned
higher
than
OSCILLATOR
B; a negative
sign,
lower.
When a single
oscillator
is
used,
its
letter
appears
in
the
MIX
circle.
When
both
oscillators
are
used
"AB"
appears,
and
relative
mix
of
the
two
oscillators
is
indicated
by
the
mark on
the
edge
of
the
circle.
The
position
of
slide
switches
is
always
indicated
by
blacking
in
the
position
in
use.
An
asterisk
in
another
position
of
the
same
slide
switch
indicates
an
alternative
position
that
might
be
tried.
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Use
of
the
PITCH
ribbon
and
MOD
AMOUNT
wheel
in
the
performance
panel
are
indicated
with
arrows.
The
best
position
for
the
MOD
AMOUNT
wheel
for
the
intended
effect
is
also
marked
with
a
heavy
black
line,
as
shown.
MOD
AMOUNT
POWER
PITCH
Like
any
musical
notation,
sound
charts
are
approximate,
particularly
when
they
represent
simulations
of
acoustic
instruments.
To
get
the
most
from
the
sound
charts,
several
general
ideas
may
be
helpful:
1.
Start
from
the
Preparatory
Pattern
with
all
controls
and
switches
counterclockwise
or
to
the
left;
move
the
MOD
AMOUNT
wheel
fully
down
(toward
you).
2.
Set
up
the
sound
chart
accurately,
but
keep
in
mind
that
some
"tweaking"
(adjustment)
may
be
required
to
suit
your
taste.
3.
Change
the
CUTOFF
control
first
to
make
tone
color
modifications.
ATTACK
and
RELEASE
set
tings
can
also
influence
the
sound
greatly.
4.
For
simulation
of
traditional
instruments,
place
the
synthesized
sound
in
context
by
playing
in
the
appropriate
pitch
range
and
select
typical
musical
lines
for
that
instrument.
Playing xylo
phone
music
using
a
horn
sound
chart
produces
interesting
results,
but
neither
instrument
will
be
represented
accurately.
5.
Adjust
the
VOLUME
control
to
the
general
loudness
level
of
any
instrument
simulated.
For
example,
the
trombone
is
played
at a higher
dynamic
level
than
the
recorder.
6.
Don't
forget
that
you
are
playing
a
soloistic
instrument;
solo
instruments
play
with
expression.
Use
the
PITCH
ribbon
and
MOD
AMOUNT
wheel
to
do
what
soloistic
instruments
do
best:
bend
pitch
and
vibrato
selectively.
The
following
sound
charts
represent
a
cross-section
of
the
sounds
the
Multimoog
can
make.
You
can
skip
around
since
they
don't
appear
in
any
particular
order. A thoughtful
reading
of
the
comments
along
with
some
experimentation
will
give
you a good
idea of
the
Multimoog's
sonic
vocabulary.
14
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SOUND
SOURCE:
OSCILLATOR
B
Advance
VOLUME
to
comfortable
listening
level.
Play
the
keyboard
and
bend
pitch
with
the
PITCH
ribbon.
Vary
CUTOFF
to
control
amount
of "highs".
Vary
CONTOUR
AMOUNT
to
control
amount
of
"punch",
or
contour.
Switch
RELEASE
to
left
for
different
key
release.
SINGLE
KBD
TRIGGERING
makes
keyboard
sense
legato/staccato.
DOUBLE
OCTAVES
.
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SOUND
SOURCE:
OSCILLATOR
B
with
DOUBLING
Advance
VOLUME
to
comfortable
listening
level.
Play
the
keyboard
and
bend
pitch
with
the
PITCH
ribbon.
,
Introduce
vibrato
by
moving
MOD
AMOUNT
wheel
away
from
you.
Vary
RATE
to
control
speed
of
vibrato.
Vary
WAVESHAPE
to
alter
basic
tone
color.
Vary
CUTOFF
to
control
amount
of
"highs."
THE
MOOC™
"FAT"
SOUND
row*
PRCH
SOUND
SOURCE:
OSCILLATORS
A
&
B
with
DOUBLING
Advance
VOLUME
to
comfortable
listening
level.
Play
the
keyboard
and
bend
pitch
with
the
PITCH
ribbon.
Switch
FILTER
MOD
BY
OSC B to
STRONG
for
complex
phasing
effect.
Switch
FILTER
SUSTAIN
to
left
to
sustain
filter
at
maximum.
Vary
EMPHASIS
to
control
"nasality."
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SOUND
SOURCE:
FILTER
in
TONE
mode
Advance
VOLUME
to
comfortable
listening
level.
Play
keyboard.
Introduce
vibrato
by
moving
MOD
AMOUNT
wheel
away
from
you.
Vary
RATE
to
control
speed
of
vibrato.
Vary
ATTACK
and
RELEASE
on
LOUDNESS
CON
TOUR
to
control
articulation
characteristics.
Vary
CUTOFF
to
tune
(when
FILTER
MODE
is
in
TONE
position).
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SOUND
SOURCE:
FILTER
in
TONE
mode
with
FILTER
MOD
BY
OSC
B
Advance
VOLUME
to
comfortable
listening
level.
Depress
and
hold a key.
Switch
LOUDNESS
SUSTAIN
to
left
to
sustain
sound
indefinitely.
Vary
CUTOFF
to
produce
a
variety
of
sounds.
Switch
FILTER
MOD
BY
OSC B to
OFF
position.
JET
BU
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SOUND
SOURCE:
NOISE
Advance
VOLUME
to
comfortable
listening
level.
Depress
and
hold a key.
Vary
ATTACK
and
RELEASE
on
the
FILTER
CONTOUR
to
alter
the
speed
of
contoured
sound.
Move
CONTOUR
AMOUNT
to
-5
to
reverse
direction
of
contoured
sound.
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SOUND
SOURCE:
OSCILLATOR
B
Advance
VOLUME
to
comfortable
listening
level.
Switch
SOURCE
to
S&H
AUTO
to
initiate
reiteration.
Move
MOD
AMOUNT
wheel
fully
forward
(away
from
you)
to
control
depth
of
pattern.
Switch
ROUTING
from
FILTER
to
OSC
A&B
to
create
patterns
alternately
in
tone
color
or
pitch.
Vary
RATE
to
control
speed
of
reiteration.
Switch
LOUDNESS
SUSTAIN
to
right
for
short
articulations.
Try
STRONG
position
of
FILTER
MOD
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SOUND
SOURCE:
OSCILLATOR
A
SYNCHED
to
B
Force
exerted
on
keyboard
changes
sound.
Switch
DESTINATION
to
FILTER
and
play.
Switch
DESTINATION
to
OSC
A&B.
Adjust
AMOUNT
to
your
taste.
Switch
EFFECT
to
MOD.
Force
controls
AMOUNT
of
MODULATION.
Switch
FILTER
MOD
BY
OSC B to
STRONG.
(Watch
your
ears!)
18
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SOUND
SOURCE:Any
external
instrument
through
AUDIO
INPUT
Insert
patchcord
from
output
of
external
instrument
into
Audio
Input
on
rear
of
Multimoog™.
Switch
BYPASS
to
ON
so
external
instrument
can
be
heard.
Play
external
instrument;
move
MOD
AMOUNT
wheel
forward.
Vary
CUTOFF
and
EMPHASIS
to
influence
tone
color.
Switch
SOURCE
to
S&H
AUTO
for
random
filtering
of
external
instrument.
Vary
RATE
to
control
speed
of
effects.
Refer
to
OPEN
SYSTEM
section
of
this
manual
for
further
possibilities.
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do-it-yourself
demo
This
section
shows
you
a
way
to
explore
the
Multimoog
intelligently
and
learn
by
doing.
You
can
learn
a
lot
about
the
Multimoog
by
teaching
method
in
music!
The
sound
chart
below
playing
around
with
each
front
panel
control
while
helps
save
time
and
energy
in
learning
by
exploration-
listening
to
its
effect
on
sound.
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is a time-honored
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EXPLORER'S
SOUND
CHART
SOME
HINTS
FOR
EXPLORING
.
. .
UPPER
ROW:
1.
Start
with
the
INTERVAL
control
first
and
move
from
left
to
right.
2.
Play
with
one
control
at a time
to
learn
its
unique
contribution;
then
return
that
control
to
its
original
position
shown
above.
3.
Move
the
control
a
small
amount
at
first.
Read
the
front
panel
and
look
at
the
graphics;
relate
these
to
what
you
hear.
4.
Hold
one
note
as
you
vary a control.
Then
play
the
keyboard
using
different
settings;
use
both
legato
and
staccato
fingering
technique.
Play
both
slow
and
rapid
passages.
5.
If a control
seems
to
be
inoperative,
explore
its
relationship
to
controls
next
to
it.
For
example,
the
WIDE
FREQ
control
works
only
when
the
OCTAVE
selector
is
in
the
rightmost
setting.
LOWER
ROW:
6. A "modulation"
(usually
a
repeating
pattern)
is
controlled
in
amount
by
the
MOD
AMOUNT
wheel.
Use
of
the
MODULATION
section
depends
largely
on
the
setting
of
the
MOD
AMOUNT
wheel.
Start
exploration
of
the
bottom
row
of
controls
by
moving
this
wheel
forward
(away
from
you).
7.
Experiment
with
the
SOURCE
and
ROUTING
Selectors.
8.
Return
the
MOD
AMOUNT
to
its
orginal
position.
Then
explore
the
KEYBOARD
TOUCH
section;
start
by
switching the
EFFECT
switch
to
the
MOD
position.
Look
at
the
panel
graphics.
9.
Amount
of
force
exerted
on
keyboard
will
determine
amount
of
modulation
when
EFFECT
is
in
the
MOD
postion.
10.
Try
the
BEND
position
of
the
EFFECT
switch;
experiment
with
the
DESTINATION
selector.
11.
Return
EFFECT
and
MOD
AMOUNT
wheel
to
original
positions,
and
explore
rest
of
lower
row
of
controls
and
switches.
12.
You
can't
learn
everything
immediately
by
ex
ploration!
Read
the
rest
of
this
manual
for
a
better
understanding
of
the
Multimoog.
guided
synthesizer
tour
This
section
has
two
parts.
SOUND
AND
SYNTHESIS
deals
with
general
features
of
the
synthesizer
and
discusses
how
it
creates
and
controls
sound.
GUIDED
TOUR
presents
specific
features
of
the
Multimoog
and
presents
exercises
that
illustrate
those
features.
SOUND
AND
SYNTHESIS
Before
we
look
at
specific
features
of
the
Multimoog,
let's
talk
about
sound
and
how
synthe
sizers
make
it.
The
dictionary
says
that
sound
is
"mechanical
radiant
energy
that
is
transmitted
by
longitudinal
pressure
waves
in a material
medium
(as
air)
and
is
the
objective
cause
of
hearing."
The
key
word
is
mechanical.
The
body
of a violin,
the
bell
of
a
trumpet,
or a loudspeaker
all
serve
the
same
function:
they
are
mechanical
devices
used
to
disturb
air
molecules
(radiate
energy).
Air
molecules
that
disturb
the
mechanism
of
your
ear
affect
your
brain
and
cause
you
to
perceive
sound.
Sound
is
sound
There
is
no
such
thing
as
an
"artificial"
sound—only
sound
or
silence.
A
synthe
sized
sound
is
not a replacement
for a "real"
sound;
all
sounds
are
real.
Although
both
acoustic
and
electronic
musical
instruments
ultimately
make
sound
mechanically,
in
one
sense
the
synthesizer
is
very
different
from
acoustic
instruments.
This
difference
lies
in
the
way
the
performer
can
deal
with
the
properties
of
sound.
A
musical
sound
is
traditionally
defined
as
having
the
properties
of
pitch,
timbre
(tone
color),
loudness,
and
duration.
If
we
think
of
duration
as
simply
the
timing
of
loudness,
it
is
simpler
to say
that
musical
sound
has
pitch,
timbre,
and
loudness.
Performers
have
traditionally
given
little
thought
to
the
individual
properties
of
sound,
because
acoustic
instruments
generally
don't
allow
control
of
sound
properties
independent
of
each
other.
The
physical
construction
of
acoustic
instruments
dictates
that
control
of
sound
properties
is
somewhat
integrated.
For
example,
because
of
its
construction,
the
clarinet
has a characteristip
timbre
for
each
pitch
register.
It
would
be
difficult
to
play
high
notes
with
the
timbre
normally
associated
with
the
low
register.
The
trumpet
has
a
built-in
relationship
between
timbre
and
loudness:
soft
sounds
tend
to
be
mellow
and
loud
sounds
are
brilliant.
For
thousands
of
years
musical
instruments
have
had
this
characteristic
integration
of
control
of
the
properties
of
sound.
You
just
can't
tear
instruments
made
of
metal
and
wood
apart
easily
to
allow
independent
control
over
sound
properties.
Maybe
that's
why
most
musicians
have
had
little
interest
in
the
science
of
sound—so
little
could
be
done
about
it.
Electronics
is
changing
that.
The
rise
of
electronic
technology
has
revolu
tionized
our
concepts
about
sound.
Now,
with
electronic
means
we
can
override
some
of
the
physi
cal
tendencies
of acoustic
instruments—hopefully,
for
artistic
purpose.
For
instance,
screaming-loud
trumpets
can
be
recorded
and
reduced
to a low
level
in
the
final
mix.
In
this
case,
we
have
achieved
independent
control
of
loudness
and
timbre
to
create
a
brilliant,
but
quiet
trumpet
sound.
Maybe
this
is
what
early
composers
tried
to
achieve
when
they
wrote
"off
stage"
trumpet
parts?"
The
synthesizer
uses
electronics
to
maximize
segregation
of
the
properties
of
sound.
The
whole
idea
is
that
you
can
tear
the
synthesizer
apart
elec
tronically,
reconfigure
its
functions,
and
create
many
sounds
through
the
independent
control
of
sound
properties.
The
very
word
"synthesize"
means
to
create a whole
through
the
combination
or
composition
of
individual
elements.
The
modern
synthesizer
was
developed
in
the
early
1960's;
the
acknowledged
pioneers
are
Donald
Buchla
and
Robert
A.
Moog.
In
particular,
Moog's
designs
and
basic
ideas
have
become
archetypal
for
the
synthesizer
industry.
Early
versions
weremodu/ar
a
modular
synthesizer
has
separate
modules,
like
components
of a stereo
system,
that
offer
indepen
dent
and
variable
control
over
sound
properties.
These
modules
handle
electrical
signals;
modules
may
be
interconnected
in
different
ways
to
create
a
variety
of
sounds.
An
inexpensive
and
reliable
way
to
connect
modules
is
with
cables
called
"patchcords."
(Even
though
you
don't
use
patchcords
with
the
Multimoog
to
connect
its
sections,
a
given
control
panel
setting
is
still
often
referred
to
as a "patch.")
Synthesizers
designed
specifically
for
stage
use
—like
the
Multimoog—let
you
"patch"
together
sec
tions
(modules)
of
the
instrument
using
switches
and
pots
(potentiometers)
instead
of
patchcords.
But
for
purposes
of
learning
basic
principles
let's
continue
to
think
of
all
synthesizers
as
having
physically
separate
modules
requiring
patchcord
connection.
(The
modular
patchcord
synthesizer
still
offers
maximum
flexibility
in
connection
choice.)
Since
sound
has
the
properties of
pitch,
timbre,
and
loudness,
it
follows
that
the
synthesizer
would
have
rrfodules
dealing
with
each
property.
SYNTHESIZER
SOUND
MODULES
TIMBRE
LOUDNESS
The
synthesizer
is
electric;
it
deals
with
elec
trical
signals—sound
is
generated
by
the
speaker.
To
make
sound,
at
least
one
of
the
modules
must
generate
an
electrical
signal
that
can
drive
the
speak
er
to
make
sound—an
audio
signal.
Not
surprisingly,
we
call
this
module
an
audio
signal
generator.
Since
this
audio
signal
eventually
becomes a sound,
an
audio
signal
generator
is
sometimes
called a "sound
source."
A
sound
source
generates
the
"raw"
tone
or
noise
that
can
be
shaped
into
musical
sound.
You
can
take
the
mouthpiece
off a trumpet
and
"buzz"
tunes
with
it.
That
would
be a very
"raw"
sound
source!
Further
parallels
between
synthesizer
modules
and
acoustic
instruments
can
be
made.
The
timbre
module
acts
somewhat
like a mute
on a trumpet;
neither
acts
(normally)
as a sound
source,
but
each
is
a
sound
modifier.
The
loudness
module
is
another
modifier,
like
the
bell
of
the
trumpet.
Neither
acts
as
the
sound
source;
each
modifies
by
amplifying
sound.
The
pitch
module
of
the
synthesizer
is a sound
source,
analogous
to
the
lips,
mouthpiece
and
air
column
that
make
the
trumpet
sound.
If
we
connect a sound
source
on
the
synthesizer
to a monitor
system
(amp
and
speaker),
we
have
the
medical
minimum
for
producing
sound
with
the
synthesizer:
a
sound
whose
audio
signal
is
translated
by a speaker.
MINIMUM
AUDIO
"PATCH"
SOUND
SOURCE
MONITOR
AMP
&
SPEAKER
The
sound
produced
by
this
minimal
"patch"
the
timbre
and
loudness
modifiers
between
the
sound
won't
be
very
interesting,
since
the
properties
of
source
and
the
monitor,
sound
will
be
static,
or
remain
the
same.
Let's insert
SOUND
SOURCE
SOUND
MODIFIER
MONITOR
SOUND
MODIFIER
AMP
SPEAKER
24
The
path
from
the
audio
output
of
the
sound
source
through
the
modifiers
to
the
speaker
is
called
the
"audio
signal
path."
The
audio
signal
path
carries
electrical
signals
that
are
to
be
made
audible
by
the
speaker.
Notice
that
the
sound
source
has
only
an
audio
output
since
it
actually
generates the
audio
signal.
The
modifiers
must
have
both
an
audio
input
as
well
as
an
audio
output
since
the
audio
signal
to
be
modified
flows
through
them.
At
this
point,
let's
use
appropriate
synthesizer
terminology.
The
pitch-generating
module
is
called
an
"oscillator;"
the
timbre
modifying
module
is
called
a
"filter;"
and
the
loudness
modifier
is
called
an
"amplifier."
The
diagram
below
shows
the
typical
synthesizer
modules
used
in
the
audio
signal
path
to
establish
a
pitched
musical
voice:
TYPICAL
AUDIO
SIGNAL
PATH
MODULES
Once
this
typical
setup
is
established
we
have
a
musical
voice.
But
how
can
we
control
this
voice-
sound
source
and
modifiers—to
make
music?
The
synthesizer
is
an
electrical
instrument;
it
responds
to
electrical
signals.
But
humans
can't
handle
and
manipulate
electricity
directly.
So
we
use
a
mechanical/
electrical
device,
like a potentiometer
(pot)
that
will
let
the
two
machines
(human
and
Multimoog)
communicate.
For
the
human,
the
pot
has a knob
that
can
be
turned
by
hand;
for
the
Multimoog,
a
change
in
the pot
setting
changes
an
electrical
value
that
the
Multimoog
understands.
In
fact,
important
elements
of
sound
on
the
modern
synthesizer
are
controlled
by
voltage
levels.
The
modern
synthesizer
is
"voltage
controlled."
If
we
put a pot
on
each
module
above
we
could
control
its
particular
function—pitch
generation,
timbre
or
loudness
modification—with
a
change
of
voltage
by
turning
the
pot.
With
the
Multimoog,
an
increase
in
voltage
that
is
controlling
an
oscillator
makes
the
pitch
rise;
an
increase
in a voltage
that
is
controlling
the
filter
causes
the
timbre
to
brighten;
and
an
increase
in
voltage
that
is
controlling
the
amplifier
makes
the
sound
louder.
So
far,
we
have
a
voltage
controlled
instrument
that
can
be
played
by
turning
knobs.
If
you
had
three
hands,
you
could
make
some,
pretty
good
music!
Making
music
by
playing
knobs
would
be
very
restrictive.
Fortunately,
with
the
synthesizer
we
are
not
restricted
to
this
sort
of
manual
control.
The
synthesizer's
important
modules
can
be
controlled
with
voltage
from
any
source.
So
we
create
a
control
input
on
appropriate
modules
to
accept
control
voltages
from
any
source.
To
avoid
confusion with
the
audio
(sound)
signals
flowing
from
left
to
right,
let's
think
of
these
control
inputs
as
appearing
on
the
bottom
of
each
module,
as
shown:
CONTROL
INPUTS
OSCILLATOR
FILTER
■
•»
AMPLIFIER
Xj^/
TO
MONITOR
5
a.
Z
o
cc
z
o
o
25
Now
we
can route
control
signals
into
the
con
trol
input
of
each
module
shown
above
to
dynami
cally
control
its
function.
Think
of a control
signal
fed
into
the
control
input
as
acting
like
an
invisible
hand
that
turns
the
knob
for
you.
Voltage
controlled
modules
are
sometimes
referred to
with
letters,
such
as
VCO
(voltage
controlled
oscillator),
VCF
(voltage
controlled
filter),
and
VCA
(voltage
controlled
amplifier).
Although
any
number
of
modules
may
be
voltage
controlled,
these
are
the
most
common—
VCO,
VCF,
VCA.
Anything
that
makes a proper
signal
that
is
connected
to a control
input
is
defined
as a controller.
On a modular
synthesizer,
the
output
of a controller
would be
connected
to
the
control
input
of a module
with a patchcord
as
shown:
CONTROLLER—CONTROL
INPUT
CONNECTION
VCO
CONTROLLER
CONTROLLER
VCF
VCA
CONTROLLER
J
TO
MONITOR
On
the
Multimoog,
control
signals
may
be
connected
to
control
inputs
using a variety
of
switches
and
selectors.
Or a control
signal
from
the
outside
world might
be
routed
through
the
FILTER
or
OSC
A&B
INPUT
on
the
rear
panel.
Each
control
input
on
the
Multimoog
is
capable
of
adding
all
of
the
voltages
that
are
applied
from
several
controllers;
that
is,
control
voltages
are
additive.
A
keyboard
is a controller
that
makes
discrete
voltage
steps
which
increase
as
you
play
up
the
key
board.
If
this
controller
is
connected
to
the
control
input
of
the
VCO,
the
keyboard
can
be
used
to
control
the
pitch
of
the
VCO
and
tunes can
be
played.
A
contour
generator
is a controller
that
creates
a
rising
and
falling
voltage
pattern,
a
contour.
If
we
connect
this
controller
to
the
control
input
of
the
VCA,
the
amount
of
amplification
(silence
to
maximum)
will
be
controlled.
This
lets
us
articulate
the
sound.
The
VCF
can
also
be
controlled
by a contour
generator.
When
this
occurs,
the
tone
color
will
typi
cally
become
brighter
as
the
contour
voltage
rises,
and
duller
as
it
falls.
To
get
back
to
our
comparison
with
the
trumpet,
suppose
that
you
were
using
a
Harmon
mute.
As
you
move
your
hand
away
from
the
plunger
in
the center
of
the
mute,
you
create
the
familiar
"wow"
or
"wah-wah"
effect.
Your hand
is
acting
as a contour
generator,
controlling
the
filter
(mute).
Of
course,
we
have
to
tell
a
contour
generator
when
to
start
and
stop
creating
contours.
For
this
purpose,
the
synthesizer
produces
another
type
of
signal
called
a
"trigger."
The
keyboard
generates
a
trigger
signal
that
tells
when a key
is
depressed
and
released—useful
information.
A
trigger
is a timing
signal
that
"triggers"
the
contour
generator(s).
(On
some
modular
equipment,
other
functions
can
be
"triggered.")
I n summary,
the
modern
synthesizer
consists
of
several
elements:
sound
sources,
modifiers,
control
lers,
and
trigger
sources.
Sound
sources
make
audio
signals
that
can
be
heard.
Modifiers
alter
signals.
Con
trollers
make
signals
used
to
control
sound
sources
and/or
modifiers.
Triggers
are
timing
signals
that
usually
initiate
the
action
of a controller
such
as
a
contour
generator.
See
below
for a
block
diagram
of
the
basic
voltage
controlled
synthesizer.
26
SYNTHESIZER
BLOCK
DIAGRAM
(BASIC)
SOUND
SOURCE
vco
KEYBOARD
CONTROLLER
SOUND
MODIFIER
VCF
FILTER
CONTOUR
CONTROLLER
SOUND
MODIFIER
VCA
AUDIO
LOUDNESS
CONTOUR
CONTROLLER
KEYBOARD
TRIGGER
SOURCE
GUIDED
TOUR
In
this
sub-section
we
will
look
at
the
sound
sources,
modifiers,
controllers,
and
triggering
devices
found
on
the
Multimoog.
Exercises
are
presented
"by
the
numbers"
to
help
explain
specific
features.
You
might
skim
through
the
first
time
by
doing
just
the
exercises
before
reading
the
GUIDED
TOUR
thoroughly.
(Set
up
the
Sound
Chart
that
precedes
each
exercise;
follow
numbered
instructions
precisely
for
best
results.)
SOUND
SOURCES
The
OSCILLATOR
A
and
B,
FILTER,
and
NOISE
sections of
the
Multimoog
generate
different
audio
signals
in
order
to
create
three
classes
of
sound:
pitched,
clangorous
(bell-like),
and
non-pitched.
PITCHED
SOUNDS
We
hear
pitch
as
the
highness
or
lowness
of
a
sound.
The
piccolo
plays
high
pitches;
the
tuba
plays
low
pitches.
Our
perception
of
pitch
is
complex,
but
depends
mostly
on
how
frequently
and
regularly
pressure
waves
strike
our
ears.
When
you
were a kid,
you
probably
made a fake
"motor"
for
your
bicycle
by
attaching
a
piece
of
cardboard
so
the
spokes
struck
it
regularly.
You
probably
weren't
aware
that
you
were
illustrating
an
interesting
law
of
physics!
The
faster
you
pedal,
the
higher
the
pitch
of
the
sound
caused
by
the
spokes
striking
the
cardboard.
That's
because
the
individual
strokes
are
heard
more
frequently—
literally,
their
frequency
becomes
greater.
Frequency
is
expressed
in
"Hertz"
(abbreviated
Hz),
or
cycles
per
second.
The
symphony
orchestra
tunes
to
an
"A"
that
has a frequency
of
440
Hz;
standard
tuning
is
therefore
A=440
Hz.
Although
the
correspondence
between
frequency
and
what
we
perceive
as
"pitch"
is
not
perfect,
a
higher
frequency
is
generally
heard
as
a
higher
pitch.
OSCILLATOR
SECTION
The
primary
sources
of
pitched
sound
on
the
Multimoog
are
two
voltage
controlled
oscillators,
A
and
B,
with
associated
MASTER
A&B
controls.
Each
oscillator
generates
periodic—regularly
repeating—
electrical
patterns
that
the
speaker
can
translate
into
pitched
sounds.
The
following
exercise
illustrates
the
relationship
between
the
frequency
of
an
oscillator
(OSCILLATOR
B
in
this
case),
and
the
pitch
of
the
sound
it
creates:
EXERCISE
1:
OSCILLATOR
FREQUENCY/PITCH
RELATIONSHIP
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1.
Hold
the
lowest
key
on
the
keyboard
down.
The
frequency
of
the
oscillator
is
so
low
the
sound
is
heard
not
as a pitch,
but a series
of
clicks.
2.
Slowly
rotate
the
WIDE
FREQ
control
of
the
MASTER
A&B
section
clockwise
toward
"O."
As
you
increase
the
frequency
of
the
oscillator,
the
pitch
of
the
sound
becomes
higher.
3.
Return
the
WIDE
FREQ
control
to
"-5."
Slowly
play
up
the
keyboard.
Where
do
you
first
start
hearing
the
sound
as
a
note
with
definite
pitch?
4.
Select
the
8'OCTAVE
position.
5.
Tune
the
Multimoog
using
the
FINE
TUNE
control
on
the
rear
panel
to
match
thepitch
level
of a piano
or
organ
(or
another
tuning
source).
28
6.
Hold
the
lowest
key
on
the
keyboard.
7.
Step
the
OCTAVE
selector
through
all
of
its
positions
and
rotate
the
WIDE
FREQ
control
for
each
position.
Notice
that
the
WIDE FREQ
control
is
operable
only
when
the
OCTAVE
selector
is
in
the
rightmost
position.
8.
Return
the
OCTAVE
selector
to
the
8'
position.
Notice
that
the
intervening
movements
of
the
WIDE
FREQ
control
did
not
interfere
with
the
original
tuning.
9.
Hold
down a key
in
the
middle
of
the
keyboard.
10.
Move
the
DOUBLING
control
slowly
clockwise
toward
the
"+5"
position;
then
counterclock
wise
toward
"-5."
Note
that
the
pitch
sounded
by
OSCILLATOR B may
be
doubled
either
one
or
two
octaves
lower
than
the
primary
pitch,
as
indicated
by
panel
graphics.
11.
Return
the
DOUBLING
control
to
original
"0"
position.
12.
Rotate
the
MIX
control
to
the
A=B
position
to
hear
both
oscillators.
13.
Rotate
the
INTERVAL
control
of
OSCILLATOR
A
to
UNISON.
The
INTERVAL
control
tunes
OSCILLATOR A relative
to
OSCILLATOR
B.
Try
different
intervallic
tunings.
14.
Play
with
the
MASTER
A&B OCTAVE
and
WIDE
FREQ
controls
to
confirm
that
they
control
both
oscillators.
Return
OCTAVE
to
8'.
15.
Rotate
the
MIX
control
fully
clockwise
to
hear
OSCILLATOR B only.
Introduce
doubling
using
the
DOUBLING
control.
16.
Rotate
the
INTERVAL
control
on
OSC!
LLATOR
A
widely.
(Has
no
effect
on
the
tuning
of
OSCILLATOR B or
its
doubling.)
17.
Move
the
FINE
TUNE
control
on
the
rear
panel.
(Tunes
OSCILLATOR
B.)
18.
Turn
MIX
fully
counterclockwise
to
listen
to
OSCILLATOR
A.
Move
FINE
TUNE
control.
(Tunes
OSCILLATOR A also.)
(END
EXERCISE)
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The
controls
that
affect
the
pitch
of
both
oscillators
are
OCTAVE,
WIDE
FREQ,
and
FINE
TUNE
on
the
rear
panel.
INTERVAL
controls
the
pitch
of
OSCILLATOR
A
independently.
DOUBLING
relates
only
to
OSCILLATOR
B.
The
OCTAVE
selector
moves
both
oscillators
in
octave
increments
from
32
to
2/
(the
sign
(')
is
borrowed
pipe
organ
terminology
indicating
pipe
lengths,
hence
"foot.")
The
"C"
in
the
midctle
of
the
keyboard
is
footage reference.
The
rightmost
position
of
OCTAVE
activates
the
WIDE
FREQ
control.
The
WIDE
FREQ
controls
provides
a
means
of
tuning
continuously
over
approximately
eight
octaves.
When
activated,
the
WIDE
FREQ
control
may
be
used
to
transpose,
or
make
the
oscillators
sound
in
one
key
while
you
play
in
another
key
on
the
keyboard.
The
use
of a capo
with
an
acoustic
guitar
is
a
good
analogy.
(CAPO: A movable
bar
attached
to
the
fingerboard,
especially
of a guitar
to
uniformly
raise
the
pitch
of
all
the
strings.)
Generally,
it's
good
practice
to
avoid
using
the
FINE
TUNE
control
to
help
tune
WIDE
FREQ
transpositions,
because
the
other
OCTAVE
settings
will
be
affected,
and
hence
the
overall
tuning
of
the
instrument.
The
FINE
TUNE
control
on
the
rear
panel
is
the
overall
fine
tuning
control.
That
is,
it
tunes
both
oscillators,
regardless
of
their
intervallic
relationship.
For
instance,
if
the
oscillators
are
tuned
to a Perfect
Fifth,
they
willstay
in
that
interval,
but
will
be
tuned
up
or
down
by
the
FINE
TUNE
control.
29
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