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

•i

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index

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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FWE

TWEE

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

□

ON

POWER

•"8s

OCTAVE ^ Wll

MASTER

ASB

3.

Tune

Oscillator

A

to

match

Oscil

lator

B

using

INTERVAL

control.

FINE

TUNE

FINE

TUNE

ON

ULT

H

BBON

INTERVAL . WAVESHAPE

OSCILLATOR

A

MIX

OCTAVE ^ WIDE

FR

MASTER A&B

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I I

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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on

a,

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.

See

below:

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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."

MOOG™

WHISTLE

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mum

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moan

mat

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).

16

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MOD

EFFECTS

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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.

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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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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

BY

OSC

B.

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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

EXTERNAL

AUDIO

INPUT

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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.

This

is a time-honored

ttuut

ascutma

run

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nun

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tnos

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m

rani

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

The

INTERVAL

control

tunes

OSCILLATOR

A

relative

to

OSCILLATOR

B,

over a span

of

±P5

(like

violin

strings).

For

proper

tuning

of

the

instrument,

tune

OSCILLATOR B using

the

FINE

TUNE

control;

then

tune

OSCILLATOR

A

to

match

OSCILLATOR

B.

The

DOUBLING

control

isn't

really

a

tuning

GIVEN

THIS

TUNING:

control.

It is

a

panpot

that

mixes

in

a

tonethat

is

either

one

or

two

octaves

lower

than

OSCILLATOR

B

DOUBLING

can't

get

"out

of

tune"

with

OSCILLATOR

B.

You

can

use

the

INTERVAL

and

DOUBLING

controls

to

produce

"parallel

chords,"

for

example:

.UNISON

INTERVAL

WAVESHAPE

OSCILLATOR

A

MIX

OCTAVE ^ WIDEFREQ

MASTER

ASB

V

WAVESHAPE

DOUBLING

OSCILLATOR

B

WHEN

YOU

PLAY:

YOU

HEAR:

ts:

So

far,

we've

referred

to

the

audio

signal

generated

by an

oscillator

only

as

an

"electrical

pattern."

This

pattern

is

called

a

"waveshape."

A

waveshape

is

simply

a

way

of

piauring

a

sound;

the

waveshape

of

acoustic

instruments

or

the

oscillator

of

a

synthesizer

may

be

observed

on

an

oscilloscope.

Most

traditional

instruments

have

a distinctive

waveshape

that

helps

us

identify

that

instrument's

timbre,

or

tone

color.

The

Multimoog

has

oscillators

that

produce

electrical

waveshapes

which

are

translated

by

the

speaker

into a wide

variety

of

timbres.

If

a

signal

generated

by an

oscillator

has

the

same

waveshape

as a sound

created

by a traditional

instrument

(other

factors

such

as

attack

and

release

considered),

their

sounds

will

be

similar.

Different

waveshapes

can

have

different

timbres;

set

up

the

sound

chart

and

let's

listen:

EXERCISE

2:

OSCILLATOR

WAVESHAPE/TIMBRE

RELATIONSHIP

1.

Hold

any

key

on

the

keyboard

down.

You

are

listening

to

the

sound

of a "sawtooth"

waveshape.

3.

Look

at

the

panel

graphics

for

the

WAVESHAPE

control.

The

waveshapes

are

named

after

their

shapes.

2.

Slowly

rotate

the

OSCILLATOR

B

WAVESHAPE

control

through

its

positions.

Between

positions

"5-6"

you

will

hear

the

sound

of

the

"square"

waveshape.

As

you

move

toward

"10,"

you

hear

various

"rectangular"

waveshapes.

30

4.

Move

the

WAVESHAPE

control

smoothly

and

regularly

above

and

below,

say,

position

"5."

When

the

waveshape

changes

like

this

it

is

said

to

be

"dynamic."

Later

you'll

learn

how

to

control

oscillator

waveshape

with a voltage

to

create

dynamic

waveshapes

automatically.

(END

EXERCISE)

r

The

differences

that

you

hear

among

the

various

waveshapes

are

due

to

their

different

harmonic

structures.

A

waveshape

may

bethought

of

as a

collection

of

simple

components

called

"partials."

Most

pitched

sounds

consist

of a first

partial

called

the

"fundamental/'

and

other

partials

that

are

higher

and

often

not

as

loud.

When

the

frequencies

(pitches)

of

the

upper

partials

are

whole

number

multiples

of

the

frequency

of

the

fundamental,

all

the

partials

are

called

"harmonics."

(They

are

in a harmonic

relationship

to

each

other.)

That

is, a tone

with

a

fundamental

frequency

of

100

Hz

may

be

composed

of

simple

sounds

(sine

waves)

having

the

frequencies

100

Hz, 200

Hz,

300

Hz,

400 Hz,

and

so

forth.

(Whole

number

multiples

of

the

fundamental

frequency

100

Hz.)

Upper

partials

that

are

harmonic

tend

to

reinforce

our

perception

of

the

fundamental

frequency

as

the

"pitch"

we

hear.

The

presence

and

relative

strengths

of

harmonics—the

harmonic

spectrum—accounts

in

part

for

our

perception

of

the

timbre,

or

distinctive

tone

color

of

instruments.

Each

WAVESHAPE

control

provides

a

con

tinuous

selection

of

waveshapes

with a variety

of

harmonic

spectra,

or

arrangements

of

partials.

These

waveshapes

are

the

basic

timbral

building

blocks.

The

harmonic

spectrum

of a waveshape

is

often

depicted

in

bar

graph

form

as

shown

below.

The

position

of

a

bar

along

the

horizontal

indicates

the

presence

of

a

harmonic;

the

height

of

that

bar

represents

the

relative

strength of

that

harmonic.

(Relative

strengths

are

also

indicated

with

fractions

or

decimals).

The

following

graphs

depict

the

harmonic

spectra

for

some

of

the

waveshapes

available

on

the

Multimoog;

the

first

ten

partials

of a tone

of

100

Hz

are

depicted:

WAVESHAPE

RELATIVE

HARMONIC

CONTENT

16

"7

i/e

1.-9

,,,c

H: 0 100

200

3OC

400

SOO

600

700

BOO 900

1000

■5

J

I

0

!0O

200 300

400

^30

600

700

800

900

1000

WOE

RECTANGULAR

J_

.* I I

•«»

I

I •

I

i

I

Hj 0 100

200 300

400

500 600 700

800

900

1000

MARROW

RECTANGULAR

0

100

200

300

400

500

600

700

800

900

1000

Each

oscillator

on

the

Multimoog

generates

sawtooth

and

rectangular

waveshapes. A square

waveshape

is a rectangular

waveshape

whose

top

and

bottom

are

of

equal

width.

As

the

graphs

show,

the

sawtooth

/I

waveshape

has

all

harmonics;

it

is

useful

in

producing

string

and

brass-like

sounds.

The

square

waveshape

iTl

has

only

odd-numbered

(1,3,5,7,

etc.)

harmonics;

it

is

used

to

simulate

"hollow"

sounding

instruments

such

as

the

clarinet.

As

the

rectangular

wave

becomes

asymmetrical

(lop-

sided)—

|~~1_

,

f]

,

|[_

,

—

its

harmonic

spectrum

changes

in a complex

manner,

producing

"nasal"

sounds

useful

for

simulating

single

and

double-reed

instruments.

31

.UNISON,

INTERVAL

W/WESHAPE

OSCILLATOR

A

MIX

WAVESHAPE

DOUBLING

OSCILLATOR

B

Each

WAVESHAPE

control

allows

continuous

selection

and

mixture

of

the

waveshapes

produced

by

that

OSCILLATOR

section.

The

position

marked

"O"

provides

the

sawtooth

waveshape;

as

the

control

is

moved

clockwise

this

sawtooth

waveshape

is

mixed

with a narrow

rectangular

waveshape

(about

"2").

As

the

WAVESHAPE

control

is

moved

toward

"5,"

the

rectangular

wave

widens,

becomes a square

waveshape,

and

the

sawtooth

disappears

from

the

top.

Between

positions

"5-6" a square

waveshape

is

produced,

and

as

the

control

is

moved

on

toward

"10/'

the

square

waveshape

narrows

to a very

narrow

rectangular

waveshape.

The

narrowness

of

this

rectangular

waveshape

is

limited

so

the

sound

will

never

"disappear"

at

any

WAVESHAPE

position.

The

Multimoog

provides a variety

of

waveshapes:

sawtooth,

square,

variable

rectangular,

and a mixture

of

sawtooth

and

variable

rectangular

waveshapes.

An

understanding

of

the

harmonicspectra

of

waveshapes

is

very

useful

in

sound

synthesis.

Also,

experience

eventually

teaches

you a lot

about

which

waveshape

is

best

for

an

intended

sound.

FILTER

SECTION

AS

SOUND

SOURCE

Although

the

primary

function

of

the

FILTER

section

is

tone

modification,

the

FILTER

will

also

act

as

a

sound

source.

When

the

FILTER

MODE

switch

is

placed

in

the

TONE

position,

the

FILTER

section

generates

a

sine

waveshape

(a

whistle-like

sound)

that

has

no

harmonics.

Set

up

the

sound

chart

and

proceed:

EXERCISE

3:

FILTER

AS

SINE

WAVESHAPE

OSCILLATOR

1.

Play

the

keyboard.

You

are

listening

to

the

sound

of a sine

waveshape

that

is

produced

by

the

FILTER

section.

2.

Place

the

FILTER

MODE

switch

to

the

NORM

position.

Play

the

keyboard

(no

sound).

Return

the

FILTER

MODE

switch

to

the

TONE

position.

The

FILTER

section

becomes

a

sound

source

only

when

this

switch

is

in

the

TONE

position;

this

prevents

filter

"howl"

accidents

in

performance!

3.

Try

different

settings

of

the

OCTAVE

selector

in

the

MASTER

A&B

section.

(OCTAVE

tunes

the

FILTER

as

well

as

the

oscillators.)

4.

Return

OCTAVE

to

32'

position.

5.

Hold

any

key

on

the

keyboard

down.

Rotate

the

CUTOFF

control

over a wide

span.

When

the

FILTER

section

is

in

the

TONE

mode,

the

CUTOFF

control

acts

as a wide

span

tuning

control.

Play

with

the

OCTAVE

control

again.

6.

Play a short

melodic

fragment

repeatedly.

Try

different

settings

of

the

CUTOFF

control.

Note

that

the

same

melody

is

produced

at

different

pitch

levels.

The

position

of

the

CUTOFF

control

adds

to

the

keyboard

to

establish

the

pitch

produced.

7.

Notice

that

the

OSCILLATORS

are

not

being

used

as a sound

source

since

the

OSCILLATORS

switch

is

in

the

OFF

position.

You

have

heard

only

the

FILTER

section

in

TONE

mode.

(END

OF

EXERCISE)

32

In

the

previous

exercise,

the

OSCILLATORS

are

actually

not

turned

"off,"

but

simply

removed

from

the

audio

signal

path

so

we

don't

hear

them.

The

OSCILLATORS

generate

audio

signals

continuously-

even

when

we

choose

not

to

listen

to

them.

The

OSCILLATORS

switch

is

placed

in

the

OFF

position

because

we

don't

want

to

hear the

oscillators,

but

wish

to

hear

the

sound

produced

by the FILTER

section

alone.

FILTER/OSCILLATOR

SYNCHRONIZATION

Some

unusual

sounds

can

be

made

if

either/both

oscillators

and

the

FILTER

section

are

used

as

sound

sources

simultaneously.

When

this

is

done,

the

filter

can

be

"synchronized,"

or

locked

together

at

harmonic

intervals

(whole

number

multiples)

to

the

oscillator.

If

you

use

the

CUTOFF

control

to

tune

the

FILTER

section

to

sound

the

same

pitch

as

the

oscillator,

they

will

be

"synched"

at

the

fundamental.

The

OCTAVE

selector

will

cause

the

FILTER

CUTOFF

to

move

in

octaves

as

well

as

the

pitch

of

the

oscillator(s).

The

following

exercise

illustrates

synchronization

of

an

oscillator

and

the

FILTER

section:

EXERCISE

4:

OSCILLATOR/FILTER

SYNCHRONIZATION

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1.

Note

that

both

OSCILLATOR

B

and

the

FILTER

sections

are

used

as

sound

sources:

the

OSCILLATORS

switch

is

set

to

NORM,

and

the

FILTER

MODE

switch

is

to

TONE.

2.

Hold

down a key

in

the

middle

of

the

keyboard.

3.

Adjust

the

CUTOFF

control

until

growling

and

beating

disappear

(should

be

around

"O.")

4.

Play

the

keyboard.

The

OSCILLATOR

and

FILTER

sections

are

"synched"

at

the

fundamental.

When

the

pitch

of

the

FILTER

section

matches

the

pitch

of

the

OSCILLATOR

B

section

(CUTOFF

to

about

"O"),

and

both

are

used

as

sound

sources

as

shown

above,

they

are

synchronized

at

the

fundamental

frequency

of

the

oscillator.

Continue

the

exercise:

5.

The

FILTER

section

may

be

synchronized

at

a

harmonic

of

the

oscillator

frequency.

Slowly

move

the

CUTOFF

control

clockwise,

controlling

the

frequency

of

the

FILTER

section.

When

the

beats

disappear,

the

FILTER

section

is

synchronized

to a harmonic

of

the

oscillator

frequency.

6.

Try

different

CUTOFF

settings

that

"synch"

with

the

oscillator.

Play

the

keyboard.

7.

Move

the

DOUBLING

control

clockwise

away

from

"O."

This

provides

a

tone

two

octaves

lower

than

the

pitch of

OSCILLATOR

B.

You

should

now

hear

three

tones:

two

from

OSCILLATOR B and

one

from

the

FILTER

section.

(END

EXERCISE)

When

the

FILTER

section

is

in

the

TONE

mode,

it

becomes

another

sound

source.

It

may

be

used

in

conjunrtion

with

the

oscillators.

When

DOUBLING

is

added,

and

both

oscillators

are

used,

it

is

possible

to

have

four

tones

which

will

follow

the

keyboard

in

parallel.

The

oscillators

produce

three

and

the

filter

produces

the

fourth.

(If

you

tune

the

oscillators

to

a

strange

interval,

the

filter

may

become

confused

as

to

which

to

synch

to;

experiment and

you'll

find

the

useful

settings.)

33

CLANGOROUS

SOUNDS

So-called

clangorous

sounds

are

often

characterized

as

being

metallic

or

"bell-like."

A

characteristic

feature

of a bell

sound

is

the

presence

of

partials

that

are

not

harmonic.

That

is,

partials

that

do

not

stand

in

whole

number

relationships

to

each

other.

On

the

Multimoog,

when

the

FILTER

section

is

in

the

TONE

mode

it

is

possible

to

use the

FILTER

MOD

BY

OSC B switch

to

create

non-harmonics

that

give

the

impression

of

metallic

or

bell-like

sounds.

The

following

exercise

shows

how

to

produce

clangorous

sounds:

EXERCISE

5:

FILTER

MODULATION

BY

OSCILLATOR

B

arrow

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1.

Hold

the

lowest

key

on

the

keyboard

down.

2.

Switch

FILTER

MOD

BY

OSC B to

the

WEAK

position.

You

should

hear a repeating

pattern.

OSCILLATOR B is

now

modulating

(changing)

the

cutoff

frequency

of

the

FILTER

section,

rapidly

changing

the

pitch

produced

by

the

FILTER.

3.

Slowly

rotate

the

WIDE

FREQ

control

in

the

OSCILLATOR

B

section

to

increase

thespeec/

of

the

modulation.

At

some

point

your

ear

no

longer

hears

the

individual

repetitions,

but

perceives

the

rapid

modulation

as a

new

timbre.

4.

Play

the

keyboard.

Try

different

WIDE

FREQ

settings.

5.

The

sound

produced

depends

on

the

frequency

and

waveshape

produced

by

the

OSCILLATOR

B

section,

and

the

frequency

that

the

FILTER

section

is

producing.

Explore

these

clangorous

sounds

by

trying

various

settings

of

WAVESHAPE

(B),

WIDE

FREQ,

DOUBLING,

and

CUTOFF

controls.

(END

EXERCISE)

This

is

an

example

of

use

of

an

oscillator

as

a

controller.

Notice

that

we

are

not

listening

to

an

oscillator

as a sound

source,

since

the

OSCILLATORS

switch

is

to

OFF.

But

OSCILLATOR

B

control

settings

still

affect

the

sound,

because

that

oscillator

has

been

connected

to

the

control

input

of

the FILTER

section.

To

make

an

analogy,

your

fingers

don't

make

sound

when

you

play

the

violin,

but

they

control

the

sound.

When

you

create

vibrato

on

the

violin

you

are

modulating

the

frequency

of

the

sound.

A

very

wide

and

rapid

vibrato

on

the

violin—if

humanly

possible-

would

create

new

sound

textures

that

are

bell-like.

On

the

Multimoog

it

is

possible

for

the

OSCILLATOR

B

section

to

act

like

a

finger

on

the

string

to

modulate

the

pitch

produced

by

the

FILTER

section

very

rapidly.

WEAK

and

STRONG

positions

on

the

FILTER

MODE

switch

represent

the

relative

amount

of

frequency

modulation.

NON-PITCHED

SOUNDS

NOISE

SECTION

In

synthesizer

language,

"noise"

is a random

signal—a

rushing,

static-like

sound.

The

sound you

hear

between

channels

on

FM

radio

is

an

example

of

noise.

The

NOISE

section

of

the

Multimoog

provides

"pink

noise"

that

has

been

balanced

to

have

equal

energy

in

all

octaves.

So,

it

sounds

neither

too

high

and

hissy,

nor too

low

and

rumbling.

Noise

does

not

have

harmonics

like

the

waveshapes

produced

by

an

oscillator;

noise

may

be

thought

of

as

all

frequencies

occuring

randomly,

or

without

order.

The

following

exercise

shows

you

what

unmodified

noise

sounds

like

on

the

Multimoog:

34

EXERCISE

6:

LISTENING

TO

THE

NOISE

SECTION

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KILTKB

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KfTI

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mmrn

1.

Hold

down

the

highest

key

on

the

keyboard.

You

are

listening

to

pink

noise.

2.

Note

that

the LEVEL

control

of

the

NOISE

section

must

be

turned

up

(toward

"10")

in

order

to

hear

noise.

3.

Since

we

want

to

hear

the

NOISE

section

as

the

sole

sound

source,

the

sound

of

the

oscillators

must

be

removed

by

placing

the

OSCILLATORS

switch

to

OFF.

Also,

since

the

FILTER

is

not

desired

as a sound

source,

the

FILTER

MODE

switch

must

not

be

in

the

TONE-position.

(END

EXERCISE)

Noise

is

often

filtered

and

shaped

to

suggest

the

sounds

of

wind,

surf,

jets,

cymbals

and

other

percussion

instruments.

MODIFIERS

A

modifier

is

an

electronic

device

that

processes

or

alters a

signal.

The

Multimoog's

modifiers

alter

audio

signals

coming

from

the

sound

sources,

changing

the

sound. A modifier

has

both

an

input

and

an

output

since

the

signal

to

be

modified

must

flow

through

it. A simple

tone

control

on

a

stereo

set, a phaser,

wah-wah

pedal,

are

modifiers

of

sound

since

they

changethenatureofthe

audio

signal

that

passes

through

them.

The

Multimoog

has

two

modifiers,

a

voltage

controlled

amplifier

(VCA)

that

is

not

depicted

on

the

front

panel;

and a voltage

controlled

filter

(VCF)

as

represented

by

the

FILTER

section.

VCA

wax

mi

■saga

as -«?

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VCA,

OR

VOLTAGE

CONTROLLED

AMPLIFIER

The

voltage

controlled

amplifier

'of

the

Multimoog

is

responsible

for

articulating

sound

by

modifying

its

loudness.

The

VCA

itself

is

not

depicted

on

the

front

panel;

its

associated

LOUDNESS

CONTOUR

section

provides

a

control

voltage

that

opens

and

closes

the

VCA,

creating

articulations

of

sound.

The

VCA

may

be

held

completely

open

(maximum

gain,

or

loudness)

by

placing

the

BYPASS

slide

switch

to

ON.

When

BYPASS

is

OFF,

the

LOUDNESS

CONTOUR

is

connected

to

the

control

input

of

the

voltage

controlled

amplifier

and

is

used

as

a

controller

to

open

and

close

the

VCA.

This

allows

control

over

rise

time

(attack),

or

the

beginning

of

a

sound;

and

fall

time

(release),

or

the

final

portion

of

a

sound.

The

following

Exercise

illustrates:

35

EXERCISE

7:

MODIFYING

LOUDNESS

BY

CONTROLLING

THE

VCA

OCX

■Mat

uaantoa

Q0PDQ0DQ

1.

Place

BYPASS

switch

to

ON

position.

You

should

hear

sound

continuously,

since

the

voltage

controlled

amplifier

(VCA)

is

being

held

completely

open

("bypassed").

2.

Return

BYPASS

switch

to

OFF.

Depress

any

key,

then

release.

The

sound

is

articulated

with

nearly

immediate

attack

and

release.

3.

Notice

that

the

ATTACK

and

RELEASE

controls

of

the

LOUDNESS

CONTOUR

are

set

for

immediate

attack

and

release.

Play

keyboard

and

note

that

the

sound

is

articulated

with

immediate

attack

and

release

(beginning

and

end).

4.

Vary

the

ATTACK

control

in

the

LOUDNESS

CONTOUR

slightly.

Play

keyboard.

The

initial

part

of

the

sound,

or

attack

time,

is

increased

as

you

move

the

control

clockwise.

5.

Vary

the

RELEASE

control

in

the

LOUDNESS

CONTOUR.

Notice

that

the

timing

of

the

final

portion,

or

release of

the

sound

is

increased

as

you

move

the

control

clockwise.

(END

EXERCISE)

When

the

BYPASS

switch

is

in

its

normal

OFF

position,

the

LOUDNESS

CONTOUR

section

is

connected

to

the

control

input

of

the

voltage

controlled

amplifier

(VCA).

The

LOUDNESS

CONTOUR

creates

a

voltage

"contour"

(sometimes

called

"envelope")

which

opens

and

closes

the

VCA,

shaping

the

loudness

of

any

sound

passing

through

the

VCA.

Use

of

the

LOUDNESS

CONTOUR

section

to

control

the

VCA

doesn't

"turn

on"

any

of

the

sound

sources—they

are always

potentially

available

for

use.

The

sound

source

in

use

is

always

present

at

the

audio

input

of

the

VCA;

the

VCA

modifies

the

sound

source

by

amplifying

it.

The

amount

of

this

amplification

is

controlled

by

the

LOUDNESS

CONTOUR

section

when

it

generates

a

signal

that

"contours,"

or

increases

and

decreases

the

gain

(amplification)

of

the

VCA.

FILTER

SECTION

A

filter

modifies

sound

the

way

the

name

implies—it

removes a portion

of

the

sound.

The

Multimoog

features

the

patented

Moog™

wide

range

lowpass

resonant

filter.

This

unique

filter

plays

a role

in

creating

the

distinctive

and

recognizable

"Moog

Sound"

that

has

become

popular.

The

Multimoog's

FILTER

section

is a lowpass

filter;

this

filter

acts

to

pass

the lows

of a sound

and

reject

the

highs.

The

FILTER

section

attenuates,

or

"cuts

off"

the

higher

frequency

components—those

which

lie

above

the

adjustable

"cutoff

frequency,"

and

passes

the

lower

frequency

components

of

the

signal

passing

through.

The

CUTOFF

control

sets

this

cutoff

frequency.

The

cutoff

frequency

is

lowered

as

the

CUTOFF

control

is

moved

counterclockwise;

the

lower

the

cutoff

frequency,

the

fewer

highs

a signal

will

have

after

passing

through

the

filter.

A

waveshape

is

rounded

and

smoothed

as

the

CUTOFF

control

is

moved

counterclockwise.

When

the

cutoff

frequency

is

so

low

it

approaches

the

fundamental

frequency

of

the

waveshape,

almost

all

of

the

upper

harmonics

are

cut

off

and

the

signal

approximates

a

sine

waveshape

(pure

tone

with

no

harmonics).

If

the

CUTOFF

control

is

set

to

cause

a

very

low

cutoff

frequency,

all

sound

may

be

cut

off

and

silence

will

result.

The

following

Exercise

illustrates

FILTER

section

features:

36

EXERCISE

8:

MODIFYING

A

WAVESHAPE

WITH

THE

FILTER

SECTION

«m*M

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niqwec

reramx

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toaaas

umcmb

sstw

uui

cms

1.

Hold

down

any

key

on

the

keyboard.

You

are

listening

to

the

sound

of

an

unfiltered

sawtooth

waveshape.

2.

While

listening,

slowly

rotate

the

CUTOFF

control

counterclockwise.

Notice

that

the

sound

becomes

less

bright

and

buzzy,

and

eventually

becomes

muted,

and

finally

disappears

when

all

partials

are

cut

off.

The

diagrams

below

show

what

happens

to

a

sawtooth

waveshape

as

you

progressively

cut

off

the

"highs"

by

rotating

the

CUTOFF

control

counterclockwise:

7

6.

Move

the

EMPHASIS

control

to

"10."

Now

move

the

CUTOFF

control.

You

can

actually

hear

each

harmonic

in

the

sawtooth

waveshape

as

you

move

the

cutoff

frequency

through

it.

Now

you

can

confirm

that

the

sawtooth

waveshape

has

all

harmonics

of

the

harmonic

series.

The

EMPHASIS

control

is

used

to

emphasize,

or

feed

back

energy

right

at

the

cutoff

frequency.

This

makes

the

presence

of

harmonics

more

apparent

when

the

CUTOFF

control

is

moved.

Higher

EMPHASIS

settings

increase

the

height

of a resonant

peak

at

the

cutoff

frequency;

look

at

the

panel

graphics

by

the

EMPHASIS

control

for

an

illustration.

Maximum

emphasis

is

reached

at

position

"10."

When

the

EMPHASIS

control

is

set

high,

it

is

possible

to

hear

the

individual

harmonics

present

in

any

waveshape.

Continue

the

Exercise:

y

7.

Hold

down a key

on

the

keyboard.

Now

let's

explore

the

use

of

the

EMPHASIS

control:

8-

check

to

see

that

the

EMPHASIS

control

is

at

10.'

3.

Hold

down a low key

on

the

keyboard.

4.

Check

to

see

that

the

EMPHASIS

control

is

at

"O."

5.

Move

the

CUTOFF

control

throughout

its

positions.

Even

though

you

are

passing

through

harmonics

as

you

move

the

CUTOFF

control,

you

can't

distinguish

each

harmonic

as

the

the

cutoff

frequency

passes

through

it.

9.

Select

different

WAVESHAPE

(B)

settings

and

move

the

CUTOFF

control;

see

if

you

can

hear

the

harmonics

in

the

waveshape

as

the

cutoff

frequency

passes

through

them.

(END

EXERCISE)

Noise

may

be

filtered

to

produce

some

unusual

sound

effects.

Try

the

following

Exercise:

37

EXERCISE

9:

MODIFYING

NOISE

WITH

THE

FILTER

SECTION

ij

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■OUONSSB

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MOBUtATIQW

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awe

Muna

1.

Hold

down

any

key

on

the keyboard.

The

sound

source

is

the

NOISE

section.

2.

Slowly

rotate

the

CUTOFF

control

counterclockwise.

The

highs

are

progressively

"cut

off."

(END

EXERCISE)

3.

Set

the

EMPHASIS

control

to

"10."

Now

move

the

CUTOFF

control

throughout

its

positions.

You

should

hear

"wind"

sounds

varying

pitch.

Noise

doesn't

have

harmonics

that

can

be

picked out

as

the

cutoff

frequency

is

moved.

The

FILTER

section

modifies

noise

just

as

it

modifies

any signal—by

cutting

off

the

highs.

The

preceding

Exercise

illustrates

not

only

how

the

FILTER

section

works,

but the

"smooth"

distribution

of

frequencies

in

noise.

Even

when

EMPHASIS

is

high,

no

distinctive

harmonics

are

heard

in

noise.

But,

at

high

EMPHASIS

control

settings

noise

will

begin

to

take

on

a

"pitch"

determined

by

the

cutoff

frequency.

This

is

because

only

that

portion

of

noise

around

the

cutoff

frequency

is

emphasized,

making

it

easier

to

hear.

CONTROLLERS

A

controller

generates

a

signal

that

is

used

to

control

modifiers

and/or

sound

sources.

On

the

Multimoog,

controllers

may

be

used

to

alter

oscillator

frequency

and

waveshape,

filter

cutoff

frequency,

and

amplifier

gain.

Control

signals

are

not

heard

directly,

but

are

used

to

control

sections

that

generate

or

modify

sound.

To

return

to

our

discussion

of

sound,

this

means

we

can

control

pitch,

timbre,

and

loudness

with a voltage

level.

When a circuit

is

connected

to

the

control

input

of a section

of

the

Multimoog,

that

circuit

is

defined

as a controller.

From

experience,

you

know

that

the

keyboard

can

control

the

pitch

of

the

oscillator

section;

here

is

how

it

does

it.

The

keyboard

circuitry

produces

a

voltage

level

that

increases

as

you

play

up

the keyboard.

The

keyboard

is

connected

to

the

frequency

control

input

of

the

oscillator

section

by

placing

the

OSCILLATORS

switch

to

the

NORM

position.

Since

the

oscillator

section

is

voltage

controlled

(VCO),

an

increase

in

voltage

from

the

keyboard

causes

an

increase

of

oscillator

frequency.

When

you

play

up

the keyboard,

oscillator

pitch

goes

higher.

Other

controllers

on

the

Multimoog

include

the

FILTER

CONTOUR

section,

LOUDNESS

CONTOUR

section;

modulation

oscillator

and

sample-and-hold

circuits

selected

by

the

MODULATION

section.

In

some

cases,

the

OSCILLATOR

B

section

may

be

used

as a controller.

Control

signals

from

the

outside

world

may

also

be

routed

to

the

OSCILLATOR

A&B

and

FILTER

sections

via

the

OSC

A&B

and

FILTER

INPUTS

on

the

Multimoog's

rear

panel

(see

OPEN

SYSTEM

section

of

the

manual).

The

PITCH

ribbon

is a performance

controller

because

its

voltage

output

is

directly

under

the

control

of

the

performer.

Often

this

is

the

case

with

the

KEYBOARD

TOUCH

section

as

well.

KEYBOARD

The

keyboard

of

the

Multimoog

produces

a

voltage

level

that

may

be

used

to

control

the

frequency

of

the

oscillators

and/or

the

cutoff

frequency

of

the

FILTER

section.

The

following

Exercise

shows

how

the

keyboard

may

be

used

as

a

controller:

38

EXERCISE

10:

KEYBOARD

CONTROL

OF

OSCILLATOR/FILTER

SECTIONS

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I

1.

Set

up

the

sound

chart

and

play

up

and

down

the

keyboard.

The

frequency

of

(both)

oscillators

is

being

controlled

by

the

keyboard.

Notice

that

the

OSCILLATORS

switch

is

in

the

NORM

(normal)

position.

2.

Place

the

OSCILLATORS

switch

in

the

DRONE

position.

Now

play

the

keyboard.

(No

pitch

change—pitch

"drones.")

The

NORM

position

of

the

OSCILLATORS

switch

places

both

OSCILLATOR A and B under

keyboard

control.

That

is,

it

connects

the

keyboard

to

the

frequency

control

inputs

of

the

oscillators.

The

DRONE

position

of

the

OSCILLATORS

switch

removes

the

oscillators

from

keyboard

control;

playing

the

keyboard

will

have

no

effect

on

oscillator

frequency.

Notice

that,

in

the

NORM

position,

the

levels

coming

from

the

keyboard

have

been

scaled

to

create

a

diatonic

(12

tone)

scale.

Other

scales

are

possible

with

"open

system"

manipulation

of

the

keyboard

output.

(See

OPEN

SYSTEM

section).

Also,

if

you

listen

carefully

you

will

hear

a

change

in

tone

color

when

the

OSCILLATORS

switch

is

in

the

DRONE

position,

even

though

the

pitch

is

not

changed.

Let's

explore

this

by

continuing

the

Exercise:

3.

Leave

the

OSCILLATORS

switch

in

the

DRONE

position.

4.

Alternately

play

the

lowest

and

highest

keys

on

the

keyboard.

The

pitch

doesn't

change,

but

the

timbre

of

the

sound

does.

Notice

that

the

FILTER

MODE

switch

is

presently

in

the

NORM

position.

5.

Place

the

FILTER

MODE

switch

in

the

FULL

position.

Now

the

difference

in

timbre

between

the

lowest

and

highest

keys

[s

more

pronounced.

The

preceding

shows

that

the

cutoff

frequency

of

the

FILTER

section

is

under

keyboard

control

in

both

the

NORM

and

FULL

positions

of

the

FILTER

MODE

switch.

In

the

NORM

position

only

half

of

the

keyboard

voltage

is

allowed

to

control

the

cutoff

frequency;

in

the

FULL

position

all

of

the

control

signal

from

the

keyboard

controls

the

cutoff

frequency.

Continue

the

Exercise:

6.

Leave

the

FILTER

MODE

switch

in

the

FULL

position;

Leave

the

OSCILLATORS

switch

in

the

DRONE

position.

7.

Place

the

GLIDE

control

to

switch

to

ON.

'5."

Switch

GLIDE

8.

Again,

play lowest

and

highest

keys

alternately.

Timbre

"glides"

between

keys

now.

This

indicates

that

the

GLIDE

control

affects

the

keyboard

signal.

Judging

from

some

gliding

pitch

sounds

that

are

heard

from

the

synthesizer,

one

might

think

that

the

GLIDE

control

does

something

to

the

oscillator—this

is

not

the

case.

The

GLIDE

control

slows

down

the

output

of

keyboard

changes;

the

keyboard

output

then

glides

between

voltage

steps

instead

of

jumping

between

them.

Since

we

have

been

using

the

keyboard

to

control

only

the

cutoff

frequency

of

the

FILTER,

use

of

the

GLIDE

control

causes

only

the

timbre

to

glide

between

keys.

If

we

choose

to

control

oscillator

frequency,

the

gliding

keyboard

control

signal

will

cause

the

pitch

of

the

oscillator

to

glide.

Let's

hear

it:

9.

Place

the

oscillators

under

keyboard

control

by

moving

the

OSCILLATORS

switch

to

the

NORM

position.

10.

Play

the

keyboard.

The

pitch

of

the

oscillators

glide

when

under

keyboard

control

and

GLIDE

is

used.

The

keyboard

signal

that

is

controlling

pitch

is

gliding.

11.

Remove

the

oscillators

from

keyboard

control

by

moving

the

OSCILLATORS

switch

to

DRONE.

12.

Play.

Oscillator

pitch

is

no

longer

under

keyboard

control,

but

the

filter

cutoff

frequency

is,

as

evidenced

by

the

gliding

tone

color

changes.

13.

Return

the

GLIDE

control

to

"0."

Now

play;

there

will

be

no

gliding

of

tone

color,

or

timbre.

39

The

preceding

confirms

that

GLIDE

affects

the

keyboard

signal.

The

OFF

position

of

the

OSCILLATORS

switch

and

the

TONE

position

of

the

FILTER

MODE

switch

remain

to

be

explored:

14.

Place

the

OSCILLATORS

switch

to

the

OFF

position.

Play.

No

sound—the

oscillator

has

been

removed

from

the

audio

signal

path—but

(take

our

word)

the

oscillator

is

still

under

control

of

the

keyboard.

15.

Place

the

FILTER

MODE

switch

to

the

TONE

position.

Play.

The

FILTER

section

is

generating

a

sine

waveshape

which

follows

the

keyboard.

(END

EXERCISE)

The

reason

for

placing

the

filter

under

full

keyboard

control

in

the

TONE

mode

should

be

apparent

enough.

We

want

to

control

it

from

the

keyboard

when

it's

making a tone.

The

reason

we

want

the

oscillators

to

follow

the

keyboard

even

though

we

are

not

hearing

them

will

be

explained

when

we

discuss

use

of

OSCILLATOR

B

as a controller.

For

now,

let's

just

note

that

the

OFF

position

of

the

OSCILLATORS

switch

removes

the

sound

of

the

oscil

lators

but

places

them

under

keyboard

control.

LOUPNESS

CONTOUR

SECTION

A

basic

aspect

of

music

is

the

control

of

not

only

when,

but

how a sound

begins

and

ends—attack

and

release

characteristics.

Most

organ-like

electronic

musical

instruments

offer

control

over

when,

but

not

how

the

loudness

of a sound

is

shaped.

The

Multimoog

offers

excellent

control

of

articulation,

or

the

shaping

of

loudness.

The

LOUDNESS

CONTOUR

section

is

a

contour

(sometimes

called

"envelope")

generator;

its

ATTACK

and

RELEASE

controls

may

be

set

to

produce

a

dynamic

control

voltage

that

"contours"

or

opens

and

closes

the

VCA

within

the

Multimoog.

The

associated

LOUDNESS

SUSTAIN

switch

and

RELEASE

switch

change

the

mode,

or

ways

that

the

LOUDNESS

CONTOUR

section

functions.

The

following

diagram

shows

the

general

form

of

the

signal

produced

by

the

LOUDNESS

CONTOUR

section:

TYPICAL

CONTOUR

SIGNAL

f

KEY

DEPRESSED

KEY

RELEASED

TIME

—

IN

SECONDS

An

individual

voltage

contour

may

have

three

parts:

the

rise

time

f

~\ , set

by

the

ATTACK

control;

the

sustain

level

/■■■^ , at

which

a

sound

may

be

held

when

the

LOUDNESS

SUSTAIN

switch

is

to

the

left;

and a release

time

/ ^

,or

dying

away

of

the

sound

which

is

set

by

the

RELEASE

control.

Contours

with

various

shapes

may

be

produced

using

the

LOUDNESS

CONTOUR

controls

and

associated

switches.

Let's

explore the

use

of

the

LOUDNESS

CONTOUR

controls

and

the

LOUDNESS

SUSTAIN

and

RELEASE

switches:

40

EXERCISE

11:

ARTICULATION—CONTOURING

LOUDNESS

j

1.

Play

the keyboard.

Notice

that

the

attack

and

release

of

the

sound

are

practically

immediate.

The

ATTACK

and

RELEASE

controls

are

set

for

quick

(1

msec = one-thousandth

of a second)

attack

and

release

times.

2.

Play

again.

The

sound

will

sustain

as

long

as

you

hold a key.

Notice

that

the

LOUDNESS

SUSTAIN

switch

is

in

the

"sustain"

mode

to

the

left.

Look

at

the

graphics

for

the

LOUDNESS

SUSTAIN

switch—it

depicts

what

you

are

hearing.

The

LOUDNESS

CONTOUR

section

and

LOUDNESS

SUSTAIN

switch

settings

shown

typify-.an

organ-like

loudness contour.

The

keying

is

on-off,

and

sound

is

sustained

as

long

as a key

is

held.

Let's

retain

the

sustain

feature,

but

play

with

the

attack

and

release

of

the

sound:

3.

Gradually

increase

the

ATTACK

control

setting

while

playing

the

keyboard.

The

rise

time,

or

attack

of

the

sound

increases.

Notice

that,

the

longer

the

ATTACK

setting,

the

longer

you

must

hold a key

before

the

sound

reaches

maximum

loudness.

4.

Return

the

ATTACK

control

to

its

original

(1

msec)

setting.

5.

Gradually

increase

the

RELEASE

control

setting

while

playing

the

keyboard.

The

fall

time

on

release

of

all

keys

increases;

final

release

of

the

sound

occurs

more

slowly

when

all

keys

are

released.

6.

Return

the

RELEASE

control

to

its

original

(1

msec)

setting.

The

setting

of

the

ATTACK

control

determines

the

time

it

takes

the

LOUDNESS

CONTOUR*section

to

open

the

VCA

in

iJe

the

Multimoog

to

maximum

gain

(loudness).

The

setting

of

the

RELEASE

control

determines

the

time

it

takes

the

LOUDNESS

CONTOUR

section

to

close

the

VCA,

or allow

the

sound

to

fall

to

silence.

Now

let's

explore

the

function

of

the

LOUDNESS

SUSTAIN

switch:

7.

Play

the

keyboard.

Sound

will

be

sustained

as

long

as a

key

is

held.

8.

Place

the

LOUDNESS

SUSTAIN

switch

to

the

"non-sustain"

position

to

the

right.

Play

the

keyboard;

only a short

click

will

be

heard.

Continue.

9.

Increase

either

or

both

the

ATTACK

and

RELEASE

control

settings

slightly.

Play.

The

sound

will

not

be

sustained,

but

will

last

only

as

long

as

the

combined

times

of

the

ATTACK

and

RELEASE

control

settings.

Experiment

with

them.

The

non-sustain

position

of

the

LOUDNESS

SUSTAIN

switch

lets

you

produce

very

short

sounds,

or

sounds

that

would

not

normally

sustain

forever,

such

as

the

harpsichord,

guitar,

bell,

etc.

So

far

we've

learned

that

the

ATTACK

control

sets

the

timing

of

the

beginning

of a sound,

the

LOUDNESS

SUSTAIN

switch

selects

a

maximum

or

zero

sustain

level

in

loudness,

and

the

RELEASE

control

times

the

release,

or

end

of a sound.

Now

let's

see

how

the

RELEASE

switch

works:

10.

Set

ATTACK

to 1 (msec);

RELEASE

to

700;

LOUDNESS

SUSTAIN

switch

to

left.

11.

Depress

any

key;

hold,

then

release

and

listen.

Notice

that

the

release

is

not

immediate,

but

is

determined

by

the

RELEASE

control

setting.

12.

Place

the

RELEASE

switch

to

the

right.

Now

notice

what

happens

when

you

release

all

keys.

The

release

is

short

regardless

of

RELEASE

control

setting.

13.

Try

different

RELEASE

control

settings.

With

each

new

setting

try

each

position

of

the

RELEASE

switch.

When

the

RELEASE

switch

is

to

the

right,

the

release

of

any

sound

will

be

abrupt

on

release

of

all

keys

regardless

of

the

RELEASE

control

setting

in

the

LOUDNESS

CONTOUR

seaion.

At

first

impression,

it

may

seem

that

we

are

right

back

where

we

began,

with

41

an

organ-like

sustained

sound

with

on-off

keying.

This

is

not

quite

so,

as

the

following

shows:

14.

Place

the

RELEASE

control

to

"700."

15.

Leave

the

RELEASE

switch

to

the

right.

Check

to

see

that

the

LOUDNESS

SUSTAIN

switch

is

to

the

left.

16.

Play

the

keyboard.

Sound

has

organ-like

keyboard

response.

17.

Place

the

LOUDNESS

SUSTAIN

switch

in

the

non-sustain

position

to

the

right.

Now

play

and

hold a key

until

the

sound

dies

out.

Play

a

series

of

short,

separated

notes

and

then

hold

a

key

until

the

sound

dies

out.

(END

EXERCISE)

The

preceding

shows

that

when

both

the

RELEASE

switch

and

the

LOUDNESS

SUSTAIN

switch

are

to

the

right

the

following

is

true:

(1)

The

sound

can

never

last

longer

than

the

combined

settings

of

the

LOUDNESS

CONTOUR

controls,

regardless

of

how

long a key

is

held;

(2)

The

release

of a sound

will

always

be

abrupt

when

all

keys

on

the

keyboard

are

released.

Since

the

LOUDNESS

CONTOUR

sections,

LOUDNESS

SUSTAIN

switch,

and

RELEASE

switch

can

be

set

in

many

different

combinations

to

create

a

variety

of

voltage

contours,

here

is a pictorial

review

of

some

of

the

possibilities:

KEY

DEPRESSED

KEY

RELEASED

RELEASE

LOUMESS

SUSTAIN

RELEASE

LOUMESS

SUSTAIN

RaEASE

LOUMESS

SUSTAIN

RELEASE

LOUMESS

SUSTAIN

RaEASE

LOUMESS

SUSTAIN

RaEASE

LOUMESS

SUSTAIN

XV.

A

RELEASE

LOUMESS

SUSTAIN

XV

A

ATTACH

/"V

RELEASE/V

LOUONESS

CONTOUR

ATTACK

/-V

RELEASE/V

LOUDNESS

CONTOUR

oo

ATTACK

/-V

RELEASE/V

LOUONESS

CONTOUR

OO

ATTACH

/V

RELEASE/^

LOUDNESS

CONTOUR

OO

ATTACK

/"v

RELEASE/^

LOUDNESS

CONTOUR

OO

ATTACK

•V

RELEASE/V

LOUONESS

CONTOUR

ATTACK

/%

RELEASE/V

LOUONESS

CONTOUR

MAX

ZERO

TIME

—

IN

SECONDS

I

42

You

might

select

a

sound

source

and

try

the

above

settings

to

hear

the

shape

of

the

contour

produced.

It

is

important

to

remember

that

loudness

has

priority

over

other

aspects

of

sound.

After

all,

if

the

LOUDNESS

CONTOUR

and

its

related

switches

don't

allow

a

sound

to

be

heard,

it

hardly

matters

what

the

other

sections

of

the

Multimoog

are

doing.

FILTER

CONTOUR

SECTION

Most

musical

instruments

have

dynamic

timbral

characteristics—their

tone

color

changes

in

time.

The

Multimoog

provides

for

such

dynamic

timbre

control.

The

FILTER

CONTOUR

section

is a contour

(sometimes

called

"envelope")

generator.

Its

ATTACK

and

RELEASE

controls

may

be

set

to

produce

a

dynamic

control

signal that

"contours,"

or

moves

the

cutoff

frequency

of

the

VCF.

The

FILTER

CONTOUR

section

may

bethought

of

as

an

"invisible

hand"

that

moves

the

CUTOFF

control

for

you.

The

associated

FILTER

SUSTAIN

switch,

and

the

RELEASE

switch

select

the

ways

in

which

the FILTER

CONTOUR

section

works.

The

FILTER

CONTOUR

section

is

independent

from,

but

identical

in

its

operation

to

the

LOUDNESS

CONTOUR

section.

The

diagram

below

shows

the

general

form

of

the

signal

produced

by

the

FILTER

CONTOUR

section.

TYPICAL

CONTOUR

SIGNAL

KEY

DEPRESSED

KEY

RELEASED

TIME

IN

SECONDS

The

voltage

contour

may

have

three

parts:

the

rise

time

J^

\,

set

by

the

ATTACK

control;

the

sustain

level

/^^^\,

at

which

the

cutoff

frequency

may

be

held

when

the

FILTER

SUSTAIN

switch

is

to

the

left;

and a release

time

/

E

,

set

by

the

RELEASE

control.

The

FILTER

CONTOUR

is a controller

that

is

connected

to

the

control

input

of

the

voltage

controlled

FILTER

section.

Unlike

the

LOUDNESS

CONTOUR,

however,

a

means

is

provided

to

control

the

amount

of

sfgnal

that

is

allowed

to

reach

the

control

input.

This

means

is

the

CONTOUR

AMOUNT

control.

The

CONTOUR

AMOUNT

control

acts

to

attenuate,

or

lessen

the

amount

of

signal

allowed

into

the

control

input

of

the

FILTER

section.

Settings

closest

to

the

center

"0"

point

provide

greatest

attenuation

(least

signal).

Let's

explore

its

use:

EXERCISE

12:

DYNAMIC

TIMBRE—FILTER

CONTOURING

1.

Hold

down

any

key

on

the

keyboard.

The

tone

sounding

is

static

in

timbre;

the

cutoff

frequency

of

the

filter

is

not

being

moved.

2.

Move

the

CONTOUR

AMOUNT

control

to

"+5."

Now

hold a key

down.

The

timbre

is

dynamic

because

the

filter

cutoff

frequency

is

being

contoured

by

the

FILTER

CONTOUR

section.

You

could

get

the

same

effect

by

manually

moving

the

CUTOFF

control.

3.

Play.

Move

the

CONTOUR

AMOUNT

control

back

towards

"0"

to

progressively

attenuate, or

lessen

the

amount

of

contour.

The

CONTOUR

AMOUNT

control

lets

you

determine

the

amount

of

the

signal

from

the FILTER

CONTOUR

that

is

allowed

to

control

the

filter

cutoff

frequency.

As

you

probably

realize

from

looking

at

the

graphics,

the

CONTOUR

AMOUNT

control

also

attenuates

an

inverted

version

of

the

contour

signal.

(See

drawing

for

the

"-5"

side

of

the

CONTOUR

AMOUNT

control.)

For

now,

let's

look

at

the

positive

or

"normal"

side

of

the

CONTOUR

AMOUNT

control

to

avoid confusion.

Continue

the

exercise:

4.

Return

the

CONTOUR

AMOUNT

control

to

5.

Play.

Contouring

of

FILTER

section

is

heard.

6.

Place

the

ATTACK

control

in

the

FILTER

CONTOUR

to

"100"

(msec).

The

rise

time

of

the

contour

is

now

faster.

7.

Place

the

RELEASE

control

in

the

FILTER

CONTOUR

to

"100"

(msec).

The

release

time

of

the

contour

is

now

faster.

The

setting

on

the

ATTACK

control

determines

the

time

it

takes

the

FILTER

CONTOUR

to

raise

the

cutoff

frequency

of

the

filter

to a maximum.

The

CONTOUR

AMOUNT

determines

the

value

of

that

maximum.

The

RELEASE

control

determines

the

time

it

takes

the

FILTER

CONTOUR

to

return

the

cutoff

frequency

to

its

starting point.

Continue

the

exercise:

8.

Play

and

hold a note.

Notice

that

the

cutoff

frequency

is

sustained

at a maximum

as

long

as

you

hold a key.

Only

on

release

of

the

key

does

the

RELEASE

control

go

into

effect.

9.

Move

the

FILTER

SUSTAIN

switch

to

the

right.

Now

play

and

hold a key.

The

pattern

generated

by the

FILTER

CONTOUR

section

now

has

only

(wo

parts

whose

timing

is

determined

solely

by

the

ATTACK

and

RELEASE

controls

in

the

FILTER

CONTOUR

section.

10.

Play

and

hold a key.

Note

that

when

all

keys

are

released,

the

LOUDNESS

CONTOUR

RELEASE

control

is

still

operable

(note

hangs

on.)

This

shows

that

the

FILTER

SUSTAIN

switch

and

LOUDNESS

SUSTAIN

switch

work

indepen

dently.

11.

Place

the

RELEASE

switch

to

the

right.

Now

play

and

release

a

key.

Notice

that

the

final

release

will

now

be

abrupt.

The

RELEASE

switch

provides

immediate

release

of

both

the

LOUDNESS

CONTOUR

and

FILTER

CONTOUR

sections

when

placed

to

the

right.

(END

EXERCISE)

The

preceding

exercise

illustrates

that

the

LOUDNESS

CONTOUR

and

FILTER

CONTOUR

sections

are

identical

in

operation.

Each

is a controller.

The

LOUDNESS

CONTOUR

section

is

used

to

control

the

gain of

the

VCA

within

the

Multimoog.

The

FILTER

CONTOUR

is

used

to

control

the

cutoff

of

the

VCF

(FILTER

section).

On

the

Multimoog,

the

connection

of

the

LOUDNESS

CONTOUR

section

to

the

control

input

of

the

VCA

is

made

at

full

strength

internally

to

assure

the

best

signal-to-noise

ratio.

But the

connection

of

the

FILTER

CONTOUR

section

to

the

control

input

of

the

FILTER

has

the

CONTOUR

AMOUNT

control

which

allows

us

to

determine

the

amount

and

direction

the

cutoff

frequency

will

be

moved.

When

the

CONTOUR

AMOUNT

control

is

in

the

negative

region

(counterclockwise

from

"0"),

the

contour

generated

by

the

FILTER

CONTOUR

section

is

inverted

(turned

upside

down).

The

"-5"

position

then

represents

the

maximum

amount

of

this

inverted

signal.

Look

at

the

panel

graphics

to

get

an

idea

of

this

situation.

The

CONTOUR

AMOUNT

control

is

called

a

"reversible

attenuator;"

it

attenuates

the

amount

of

a

signal

as

it

is

moved

toward

"0"

for

either

normal

or

inverted

contours.

It

will

require

some

thought

to

understand

what

happens

when

you

use a negative

CONTOUR

AMOUNT

setting.

Everything

is

reversed

from

normal.

The

voltage

from

the

FILTER

CONTOUR

doesn't

start

at

"zero"—it

starts

from a maximum

vol

tage.

Instead

of

falling

to

"zero"

when

you

release,

the

voltage

will

rise

to

maximum.

The

following

diagrams

illustrates:

r

44

TYPICAL

INVERTED

CONTOUR

SIGNAL

KEY

DEPRESSED

KEY

RELEASED

MAX

ZERO

••••

J-

TIME

*■

Also,

as

in

the

case

with

positive

CONTOUR

AMOUNT

settings,

when

the

CONTOUR

AMOUNT

control

is

moved

toward

"0"

the

signal

is

attenuated,

or

lessened.

To

better

understand

inverted

contours,

do

the

following:

EXERCISE

13:

INVERTED

CONTOURING

OF

THE

FILTER

1.

Set

up

the

sound

chart

for

EXERCISE

12.

2.

Simply

repeat

each

step

of

exercise

12,

but

in

each

case a positive

CONTOUR

AMOUNT

setting

is

called

for,

use a negative

setting.

(END

EXERCISE)

MODULATION

SECTION

The

MODULATION

section

routes

control

sig

nals

from

several

sources

to

several

destinations.

It

lets

you

hook

up a controller

to

the

control

input(s)

of

Multimoog

sections.

The

source

selector

determines

which

controller

is

selected.

The

selected

signal

from

that

controller

passes

through

the

MOD

AMOUNT

wheel

where

it

is

attenuated.

The

ROUTING

rotary

switch

dictates

where

the

control

signal

will

go.

This

"source-destination"

orientation

for

routing

control

signals

is a way

to

change

textures

rapidly

in

performance.

It

has

been

likened

to a super

traffic

cop

who

routes

control

signal

traffic.

The

following

diagram

illustrates:

SOURCE

ROUTING

FILTER

FILTER

CONTOUR

BEND

r

Let's

explore

MODULATION

section

capabilities

using

this

exercise:

46

EXERCISE

14:

EXPLORING

THE

MODULATION

SECTION

tlffttf

^tfHIffTOC

ninao

aoa

mam

±

«om

mom

en

en

kmsim

mm

rTh

ramt

1.

Hold

down

the

lowest

key

on

the

keyboard.

Slowly

move

the

MOD

AMOUNT

wheel

fully

away

from

you

and

return.

You

should

hear

a

wide

bend

of

the

pitch

upward.

2.

Notice:

the

SOURCE

selector

is

in

the

BEND

position.

ROUTING

is

in

the

OSC

A&B

position.

3.

Place

the

ROUTING

selector

to

the

FILTER

position.

Hold a key

and

repeat

action

with

MOD

AMOUNT

wheel.

Now

the

filter

cutoff

frequency

is

being

"bent".

4.

Place

the

ROUTING

selector

to

the

\S

|

B

(waveshape)

position.

Hold a key

and

use

MOD

AMOUNT

again.

Now

the

waveshape

of

the

OSCILLATOR B section

is

being

moved.

SOURCE

is a rotary

switch

which

determines

the

source

of

modulation

signal;

it

"selects"

which

controller

is

to

be

used.

The

ROUTING

rotary

switch

determines

where

that

control

signal

will

go;

it

"routes"

it

to

the

appropriate

control

input(s).

The

MOD

AMOUNT

wheel

controls

the

amount

of

modulation.

Let's

examine

what

happened

in

the

previous

exercise

steps

more

closely.

Note

that

BEND

is

selected

as

the

controller

by

the

SOURCE

selector.

BEND

is

a

fixed

voltage

level,

like a battery.

BEND

is

routed

through

the

MOD

AMOUNT

wheel,

which

lets

uscon-

trol

its

amount.

When

the

MOD

AMOUNT

wheel

is

fully

forward

(toward

the

control

panel)

we

get

the

full

BEND

signal.

As

the

MOD

AMOUNT

wheel

is

moved

back,

there

is

progressive

attenuation

(reduc

tion)

of

the

signal.

When

theROUTING

control

issetto

the

OSC

A&B

position,

the

controller

(BEND)

is

routed

to

the

frequency

control

inputs of

the

oscillators.

As

you

move

the

MOD

AMOUNT

wheel

forward,

the

amount

of

voltage

let

through

increases

and

causes

oscillator

pitch

to

rise.

When

the

BEND

signal

is

routed

to

the

control

input

of

theFILTER

section,

thefilter

cut

off

frequency

is

moved

by

movingtheMOD

AMOUNT

wheeU-inally,

when

the

ROUTING

selector

was

in

the

\S

I

B

(WAVESHAPE

B)

position,

the

BEND

sig

nal

is

connected

to

the

waveshape

control

input

of

OSCILLATOR

B.

Then

movement

of

the

MOD

AMOUNT

wheel

is

analogous

to

movement

of

the

WAVESHAPE

control

for

OSCILLATOR

B.

It's

just

a

matter

of

deciding

what

type

of

controller

you

want

to

select

(SOURCE),

how

much

of

it

you

want

to

use

(MOD

AMOUNT),

and

which

section(s)

you

want

to

control

(ROUTING).

Continue

the

exercise:

47

5.

Set

SOURCE

and

ROUTING

controlsasshown

on

preceding

page.

Set

MOD

AMOUNT

wheel

as

shown.

6.

Depress

and

hold

any

key.

You

should

hear

a

contoured-pitch

"siren"

effect.

7.

Place

the

ROUTING

selector

to

the

OSC A&B

FILTER

position.

Play

the

same

key.

Note

that

tone

color

is

contoured

as

well

as pitch.

(The

FILTER

is

also

being

contoured.)

8.

Control

amount

of

contour

using

MOD

AMOUNT

wheel.

9.

Place

the

ROUTING

selector

to

the

FILTER

position.

Note

that

only

the

filter

(tone

color)

is

contoured

now.

j—i

10.

Place

the

ROUTING

switch

to

the

^

'

B

position.

Play.

Now

the

WAVESHAPE

of

OSCIL

LATOR B (only)

is

being

contoured.

11.

Repeat

steps

5-10

and

experiment

with

the

FILTER

CONTOUR

ATTACK

and

RELEASE

controls.

Try

both

settings

of

the

FILTER

SUSTAIN

switch.

When

the

FILTER

CONTOUR

is

the

selected

SOURCE,

any

section(s)

named

by

the

ROUTING

selector

may

be

contoured.

The

speed

of

this

contour

is

controlled

using

FILTER

CONTOUR

controls.

The

amount

of

this

contour

is

controlled

by

the

MOD

AMOUNT

wheel.

(Note

that

the

CONTOUR

AMOUNT

control

in

the

FILTER

section

doesn't

affect

the

amount

of

the

FILTER

CONTOUR

as

used

in

the

MODULATION

SECTION.

In

the

following

exercise

steps,

it

will

become

apparent

that

much

of

the

MODULATION

section

deals

with

repeating

patterns:

"*rt

source

..---.

routTSc

MOOUUATIOIM

12.

Select

the

_]"!_

SOURCE

setting.

13.

Explore

all

possible

ROUTING

settings

and

MOD

AMOUNT

wheel

positions.

14.

Vary

the

RATE

control

to

control

the

speed

of

the

modulation.

15.

Select

alternately

the

s^\/

,S&HAUTO,

and

S&H

KBD

settings

with

the

SOURCE

selector.

Repeat

steps

13

and

14

for

each

SOURCE

setting.

(END

EXERCISE)

Modulation

is

usually

defined

as a

change,

often a repeating

change.

On

the

Multimoog,

the

rate

of

any

repeating

modulation

is

controlled

by

the

RATE

control.

RATE

controls

the

frequency,

or

speed

of

the

"modulation

oscillator"

that

is

the

heart

of

the

MODULATION

section.

Also

included

is

sample-and-

hold

circuitry

whose

sampling

rate

is

controlled

by the

modulation

oscillator.

A

modulation

oscillator

is

one

which

is

used

as

a

controller.

It

is a source

of

repeating

voltage

pat

terns—waveshapes

like

any

oscillator—which

are

often

restricted

to

low

frequency.

That's

because

the

control

signals

are

generally

used

to

make

slow-

moving

modulations

like

vibrato,

trills,

"wah-wah,"

and

the

like.

Vibrato

rate,

for

example

is

around

six

to

eight

Hz,

or

beats

per

second.

On

the

Multimoog,

the

modulation

oscillator

has a frequency

span

of

.3

to

30

Hz.

Its

output

is

represented

by

the

symbols

_f~[_

,and

S*\/

,

(square

and

triangle

wave,

respectively)

in

the

MODULATION

section.

If

you

recall

exercise

1,

you

began

by

listening

to

the

sound

of

the

voltage

controlled

OSCILLATOR

B

section

at a very

low

frequency.

So

low,

that

only

a

series

of

clicks

was

perceived

instead

of a sound

in

normal

hearing

range.

That

sound

was

below

the

frequency

of

normal

hearing,

or

it

was

sub-audio.

The

modulation

oscillator

produces

waveshapes

in

the

subaudio

range

for

control

purposes.

We

can't

use

the

modulation

oscillator

as a sound

source,

but

its

effect

will

be

dramatic

indeed

when

connected

to a control

input

of a VCO

or

VCF.

You

have

heard

some

of

the

effects

from

preceding

exercise

steps.

The

sample-and-hold

creates

a

series

of

control

voltage

steps

in a metronomic

fashion

with a rate

determined

by

the

RATE

control,

(frequency

of

the

modulation

oscillator).

To

understand

how

the

sample-and-hold

works,

let's

make

an

analogy

to

a

camera. A camera

"samples"

(photographs)

motion

and

"holds"

a

fixed

instant

in

time

(the

print).

The

sample-and-hold

"photographs"

(samples)

a

moving

r

48

voltage

signal

and

"prints"

(holds)

a

fixed

voltage

level.

When a sample

of a moving

voltage

signal

is

taken,

the

voltage

sensed

at

that

instant

is

held

until

the

next

sample

is

taken.

The

RATE

control

deter

mines

how

often

samples

are

taken.

When

the

voltage

signal

sampled

is

random-

like

noise—a

series

of

random

voltage

steps

will

be

produced.

The

sample-and-hold

of

the

Multimoog

does

sample

the

noise

signal

internally,

and

produce

a

series

of

random

voltage

steps.

See

illustration:

RANDOM

PATTERN

FROM

SAMPLING

NOISE.

-J1

In

the

case

of

the

5&H

AUTO

mode,

the

modulation

oscillator

also

produces

"triggers"

at

the

same

rate

as

it

generates

new

samples.

(Sampling

and

triggering

are

"synchronous"—happen

together.)

Now

that

you've

explored

the

MODULATION

section

and

have a feeling

for

its

capabilities,

it

might

be

useful

to

read

definitions

for

each

specific

setting

of

the

SOURCE

and

ROUTING

selectors.

(See

KEYBOARD

TOUCH

SECTION

The

KEYBOARD

TOUCH

section

lets

you

shape

sound

with

the

same

hand

that

plays

the

keyboard.

This

section

carries

the

"source-destination"

orientation

of

the

instrument

a

further

step

to

enhance

expressivity

and

power

in

performance.

One

mode

of

operation

lets

you

replace

the

left-hand-on-

MOD-AMOUNT-wheel

and

use a single

hand

to play

appropriate

pages

of

the

REVIEW

OF

FUNCTIONS

section

in

this

manual).

The

MODULATION

section

creates

many

of

the

textures

of

which

the

synthesizer

is

capable.

The

use

of

the

MOD

AMOUNT

wheel

and

the

source-

destination

orientation

of

the

MODULATION

section

are

important

performance

features

of

the

Multimoog.

the

Multimoog—retaining

expressive

capabilities.

The

other

mode

provides

simply the

most

expressive

"two-hand"

operation

of a synthesizer

to

date.

When

the

EFFECT

switch

in

the

KEYBOARD

TOUCH

section

is

set

to

MOD,

the

MODULATION

section

is

linked

to

the

KEYBOARD

TOUCH

section.

Set

up

the

following

and

begin

the

exercise:

EXERCISE

15:

EXPLORING

THE

KEYBOARD

TOUCH

SECTION

UNISON

ocnvi

^»

i

MASTin

ACD

wnsun

mukoc

00©

MC* . HUAS/

uouowncoMtuua

ram

ran

1.

Tune

OSCILLATOR

A

to

match

OSCILLATOR

B

using

the

INTERVAL

control.

2.

Depress

and

hold a key.

Slowly

move

the

MOD

AMOUNT

wheel

forward

to

control

the

amount

of

vibrato.

49

You

learned

about

this

"wheel"

modulation

path

previously.

But

now,

let's

relate

that

to

the

control

panel

graphics

as

shown

below:

WHEEL

MOD

PATH

3.

Now

make

sure

that

the

MOD

AMOUNT

wheel

is

fully

back

so

the

"wheel

mod

path"

is

not

in

use.

4.

Switch

the

EFFECT

switch

in

the

KEYBOARD

TOUCH

section

to

the

MOD

position.

5.

Lightly

depress

a

key

and

slowly

exert

more

force

(pressure)

on

the

key

to

control

vibrato

amount.

Panel

graphics

indicate

this

"touch"

modulation

path:

TOUCH

MOD

PATH

The

touch

MOD

path

links

the

MODULATION

section

to

the

KEYBOARD

TOUCH

section

such

that

keyboard

force

controls

the

amount

of

any

signal

placed

on

the

path.

Notice

that,

regardless

of

which

"mod

path"

is

used,

the

source

of

modulations

is

selected

by

the

SOURCE

selector

in

the

MODULATION

section.

We

call

this a "single

source"

orientation:

SINGLE

MOD

SOURCE

6.

Select

(alternately)

each

of

the

settings

of

the

SOURCE

selector.

Experiment

with

both

"mod

paths"

as

done

previously

using

the

MOD

AMOUNT

wheel

and

then

the

EFFECT

switch

in

its

MOD

setting.

Since

the

DESTINATION

and

ROUTING

controls

are

separate

(and

not

identical,

take

note!)

it

is

possible,

and

musically

useful to

route

the

single

modulation

to

multiple

destinations.

So

we

refer

to

the

Multimoog

as a "single

source,

multiple

destina

tion"

instrument:

MULTIPLE

MOD

DESTINATIONS

50

7.

Experiment

with

the

various

settings

of

the

DESTINATION

and

ROUTING

controls.

There

are

many

useful

combinations

of

touch/wheel

control.

When

the

EFFECT

switch

position,

the

KEYBOARD

is

in

the

MOD

TOUCH

and

MODULATION

sections

are

linked.

When

EFFECT

is

OFF,

the

KEYBOARD

TOUCH

section

can't

be

used,

(but

the

MODULATION

section

is

not

affected).

When

the

EFFECT

switch

is

in

the

BEND

position

the

KEYBOARD

TOUCH

section

works

independent

of

the

MODULATION

section,

as

shown

below:

ma

8.

Play.

Vary

amount

of

force

exerted

on

the

keyboard.

Pitch

bend

(upward)

is

heard.

9.

Vary

AMOUNT

control.

Interval

of

(maximum)

bend

is

changed.

(Exact

intervals

may

be

set).

10.

Select

OSC A on

the

DESTINATION

control.

Play.

Now,

only

OSCILLATOR

A

is

being

bent.

(Confirm

by

using

MIX

control

to

listen

to

first

one

oscillator

and

then

the

other.)

11.

Try

all

of

the

DESTINATION

settings.

Use

different

AMOUNT

settings.

Read

the panel

graphics.

All

of

the

DESTINATION

settings

are

self-

explanatory

except

"SYNCH A TO

B."

In

this

setting,

OSCILLATOR A is

"synched"

(tied

in

pitch)

to

OSCILLATOR

B.

Also,

the

control

signal

coming

into

the

DESTINATION

control

is

routed

to

the

(frequency)

control

input

of

OSCILLATOR

A

only.

When

OSCILLATOR

A

frequency

is

bent,

we

won't

hear a pitch

change,

since

OSCILLATOR

A

is

synched

to

OSCILLATOR

B—and

OSCILLATOR

B

isn't

being

bent.

We

do

hear a "tearing"

sound

as

OSCILLATOR

A

tries

to

remain

in

synch

with

B.

You

can

get

the

same

effect

manually

by

turning

the

INTERVAL

control,

which

affects

the

frequency

of

only

OSCILLATOR

A.

Experiment

with

various

INTERVAL

settings

to

vary

the

"synched"

sound.

If

you

have

only

one

hand

to

spare

when

playing

the

synthesizer,

consider

the

following:

51

12.

Bend

pitch

using

keyboard

force

sensitivity.

13.

Control

vibrato

amount

using a foot

pedal

attached

to

the

MODULATION

jack

on

the

rear

panel.

MOD

AMOUNT

wheel

may

be

used

to

actually

set

the

sensitivity

of

the

pedal.

(See

the

OPEN

SYSTEM

section of

this

manual

for

the

MODULATION

jack

for

procedure).

The

Multimoog

is

most

powerful

when

both

the

KEYBOARD

TOUCH

and

MODULATION

sections

are

used

simultaneously

and

independently

to

create

musical

nuance:

14.

Control

brightness

and dynamics

using

keyboard

force

sensitivity.

15.

Control

modulation

amount

using

MOD

AMOUNT

wheel.

(END

EXERCISE)

Now

that

you've

explored

the

KEYBOARD

TOUCH

section

and

have a feeling

for

its

capabilities,

it

might

be

useful

to

read

some

of

the

comments

made

about

specific

settings

of

the

SOURCE,

EFFECT,

and

DESTINATION

controls.

(See

appropriate

pages

of

the

REVIEW

OF

FUNCTIONS

section

of

this

manual.)

OSCILLATOR

B

SECTION

AS

CONTROLLER

OSCILLATOR B may

be

used

as a controller

as

well

as a sound

source.

You

have

already

used

OSCILLATOR B as a controller

in

exercise

5,

to

create

"clangorous"

sounds.

In

that

case,

the

sound

source

was

the

FILTER

section

(FILTER

MODE

switch

to

TONE).

The

following

sound

chart

shows

that

OSCILLATOR

B

may

be

used

as

the

sound

source,

and

a

controller

simultaneously:

EXERCISE

16:

OSCILLATOR

B

AS

BOTH

SOUND

SOURCE

AND

CONTROLLER

OO00OIO0I0

Kitnti

ansmn

m

acrart

^»

wx*

nta

bouh

eaumnc

7SS7

tutnaua

mriaun

DouajKC

1.

Hold

down

any

key.

Notice

that

the

OSCILLATORS

switch

is

in

the

NORM

position

(the

Oscillator

section

is

the

sound

source).

2.

Move

the

FILTER

MOD

BY

OSC B switch

to

the

STRONG

position.

Now

play

and

notice

change

in

sound

texture.

3.

Return

FILTER

MOD

BY

OSC B to

the

OFF

position.

Place

CONTOUR

AMOUNT

control

to

"+5."

Play.

FILTER

section

is

contoured.

Continue.

4.

Place

FILTER

MOD

BY

OSC

to

the

STRONG

position

once

again.

Now

play

and

note

effect.

5.

Place

the

EMPHASIS

control to

"0."

Play.

Notice

that

use

of

FILTER

MOD

BY

OSC B is

most

dramatic

when

the

EMPHASIS

control

is

set

high,

and

the

filter

cutoff

frequency

is

being

contoured.

(END

EXERCISE)

52

The

WEAK

and

STRONG

positions

of

the

FILTER

MOD

BY

OSC B switch

connect

the

entire

output

of

OSCILLATOR

B

(DOUBLING

included)

to

the

control

input

of

the

FILTER

section.

OSCILLATOR

B

section

acts

as a controller,

rapidly

modulating

filter

cutoff

frequency.

When

OSCILLATOR

B

is

the

sound

source,

its

own

signal

is

modulated

by

itself,

creating

a

more

complex

sound.

You

might

experiment

with

use

of

the

FILTER

MOD

BY

OSC B switch

with

any

of

the

sounds

you

create.

When

you

make

clangorous

sounds

using

the

FILTER

in

TONE

mode

(see

Exercise

5),

OSCILLATOR

B

is

used

only

as a controller

(OSCILLATORS

switch

to

OFF

position).

But

to

maintain

consistency

of

timbre

over

the

entire

keyboard,

the

OSCILLATOR

B

must

follow

the

keyboard

to

maintain

the

same

frequency

ratio

between

the

OSCILLATOR B and

FILTER

sections.

Even

though

the

OSCILLATORS

switch

is

placed

OFF

and

the

OSCILLATOR

B

section

is

not

heard,

it

is

still

under

keyboard

control.

PITCH

Ribbon

The

PITCH

ribbon

to

the

left

of

the

keyboard

is

an

important

performance

controller.

It

generates

a

signal

that

is

conneaed

to

the

(frequency)

control

input

of

the

oscillators.

The

PITCH

ribbon

bends

the

pitch

of

the

oscillators

only;

it

has

no

effect

on

the

NOISE

section,

or

the

FILTER

section,

even

when

in

TONE

mode.

The

PITCH

ribbon

is a resistance

element

protected

with

plastic-coated

mesh.

In

the

center

of

the

ribbon

is a dead

band,

marked

with

a

bump.

This

causes

no

bending

of

pitch,

and

provides

a

way

to

feel

the

"center"

of

the

pitch.

Pitch

is

bent

by

depressing

the

ribbon

and

moving

away

from

the

center

bump.

Oscillator

pitch

may

be

bent

up

or

down

with a similar

movement

on

the

ribbon.

On

release of

the

ribbon

at

any

point,

pitch

is

returned

to

"center,"

or

the

original

pitch

instantly.

The

PITCH

ribbon

is a most

important

development

that

allows

the

performer

to

achieve

the

subtlety

of

pitch

bending

associated

with

all

solo-line

musical

instruments—don't

ignore

its

use!

EXERCISE

17:

PITCH

RIBBON

AND

RIBBON

ROUTING

SWITCH

1.

Depress

and

hold

any key

with

your

right

hand.

2.

Place

the

"pad"

on

the

end

of

your

middle

finger

(left

hand)

directly

over

the

bump

on

the

PITCH

ribbon.

3.

Press

down

slightly

with

your

left

hand;

slide

alternately

above

and

below

the

bump

to

bend

pitch

away

from

the

note.

4.

Now,

run

your

finger

lightly

over

the

PITCH

ribbon;

notice

that

the

bump

can

be

"found"

without

causing

the

pitch

to

bend.

Learn

exactly

how

much

force

must

be

used

to

engage

the

ribbon

and

cause a pitch

bend.

5.

Bend

toward

the

note by

depressing

the

finger

above

(or

below)

the

center

bump,

and

then

move

toward

the

center

bump.

6.

"Tap

out"

trills

by

hitting

on a specific

interval

either

side of

the

center

bump.

The

Multimoog's

PITCH

ribbon

gives

you

tact;7e

feedback—you

can

feel

it.

It

also

gives

visual

and

spatial

feedback—like

the

trombonist's

slide,

or

the

violinist's

string.

Development

of

pitchbending

technique

is

critical

for

believable

solo

lines.

Continue:

7.

Perform

a

wide

bend

upward.

(Both

oscillators

will

bend).

8.

Place

the

RIBBON

ROUTING

switch

to

OFF.

Bend.

(There

will

be

no

bend.)

9.

Place

the

RIBBON

ROUTING

switch

to

the

OSC

A

position.

Bend.

Now,

only

OSCILLATOR

A

will

be

bent.

The

usefulness

of

being

able

to

bend a single

oscillator

is

fairly

apparent,

but

perhaps

you

are

wondering

why

there

is

an

OFF

position

for

RIBBON

ROUTING.

Wouldn't

the

result

be

the

same

if

you

simply

didn't

use

the

PITCH

ribbon?

Not

exactly.

The

Multimoog

is

an

open

system

synthesizer

that

can

control

other

synthesizers.

Suppose

you

wished

to

bend

the

oscillators

of

an

external

synthesizer

but

not

those

of

the

Multimoog?

So,

we

include

an

OFF

position,

for

internal

routing

purposes

only.

In

addition,

the

KBD & TRIG

EXT

OUTPUT

makes

the

RIBBON

output

available

(or

not)

at

the

KBD

output

on

the

rear

of

the

Multimoog.

For

more

information,

see

the

OPEN

SYSTEM

section

of

this

manual.)

TRIGGER

SOURCES

A

trigger

is a signal

that

acts

to

start

and

end

the

action

of

the

FILTER

CONTOUR

and

LOUDNESS

CONTOUR

sections

of

the

Multimoog. A trigger

signal

triggers

sound

The

particular

type

of

signal

generated

by

the

Multimoog

is

refered

to

as

an

"S-

Trigger",

short

for

"switch

trigger".

The

S-Trig

acts

like a switch;

whenever

a

key

on

the

keyboard

is

depressed

an

S-Trigger,

or

drop

to

zero

volts,

is

produced.

An

S-Trig

begins

when a key

is

depressed,

and

ends

when

all

keys

are

released.

See

below

for

an

illustration:

SWITCH

TRIGGER

i

VOLTAGE + |

I

KEY

DEPRESSED

A

trigger

is

used

to

start

the

contour

generators

to

initiate

and

terminate

musical

sounds.

The

diagram

below

depicts

the

relationship

between

a

trigger

and

a

KEY

RELEASED

possible

control

signal

produced

by a contour

generator:

TRIGGER/CONTROL

VOLTAGE

RELATIONSHIP

CONTROL

VOLTAGE

FROM

CONTOUR

GENERATOR

I

I

I

S-TRIG

I

+

1

I

KEY

DEPRESSED

I

KEY

RELEASED

54

EXERCISE

18:

SINGLE/MULTIPLE

TRIGGERING

KEYBOARD

PRIORITY

a*Asa

XJ

OOOQOI0QO

wmiuri

eousu«c

OttCILLATOR

oas

am_^^^—u

^^"^^L

BUT

?

OCSItUTtOH

(UtOUKT

MOOULATION

O0

1.

Play

the

keyboard

alternately

with

connected

(legato)

and

detached

(staccato)

technique.

Notice

the

difference

in

sound

response.

Alternate

techniques

for

phrasing

and

accent

effects.

Note

that

the

KBD

TRIGGERING

Switch

is

to

SINGLE.

2.

Move

the

CONTOUR

AMOUNT

control

back

to

"+2".

Notice

that

the

difference

between

legato

and

staccato

technique

is

less

exaggerated

as

CONTOUR

AMOUNT

is

reduced.

3.

Move

the

FILTER

CONTOUR

RELEASE

control

to

the 100

msec

position.

The

"head"

on

the

note

occurs

more

quickly

now.

As

this

exercise

indicates,

musical

use

of single

triggering

is

most

effective

when

the

FILTER

section

is

being

contoured.

Making

good

use

of

single

triggering

requires

some

experimentation

with

several

controls.

But

the

important

thing

to

remember

is

that,

unlike

organs

and

some

synthesizers,

what

you

do

on

the

keyboard

of

the

Multimoog

can

contribute

to

the

expressivity

of

the

music

when

single

triggering

is

used.

Continue

exercise:

4.

Select

the

MULTIPLE

position

of

the

KBD

TRIGGERING

switch to

provide

multiple

triggering.

5.

Play

as

before.

Note

that a new

trigger

is

generated

to

coincide

with a new

pitch

regard

less

of

keyboard

technique.

(END

EXERCISE)

Multiple

triggering

can

be

useful

during

very

rapid

passages

to

insure

that

notes

will

not

be

"lost".

It

is

interesting

to

note

that

MoogT"-style

multiple

triggering

is

different

from

some

other

"multiple"

S&H

AUTO

TRIGGERING

The

other

source

of

triggers

on

the

Multimoog

is

the

S&H

AUTO

mode

of

the

MODULATION

section.

In

this

mode, a series

of

triggers

is

generated

that

is

controlled

in

rate

by

the

RATE

control.

Like

any

trigger

schemes.

Triggers

and

new

pitches

always

coincide,

since

new

triggers

are

generated

literally

by

sensing a pitch

change.

trigger,

these

triggers

activate

60th

contour

generators

on

the

Multimoog.

It

might

be

useful

to

note

that a S&H

AUTO

trigger

lasts

only

half

of

the

time

taken

by a given sample;

see

exercise

below:

EXERCISE

19:

S&H

AUTO

TRIGGERING

UQ

OSCILLATOR

A

oncnuAToap

OQPP0ODO

O0

oioc

muna

■~n

mm

rant

mat

Place

the

SOURCE

selector

to

the

S&H

AUTO

position.

Notice

that

at

any

RATE

setting

sound

and

silence

will

be

equal

(given

near-instant

ATTACK

and

RELEASE

times

in

the

LOUDNESS

CONTOUR

section.

The

trigger

"on"

time

occupies

only

half

of

the

period

of

the

sample

and

hold

clock.

The

S&H

KBD

position

of

the

SOURCE

selector

does

not

produce

triggers!

In

this

mode,

the

contour

generators

may

be

triggered

by

the

keyboard,

independent

of

the

rate

of

sampling.

Continue

exercise:

2.

Place

the

SOURCE

selector

to

S&H

KBD.

Sound

is

not

self-triggering.

3.

Hold

down

any

key.

Release,

hold

again.

The

keyboard

is

triggering

the

contour

generators.

The

MODULATION

section

continues

to

create

control

signals.

You

will

hear

sound

only

when

the

contour

generators

are

triggered

by

the

keyboard.

(END

EXERCISE)

External

triggers

may

be

routed

to

the

Multimoog

via

either

the

S-TRIC

INPUT

or

S-TRIG

OUTPUT

on

the

rear

panel

(see

OPEN

SYSTEM

section

of

this

manual).

EXERCISE

20:

BOLSTERING

THE

EGO

1.

If

you're

still

here

after

wading

through

this

incredible

wad

of

information,

bolster

your

ego

by

returning

to

an

earlier

part

of

the

manual

and

discovering

how

much

you've

learned!

(REST)

This

concludes

our

GUIDED

SYNTHESIZER

TOUR.

For a review

of

each

control,

slide-switch,

and

rotary

switch

on

the

front

panel,

refer

to

the

appro

priate

pages

of

the

REVIEW

OF

FUNCTIONS

section

of

this

manual.

56

open

system

An

"open

system"

can

communicate

with

other

devices.

This

section

of

the

manual

explains

how

the

inputs

and

outputs

on

the

rear

panel

allow

two-way

communication

between

the

Multimoog

and

external

devices

such

as

other

synthesizers

and

Moog

accessories.

You

will

understand

"open

system"

communication

with

external

synthesizer

gear

better

if

you

know

how

the

audio,

control,

and

trigger signals

produced

by

the

Multimoog

function

internally

(see

GUIDED

SYNTHESIZER

TOUR

section).

An

electronic

musical

instrument

doesn't

make

sounds—it

makes

electrical

signals.

We

can't

hear

electrical

signals,

so

we

connect

the

instrument

to

an

amplifier

and

speaker

to

translate

signals

into

sounds.

Signals

that

are

translated

into

sounds

are

called

"audio"

signals—they

become

audible.

Electronic

instruments

have

an

audio

output

which

must be

connected

to

the

audio

input

of a monitor

(amp

and

speaker).

To

use a bit

of

technical

jargon,

when

you

connect

your

Multimoog

to

an

amp,

you

are

"interfacing

systems."

That

means

connecting

two

or

more

devices

so

they

work

together

properly.

With

many

instruments,

after

the

audio

connection

is

made,

further

possibilities

of

"interfacing

systems"

are

very

limited.

Even

if

you

put

sound

modifiers

(phaser,

wah-wah

pedal,

fuzz)

between

the

instrument

and

amp,

you

are

still

dealing

with only

the

audio

signal

produced

by

the

instrument.

The

synthesizer's

potential

for

music-making

through

interfacing

systems

is

greater

than

most

electronic

instruments.

Like

any

electronic

instru

ment,

the

synthesizer

generates

audio

signals

in

order

to

make

sound.

But

the

synthesizer

also

produces

trigger

signals—to

turn

sounds

on

and

off;

and

control

signals—to

dynamically

alter

pitch,

timbre,

and

other

aspects

of

sound.

These

trigger

and

control

signals

are

created

internally

by

the

synthesizer.

If

the

designer

provides

paths

for

them

to

leave

(and

enter)

the

synthesizer,

the

instrument

is

an

"open

system."

That's

what

the

output

and

input

sockets

on

the

rear

panel

of

the

Multimoog

are

all

about.

The

OUTPUTS

make

most

of

the

Multimoog's

audio,

control,

and

trigger

signals

available

to

the

outside

world.

The

INPUTS

allow

these

signals

to

be

fed

into

the

Multimoog

from

the

outside

world.

MULTIMOOG

REAR

CONNECTOR

PANEL

An

open

system

synthesizer

like

the

Multimoog

can

control

and

be

controlled;

trigger

and

be

triggered;

produce

sound

and

modify

sound

from

other

instruments.

You

might

start

thinking

of

the

Multimoog

as

not

only a self-contained

musical

instrument,

but

an

expandable

system

of

devices

that

produce,

modify,

trigger,

and

control

sound—as

the

growth

of

your

musical

ideas

requires.

Rear

panel

jacks

are

}A"

mono,

with

the

exception

of

MODULATION

and

GLIDE,

which

are

3/16"

stereo

jacks.

Trigger

signal

connections

require

two-prong

Cinch-Jones

connectors.

Many

sockets

are

dual

function—they

act

as

either

an

input

and/or

an

output.

The

primary

function

(as

named

on

the

rear

panel)

of

such

sockets

will

be

discussed

first.

The

following

pages

describe

the

input

and

output

sockets

for

audio,

trigger,

and

control

signals

available

at

the

rear

panel,

with

some

suggestions

for

musical

use.

After

the

individual

descriptions,

there

is

a

short

"Getting

It

Together"

section

that

shows

how

to

"slave"

one

Multimoog

to

another

using

all

three

types

of

signals.

The

key

to

creative

freedom

using

an

open

system

synthesizer

lies

in

knowing

your

instrument.

Once

you

understand

how

audio,

control,

and

trigger

signals

work

within

the

Multimoog,

their

external

uses

will

become

apparent.

57

AUDIO

SIGNALS

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AUDIO

OUTPUTS

The

/AUD/O

OUTPUTS

are

used

to

route

the

audio

(sound)

output

of

the

Multimoog

to

a

monitoring system

to

create

sound.

LO

AUDIO

is

a

low

level

(-10

dBm)

output

suitable

for

connection

to

a

P.A.

or

guitar

amplifier

that

has

its

own

preamplifier.

HI

AUDIO

is a high

level

output

(+12

dBm)

capable

of

direct

connection

to

many

power

amplifiers.

Like

an

electric

guitar,

the

Multimoog's

audio

output

may

be

modified

using a phaser,

wah-wah

pedal,

fuzz,

or

other

sound

modifier

to

create

special

effects.

In

particular,

Moog900

Series

modules

may

be

used

to

modify

audio

output.

For

instance,

audio

output

could

be

passed

through a Moog

907

Fixed

Filter

to

create

"peaks"

(like

equalization

but

much

stronger)

in

the

harmonic

spectrum,

radically

changing

timbre.

The

907

creates

conditions

similar

to

the"formants"

present

in

many

acoustic

instruments.

For

example,

the

bassoon

has a formant,

or

resonant

region,

arou

nd

500

Hz

that

is

present

throughout

most

of

the

playable

range

of

the

instrument.

Use

of

the

907

Filter

to

create

a

peak

at

500

Hz

would

cause

the

sound

output

to

have a formant

at

that

frequency,

enhancing

the

imitation

of

the

bassoon.

The

Multimoog

is

particularly

suitable

for

use

with

modular

equipment,

since

the

Multimoog

also

externalizes

trigger

and

control

signals

used

for

effective

communication

between

instruments.

AUDIO

INPUT

The

AUDIO

INPUT

is a single

function

jack.

Its

purpose

is

to

allow

feeding

the

sound

of

other

instruments

through

the

Multimoog

for

modification.

You

may

input

any

external

audio

signal,

such

as

the

output

of

electric

guitars,

organs,

pianos,

tape

recorders,

and

microphones

into

this

jack

on

the

Multimoog.

The

AUDIO

INPUT

is

fixed

in

sensitivity;

it

is

adequate

for

the

output

level

of

many

electronic

instruments

(100

mV

RMS

input

required

for

full

drive;

input

impedance

is

100K

Ohms).

In

some

cases,

as

with

dynamic

microphones

or

guitars

with

low-

level

pickups,

preamplification

before

introduction

to

the

AUDIO

INPUT

may

be

necessary.

Many

guitar

amps

provide

a

separate

preamp

output

that

can

be

used

for

this

purpose.

When

an

external

audio

signal

is

fed

into

the

AUDIO

INPUT,

it

appears

at

the

audio

input

of

the

FILTER

section

and

follows

the

normal

audio

signal

path.

It's

important

to

remember

that

when

you

connect

an

instrument

like

the

guitar to

the

AUDIO

INPUT,

only

an audio

signal

is

provided

to

the

Multimoog.

The

external

instrument—the

guitar—

doesn't

produce

control

and

trigger

signals.

A

simple

AUDIO

INPUT

connection

won't

control

the

oscillators

to

make

them

"follow"

the

tune

played

by

the

guitarist.

And

the

contour

generators

in

the

Multimoog

will

not

be

triggered

by

the

articulations

of

the

guitarist.

So,

for

basic

use

of

the

AUDIO

INPUT

remove

the

oscillators

from

the

audio

signal

path

(place

OSCILLATORS

switch

to

OFF);

and

bypass

the

internal

voltage

controlled

amp

(place

BYPASS

switch

to

ON)

so

the

guitar

may

be

heard:

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AUDIO

INPUT

SOUND

CHART

As

with

any

Multimoog

sound

chart,

blank

controls

should

be

placed

fully

counterclockwise

(see

SOUND

CHARTS

section).

When

you

try

the

above

sound

chart,

experiment

with

the

CUTOFF

and

EMPHASIS

controls;

vary

RATE

and

MOD

AMOUNT;

select

S&H

KBD

as

the

MODULATION

section

SOURCE.

These

are

means

of

controlling

the

FILTER

section

to

modify

the

timbre

of

the

external

instrument.

In

this

case,

no

internal

sound

sources

or

trigger signals

are

being

used.

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SIGNALS

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KBD & TRIG

EXT

OUTPUT

S-TRIG

OUTPUT

The

S-TRIG

OUTPUT

is

functional

(as

output

or

input)

only

when

the

KBD

AND

TRIG

EXT

OUTPUT

switch

on

the

front

panel

is

switched

to

either

ON

or

ON + RIBBON

position.

The

S-TRIG

OUTPUT

is a dual function

device.

Its

primary

purpose

is

to

externalize

a

trigger

signal

when

one

is

produced

by the

keyboard

or

sample

and

hold

(S&H

AUTO)

in

the

Multimoog.

This

output

routes

signals

that

can

trigger

modules

such

as

the

Moog

911

Envelope

Generator,

921

Oscillator,

or

the

contour

(envelope)

generators

of

another

synthesizer

that

accepts

S-triggers.

When

the

S-TRIG

OUTPUT

is

used

to

route a trigger

to

another

synthesizer,

we

can

articulate

the

sound

of

that

synthesizer

by

depressing

a

key

on

the

Multimoog.

For

example,

Multimoog

A

might

be

connected

to

Multimoog

B

so

that

both

will

be

triggered

by

the

keyboard

of

Multimoog

A,

as

shown:

S-TRIG

OUTPUT

TO

S-TRIG

INPUT

TRIGGERING

S-TRIG

OUTPUT

STANDARD

CINCH-JONES

'

FEMALE-MALE

CABLE

MULTIMOOG

A

S-TRIG

INPUT

MULTIMOOG

B

When

Multimoog

A

is

triggered

Multimoog

B

will

also

be

triggered

through

its

S-TRIG INPUT.

(Multimoog B will

not

trigger

Multimoog A as

connected,

because

the

S-TRIG

INPUT

acts

only

as

an

input—it

cannot

ouput a trigger.)

The

primary

function

of

the

S-TRIG

OUTPUT

is

to

tell

the

outside

world

important

internal

timing

information;

when a key

is

depressed

and

released,

and/or

the

rate

of

the

sample

and

hold.

The

S-TRIG

OUTPUT

is

dual

function;

it

also

acts as

an

input

for

externally-produced

trigger

signals.

And

external

trigger

applied

to

the

S-TRIG

OUTPUT

will

trigger

the

LOUDNESS

CONTOUR

and

FILTER

CONTOUR

sections

of

the

Multimoog,

as

an

internally-produced

trigger

would.

An

external

trigger

routed

to

the

S-TRIG

OUTPUT

has

priority

over

both

keyboard

and

S&H

AUTO

internal

triggering.

That

means,

when

an

external

trigger

is

applied

to

the

S-TRIG

OUTPUT,

the

Multimoog

will

be

triggered

regardless

of

internal

conditions—even

when

no

internal

triggers

are

present.

Naturally,

when

no

external

trigger

is

present,

all

internally-produced

triggers

work

normally.

When

both

external

and

internal

triggers

are

present

simultaneously,

no

special

effect

is

created,

that

is,

triggers

do

not

"add"

like

control

voltages

do.

If

an

internal

trigger

is

already

59

present

(e.g.,

key

depressed),

application

of

another

trigger

externally

will

not

be

discernible,

and

the

converse.

The

following

diagram

illustrates

the

dual

input/output

capacity

of

the

S-TRIG

OUTPUT

plug:

S-TRIG

OUTPUT

TO

S-TRIG

OUTPUT

TRIGGERING

S-TRIG

NOrS-STANDARD

OUTPUT 1 FEMALE-FEMALE

CABLE

OUTPUT

S-TRIG

MULTIMOOG

B

CABLE

DETAIL:

NARROW

SOCKET

CINCH-JONES

S3O2-CCT

WIDE

SOCKET

(COVER

NOT

SHOWN)

Each

Multimoog

will

trigger

itself

normally.

Multimoog A will

trigger

Multimoog

B,

and

Multimoog

B

will

trigger

Multimoog

A

because

each

S-TRIG

OUTPUT

ads

as

both

an

input

and

an

output

for

trigger

signals.

Any

simple

switch

can

be

modified

to

trigger

the

Multimoog

using

the

S-TRIG

OUTPUT

as

an

input.

Addition

of a capacitor

is

required

to

"debounce"

switch

contact

closure

as

shown:

SWITCH

TO

APPLY

TRIGGER

INPUT

TO

S-TRIG

OUT

PLUG

OPEN

SWITCH

CLOSED

1>iF.20V

SMALL

SOCKET

LARGE

SOCKET

CINCH

JONES

S302-CCT

CABLE

SOCKET

CAPACITOR

The

switch

will

trigger

a

Multimoog

when

closed.

S-TRIG

INPUT

The

S-TRIG

INPUT

acts

only

as

an

input.

It

accepts

an

external

trigger

signal

that

triggers

the

LOUDNESS

CONTOUR

and

FILTER

CONTOUR

sections

of

the

Multimoog

as

an

internal

trigger

would.

An

external

trigger

fed

into

the

S-TRIG

INPUT

has

priority

over

keyboard

triggering,

but has

absolutely

no

effect

when

the

Multimoog

is

in

the

S&H

AUTO

mode.

This

means

that

when

an

external

trigger

is

applied

to

the

S-TRIG

INPUT,

the

Multi

moog

will

be

triggered

even

if

no

key

is

depressed.

But

when

the

Multimoog

is

in

the

S&H

AUTO

mode,

the

S-TRIG

INPUT

is

removed

from

the

circuit

and

external

triggers

applied

there

are

completely

ignored.

(Internal

keyboard

triggers

are

also

ignored

60

in

the

S&H

AUTO

mode.)

Naturally,

when

no

external

trigger

is

present,

(and

the

Multimoog

is

not

in

the

S&H

AUTO

mode)

keyboard

triggers

work

normally.

When

both

external

and

internal

triggers

are

present,

no

special

effect

is

created;

that

is,

triggers

do

not

"add"

like

control

voltages

do.

For

example,

if a key

is

depressed

(internal

trigger),

application

of

another

trigger

to

the

S-TRIG

INPUT

will

not

be

discernible.

I

n

the

S&H

AUTO

mode,

triggers

from

the

S-TRIG

INPUT

and

the

keyboard

are

ignored

entirely.

Obviously

the

S-TRIG

INPUT

is

compatible

with

an

"S-trigger,"

or

"switch

trigger."

This

is a very

useful

type

of

trigger

input,

because

the

performer

can

devise

any

kind

of

simple

switch

that

will

close

to

trigger

theMultimoog.

No

power

supply

or

circuitry

is

required;

when

the

switch

is

closed a trigger

is

produced.

To

show

how

easily

the

Multimoog

can

be

triggered,

touch a coin

to

both

prongs

of

the

S-TRIG

OUTPUT.

You're

now

using

this

plug

as a

trigger

input

and

you've

triggered

the

Multimoog

by

making

a

switch

closure—without

use

of

circuitry.

The

S-TRIC

INPUT

functions

the

same

way,

but

requires

insertion

of a Cinch-Jones

plug.

When

the

two

wires

attached

to

the

inserted

Cinch-Jones

plug

are

touched

together,

a

"switch

closure/'

or

S-trigger

is

produced

and

the

Multimoog

speaks.

Since

the

S-TRIC

INPUT

is

internally

"debounced"

to

clean

up

dirty

switch

closures,

the

switch

does

not

require

the

addition

of

a

capacitor.

The

Moog

1121

Footswitch

can

be

modified

to

trigger

the

Multimoog.

The

existing

output

plug

on

the

1121

must

be

replaced

with

a

Cinch-Jones

plug

to

be

compatible

with

the

5-772/C

INPUT

socket.

The

S-TRIC

INPUT

acts

only

as

an

input,

but

is

very

versatile.

It

is

compatible

with

standard

logic

families

(RTL,

TTL,

CMOS,

DTL).

The

threshold

of

the

S-TRIG

INPUT

is

+2

volts;

signals

less

than

2

volts

cause

the

Multimoog

to

be

triggered.

The

S-TRIC

INPUT

may

also

be used

with

modules

or

synthesizers

that

produce

V-triggers

(voltage

triggers),

such

as

the

Moog

960, 961,

962,

Sequencer

Complement,

921

Oscillator,

Moog

Sonic

Six

synthesizer,

and

even

...

non-Moog

synthesizers!

The

following

graphic

indi

cates

wiring

procedure:

V-TRIG

TO

S-TRIC

CONNECTOR

FROM

V-TRIG

OUTPUT

JACK

TIP

GROUND

SHIELDED

CABLE

SMALL

PRONG

V."

SWITCHCRAFT

S250

MONO

PHONE

PLUG

GROUND

TO

S-TRIG

INPUT

OF

MULTIMOOG

LARGE

PRONG

S-TRIG

"OFF1

V-TRIG

ON"

CINCH

JONES

P302-CCT

CABLE

PLUG

VOLTAGE

V-TRIG

"OFF"

S-TRIG

"ON"

The

above

cable

acts

only

as a connector;

it

does

not

transform

V-triggers

into

S-triggers.

As

shown

above,

the

cable

will

provide

an

S-trigger

only

when a V-trigger

is

"off."

Many

synthesizers

produce

a

V-trigger

(voltage

HIGH

(ABOVE

+2V)

LOW

(BELOW

+2V)

trigger)

when a key

is

depressed.

If

you

wish

to

trigger

the

Multimoog

using

the

V-trigger

(sometimes

called

"gate")

output

of

such

an

instrument,

insert

the

following

circuitry

between

the

phone

plug

and

Cinch-Jones

plug

in

the

previous

diagram.

V-TRIG

TO

S-TRIG

CONVERSION

CIRCUIT

TIP

LARGE

PRONG

IN

4148

DIODE

JONES

PLUG

The

circuit

inverts

a

V-trigger

and

malces

it

an

S-

trigger.

(This

V-Trig

to

S-Trig

cable

is

available

from

Moog

Music;

part

#74-221).

The

S-TRIC

INPUT

accepts

timing

information

from

external

sources

such

as

another keyboard,

a

switch,

and

Moog

Accessories

such

as

the

1130

Drum

Controller,

The

S-TRIC

INPUT

expands

the

musical

potential

of

the

instrument.

For

instance,

use

of

the

1130

Drum

Controller

to trigger

the

Multimoog

using

the

S-TRIG

INPUT

allows

the

drummer

to

articulate

sound

with

sticking

techniques

that

would

be

impossible

on

the

keyboard

Trigger

input/output

is

a

necessary

part

of

any

totally

"open

system"

synthesizer.

CONTROL

SIGNALS

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S-TK

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V.

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KEYBOARD

OUTPUT

The

KBD

OUTPUT

(keyboard

output)

is a dual

function

jack.

It

can

function

as

an

output

only

when

the

KBD & TRIG

EXT

OUTPUT

switch

on

the

front

panel

is

in

either

the

ON,

or

ON + RIBBON

position.

The

KBD

OUTPUT

jack

can

function

as

an

input

only

when

its

associated

attenuator

is

in

the

fully

counterclockwise

"click"

position.

The

keyboard

of

the

Multimoog

generates

a

control

signal

that

normally

controls

the

pitch

of

the

oscillators

and

the

cutoff

frequency

of

the

filter.

This

keyboard

control

signal

is

available

for

external

use

at

the

KBD

OUTPUT

jack.

You

can

usetheMultimoog's

keyboard

to

control

external

(voltage-controlled)

devices.

The

use

of

the

KBD

OUTPUT

does

not

interfere

with

normal

internal

keyboard

control.

The

KBD

OUTPUT

provides

the

control

signal

from

only

the

keyboard,

or

both

the

keyboard

and

the

PITCH

ribbon,

according

to

the

setting

of

the

KBD & TRIG

EXT

OUTPUT

switch

on

the

front

panel.

Other

front

panel

controls

have

no

effect

on

the

KBD

OUTPUT,

even

those

that

affect

pitch

internally,

such

as

OCTAVE,

WIDE

FREQ,

DOUBLING,

and

FINE

TUNE

on

the

rear

panel.

However,

since

the

GLIDE

control

affects

keyboard

responses,

GLIDE

settings

will

affect

the

KBD

OUTPUT

signal.

When

the

lowest

key

is

depressed,

a

signal

of

zero

volts

is

produced

at

the

KBD

OUTPUT;

each

ascending

half-step

on

the

keyboard

adds

an

increment

of

+1/12

volt

to

the

signal

level

(nominally

62

one

volt

per

octave).

Internally,

precise

calibration

yields

precise

diatonic

(twelve

tones

to

the

octave)

keyboard

control

of

the

oscillators.

For

external

calibration,

an

attenuator

with a voltage

span

±10%

is

provided

(above

jack).

Once

the

keyboard

control

signal

is

brought

"outside"

using

the

KBD

OUTPUT,

you

can

produce

some

interesting

musical

results.

For

instance,

the

KBD

OUTPUT

can

be

connected

to

the

control

input

of a Moog

921

Voltage

Controlled

Oscillator

to

make

the

921

"track"

the

keyboard

of

the

Multimoog

and

play

in

unison

with

its

oscillators.

If

the

external

oscillator

is

tuned

at

an

interval

to

the

oscillators,

parallel

intervals

will

be

produced

when

you

play

the

keyboard.

Suppose

we

invert,

or

electrically

turn

the

KBD

OUTPUT

signal

upside

down.

An

external

oscillator

controlled

with

this

inverted

signal

would

play

higher

as

you

play

lower

on

the

Multimoog's

keyboard!

If

you

attenuate

(lessen)

the

signal

by

half

an

externally

controlled

oscillator

would

play

quarter

tones

when

half

steps

are

played

on

the

keyboard.

Although

any

number

of

voltage

controlled

modules

may

be

controlled

from

the

Multimoog's

keyboard

using the

KBD

OUTPUT,

an

important

concept

should

be

understood.

The

keyboard

of

any

monophonic

(single

voice)

synthesizer

like

the

Multimoog

produces

only

one

control

signal,

regardless

of

how

many

keys are

depressed.

When

several

keys

are

depressed

on

the

Multimoog,

the

r

lowest

key

determines

the

single

keyboard

control

signal.

A

monophonic

instrument

may

have

more

than

one

tone

oscillator

(the

Minimoog

has

three),

and

the

oscillators

might

be

tuned

to

produce

a

chord.

But,

if

the

keyboard

is

monophonic,

all

the

oscillators

may

follow

the

single

keyboard

control

signal

and

produce

parallel

chords,

but

not

polyphony

(several

independent

voices).

So

the

KBD

OUTPUT

might

be

used

to

control

several

external

oscillators,

but

no

external

manipulation

of

the

KBD

OUTPUT

signal

will

make

the

keyboard

of

the

Multimoog

become

polyphonic

like

an

organ.

The

KBD

OUTPUT

helps

make

the

Multimoog

fully

compatible

with

other

synthesizers

and

the

largest

modular

systems.

It

conveys

important

information

to

the

outside

world—which

key

on

the

Multimoog

is

being

depressed.

The

KBD

OUTPUT

functions

as

an

input

when

its

associated

attenuator

(pot)

is

turned

fully

counter

clockwise

to

the

"click"

position.

In

this

case, a

control

signal

fed

into

the

KBD

OUTPUTjack

replaces

the

internal

keyboard

signal.

Then

the

external

signal

controls

both

the

pitch

of

both

oscillators

and

the

cutoff

frequency

of

the

filter,

and

the

keyboard

of

the

Multimoog

controls

nothing.

(Note

that

the

external

signal

behaves

exactly

as

though

it

were

the

internal

keyboard

signal.

For

instance,

if

you

place

the

OSCILLATORS

switch

to

the

DRONE

setting,

the

external

signal

will

no

longer

control

the

oscillators,

(but

will

continue

to

control

the

filter

cutoff

frequency).

When

the

KBD

OUTPUT

is

used

as

an

input,

you

can

easily

switch

from

normal

Multimoog

keyboard

control

to

an

overriding

external

control

source—such

as

the

highest

note

played

on

the

keyboard

of

the

Polymoog.

Of

course,

the

oscillators

and

filter

could

be

controlled

using

the

OSC

A&B

INPUT

and

FILTER

INPUT;

but

these

control

inputs

add

to

the

internal

keyboard

control

signal.

That

means

you

would

constantly

have

to

worry

about

which

key

you

last

struck

on

the

Multimoog

(it

adds)

when

switching

from

Multimoog

to

Polymoog

keyboard

control.

The

control

signal

from

the

key

board

of

the

Polymoog

will

simply

replace

the

keyboard

signal

in

the

Multimoog

when

the

KBD

OUTPUT

is

used

as

the

input.

The

pitch

of

the

oscillators

of

the

Multimoog

will

always

agree

with

the top

note

of

the

Polymoog

keyboard

in

this

case.

RIBBON

OUTPUT

The

RIBBON

OUTPUT

is

not

subject

to

front

panel

control.

The

RIBBON

OUTPUT

always

provides

the

signal

created

by

depressing

the

PITCH

ribbon

at

the

left

of

the

keyboard.

The

signal

from

the

PITCH

ribbon

may

be

scaled

for

external

use

with

the

attenuator

associated

with

the

RIBBON

OUTPUT.

The

RIBBON

ROUTING

switch

has

no

effect

on

the

RIBBON

OUTPUT

jack

signal.

KBD

FORCE

OUTPUT

The

KBD

FORCE

OUTPUT

is

not

subject

to

front

panel

control.

The

amount

of

force

exerted

on

the

keyboard

always

determines

the

size

of

(D.C.)

signal

that

appears

at

the

KBD

FORCE

OUTPUT.

Attenuation

of

this

signal

must

be

achieved

externally.

GLIDE

ON/OFF

CONTROL

The

GLIDE

jack

is

functional

only

when

the

GLIDE

switch

on

the

front

panel

is

switched

OFF.

(Also,

if

the

GLIDE

control

near

VOLUME

is

set

to

"0,"

use

of

theGUDE

jack

is

meaningless.)

The

Moog

1121

Footswitch

may

be

used

to

turn

glide

on

or

off

by

inserting

its

plug

into

the

GLIDE

jack.

(The

amount

of

glide

always

remains

under

control

of

the

rotary

GLIDE

control).

MODULATION

MODULATION

is a dual

function

3/16"

stereo

jack.

It

acts

as

both an

input

and

an

output

for

MODULATION

section

(control)

signals.

As

an

output,

it

can

externalize

whatever

signal

is

provided

by

the

SOURCE

selector.

As

an

input,

it

routes

control

signals

from

any

source

directly

to

the

ROUTING

selector.

Several

simple

switching

or

attenuation

tasks

may

be

accomplished

using

the

MODULATION

jack.

We'll

review

these

simpler

uses

first

before

taking

up

the

subject

of

MODULATION

section

(control)

signal

routing.

The

Moog

1121

Footswitch

may

be

used

to

turn

modulation

on

or

off

by

inserting

its

plug

into

the

MODULATION

jack.

(The

amount

of

modulation

remains

under

control

of

theMOD

AMOUNT

wheel).

The

1121

can

be

very

handy

when

y.ou

don't

have a spare

hand

to

turn

vibrato,

shakes,

sample

and

hold

patterns,

etc.

on

and

off.

You

can

rewire

any

volume

pedal

(orjustapot)

to

control

the

amount

of

modulation

using

the

MODULATION

jack.

Remember

to

use a 3/16"

stereo

plug

as

shown:

TIP

(MOD

OUT)

EXTERNAL

MODULATION

CONTROL

RING

(MOD

RETURN)

SWITCHCRAFT

#S-260

«"

STEREO

PHONE

PLUG

POT

(IN

PEDAL)

10KTO100K

AUDIO TAPER

SHIELDED

STEREO

CABLE

63

When

the

pedal

is

inserted

into

the

MODULATION

jack,

it

will

act

in

tandem

with

the

MOD

AMOUNT

wheel

to

control

the

amount

of

modulation.

When

the

MOD

AMOUNT

wheel

is

fully

forward

(toward

the

control

panel),

the

pedal

can

be

used

over

the

widest

span

of

modulation

effects.

If

the

MOD

AMOUNT

wheel

is

only

slightly

forward,

the

pedal

will

cover a restricted

span

of

modulation

effects.

Obviously,

if

the

MOD

AMOUNT

wheel

is

completely

back

(no

modulation),

then

the

pedal

will

have a span

of

"zero"

and

allow

no

modulation

effects.

Similarly,

you

could

set

the

pedal

and

play

the

wheel.

A

practical

musical

application

would

be

to

set

the

pedal

to

restrict

the span

of

the

MOD

AMOUNT

wheel,

so

vibrato

could

be

controlled

with

larger

movements

of

the

MOD

AMOUNT

wheel.

Larger

movements

are

easier

to

control-

for

subtlety

of

modulations.

In

the

previous

example

the

pot

in

the pedal

acts

as a variable

resistor

used

to

attenuate

(reduce)

the

sensitivity

of

the

MOD

AMOUNT

wheel

when

producing

vibrato.

A

fixed

resistor

could

be

used

instead,

as

shown:

FIXED

EXT.

MOD.

AMOUNT

ATTENUATOR

220K

RESISTOR

The

value

of

the

resistor

may

be

seleaed

to

suit

your

taste.

This

arrangement

could

be

made

so

that

it

could

be

switched

in

or

out:

SWITCHED

EXT.

MOD.

AMOUNT

ATTENUATOR

SHIELD

(NO

CONNECTION)

L

-0

ATTEN

,O

vVA-

«"

STEREO

PLUG

Now

let's

look

at

the

actual

control

signal

input/output

capabilities

of

the

MODULATION

jack.

First

let's

review the

output

rules:

(1)

The

output

signal

is

selected

by

the

SOURCE

selector;

(2)

This

signal

is

available

externally

at

the

tip

contact

of

the

stereo

MODULATION

jack;

(3)

The

level

of

the

output

signal

is

controlled

by

the

MOD

AMOUNT

wheel;

(4)

The

rate

(when

appropriate)

is

set

by

the

RATE

knob.

Now

let's

look

at

the

input

rules

for

the

MODULATION

jack:

(1)

The

input

signal

goes

directly

to

the

ROUTING

selector;

(2)

Therefore

its

level

is

not

O

FULL

220K

OR

SELECT

AS

DESIRED

SWITCH

affected

by

the

MOD

AMOUNT

wheel;

(3)

The

ring

is

the

appropriate

contact

for

feeding

signals

into

the

MODULATION

jack;

(4)

This

ring

input

can

be

fed

from

any

external

source

(Moog

911, 921,

another

Multimoog,

etc.).

The

diagram

below

indicates

wiring

procedure

that

allows

Multimoog

A

to

modulate

Multimoog

B.

Connection

is

made

between

respective

MODULA

TION

jacks

(Multimoog

A

shows

output

wiring;

Multimoog

B

shows

input

wiring):

SIMPLE

MODULATION

JACK

TO

MODULATION

JACK

CONNECTION

(MOD

OUT)

TIP

TIP

TIP

(MOD

OUT)

SWITCH

(MOD

IN)

MULTIMOOG

A

¥,»"

STEREO

PLUGS

In

the

example

above,

neither

Multimoog

will

modulate

itself,

because

the

self-feeding

switches

on

both

MODULATION

jacks

are

opened

when a plug

is

(MOD

IN)

MULTIMOOG

B

inserted.

If

you

want

Multimoog A to

modulate

itself—as

well

as

Multimoog

B—add

the

following

jumper

wire

to

the

previous

wiring

setup:

64

MULTIMOOG

SELF-MODULATION

JUMPER

*"

STEREO

PLUG

RING

\

JUMPER

FROM

TIP

TO

RING

TERMINAL

It

is

possible

to

route

modulation

signals

both

to

and

from

the

Multimoog

simultaneously

and

independently

from a modular

system

or

another

synthesizer:

SIMULTANEOUS

INPUT

&

OUTPUT

OF

MODULATION

SIGNALS

STEREO

PLUG

TO

MOD

JACK

MULTIMOOG

MODULATION

OUTPUT

TO

ANOTHER

SYNTHESIZER

(EXAMPLE:

921

OSCILLATOR)

The

MODULATION

jack

is

particularly

powerful,

since

it

provides

simultaneous

two-way

communication

with the

outside

world;

its

presence

is

MULTIMOOG

MODULATION

INPUT

FROM

ANOTHER

SYNTHESIZER

(EXAMPLE:

911

ENVELOPE

GEN.)

an

important

advance

in

the

open

system

synthesizer

concept.

FILTER

INPUT

The

FILTER

INPUT

acts

only

as

an

input

for

signals

capable

of

controlling

the

cutoff

frequency

of

the

FILTER

section.

A

control

signal

fed

into

the

FILTER

INPUT

acts

as

an

"unseen

hand"

that

electrically

manipulates

internal

control

elements

as

one

might

do

manually

on

the

front

panel.

The

following

depicts

the

analogy

between

FILTER

INPUT

control

and

control

by

hand:

RELATIONSHIP

BETWEEN

EXTERNAL

AND

MANUAL

FILTER

CONTROL

CONTROL

SIGNAL

^00

10

MKM

HI

WON)

S-TOG

L

-

OUTPUTS

-

no

cunt

ukuutkw

nn»

oscus

j-tioc

—I

t.ON/OFFCOIITIKM.''

*■

WPUTS-

MKM

TOUCH

MOO

UtESSOU

EFFECTS

FO*Et

FRONT

PANEL

65

If

zero

volts

is

fed

into

the

FILTER

INPUT,

no

change

of

the

cutoff

frequency

is

caused.

A

positive

voltage

applied

to

the

FILTER

INPUT

raises

the

cutoff

frequency,

like

clockwise

movement

of

the

CUTOFF

knob. A negative

voltage

applied

to

the

FILTER

INPUT

lowers

the

cutoff

frequency,

like

counterclockwise

movement

of

the

CUTOFF

knob.

Nominally,

a

change

of

one

volt

at

the

FILTER

INPUT

will

cause a change

of

one

octave

in

the

cutoff

frequency

of

the

FILTER

section.

In

practice,

only

about

.95

volts

is

required

to

create

this

change

because

the

input

is

designed

to

be

slightly

over-sensitive.

This

prevents

your

having

to

amplify

incoming

signals;

the

sensitive

input

will

more

jikely

require

attenuat/on

(lessening)

of

the

signal

with a simple pot

requiring

no

power

supply.

Signals

fed

into

the

FILTER

INPUT

add

to

internaPcontrol

signals

to

control

the

FILTER

section.

Because

external

and

internal

control

signals

are

additive,

you

could

use a Moog

Accessory

like

the

1120

Pedal

Control

Source

in

conjunction

with

the

FILTER

CONTOUR.

OSC

A&B

INPUT

The

OSC

A&B

INPUT

(oscillators

control

input)

acts

only

as

an

input

for

signals

capable

of

controlling

the

frequency

(pitch)

of

both

oscillators.

A

control

signal

fed

into

the

OSC

A&B

INPUT

acts as

an

"unseen

hand"

that

electrically

manipulates

internal

control

elements

as

one

might

do

manually

on

the

control

panel.

The

best

analogy

to

manual

control

is

move

ment

of

the

WIDE

FREQ

knob

when

the

OCTAVE

selector

is

in

the

rightmost

position.

The

following

illustrates:

RELATIONSHIP

BETWEEN

EXTERNAL

AND

MANUAL

OSCILLATOR

CONTROL

CONTROL

SIGNAL

OSCILLATORS

A&B

CONTROL

INPUT

^00

m

nc

10

AUDIO

HI

AUDIO I S-IRIG

-OUTPUTS

KBO

GUDf

MODULATION

FIUE8

OSC

US

FORCE

-J

l-ON/OFFCONTROLJ

I

S-TKS

INPUTS-

AUDIO

TOUCH

MOO

EFFECTS

ACCESSORY

POWER

HUE

TIKE

FRONT

PANEL

I f zero

volts

is

fed

into

the

OSC

A&B

INPUT,

no

change

of

oscillators

pitch

is

caused. A positive

voltage

applied

to

the

input

raises

pitch,

like

clockwise

movement

of

the

WIDE

FREQ

knob.

A

negative

voltage

applied

to

the

input

lowers

pitch,

like

counterc/odcw/se

movement

of

the

WIDE

FREQ

knob.

Nominally,

a

change

of

one

volt

at

the

OSC

A&B

INPUT

will

cause a change

of

one

octave

in

the

frequency

of

the

oscillators.

In

practice,

only

about

.95

volts

is

required

to

create

this

change

because

the

input

is

designed

to

be

slightly

over-sensitive.

This

prevents

your

having

to

amplify

incoming

signals;

the

sensitive

input

will

more

likely

require

attenuation

(lessening)

of

the

signal

with a simple

pot

requiring

no

power

supply.

Signals

fed

into

the

OSC

A&B

INPUT

add

to

internal

control

signals

to

control

oscillator

fre

quency.

Because

external

and

internal

controls

are

additive,

you

could

use a Moog

accessory

such

as

the

1130

Drum

Controller

in

conjunction

with

the

keyboard.

TOUCH

MOD

EFFECTS

Allows

input

of

external

signal

into

the

MOD

path

of

the

KEYBOARD

TOUCH

section

(in

lieu

of

MODULATION

section

signal).

Functional

only

when

the

EFFECT

switch

on

front

panel

is

in

MOD

position.

66

OPEN

SYSTEM—GETTING

IT

TOGETHER

The

open

system

INPUTS

and

OUTPUTS

can

provide

powerful

ways

of

expanding

your

music-

making

once

you

realize

what

audio,

control,

and

trigger

signals

can

do

for

you.

It's

important

to

understand

that

synthesizers

are

very

dumb—from a point

of

view

of

"systems

interfacing."

They

must

be

told

explicitly

what

you

want

to

happen.

You

may

begin

with a general

idea

like

"I

want

to

slave a

second

Multimoog

to

mine

and

play

both

from

my

keyboard."

But

at

some

point,

you

have

to

go

from

the

general

to

the

specific

interfacing

requirements

for

each

class

of

signal

involved.

Example

given:

AUDIO

REQUIREMENTS

GENERAL:

"I

want

to

hear

the

sound

of

both

Multimoogs."

SPECIFIC:

Audio

signal

from

each

Multimoog

must

be

transduced.

ACTION:

Connect

the

AUDIO

OUTPUT

of

each

Multimoog

to

amp.

TRIGGER

REQUIREMENTS

GENERAL:

"I

want

to

hear

the

sound

of

both

when

the

keyboard

of

the

Master

Multimoog

is

played."

SPECIFIC:

Trigger

signals

must

be

supplied

from

the

Master

to

the

Slave

Multimoog

to

provide

articulation

of

both.

ACTION:

Connect

the

S-TRIG

OUTPUT

of

the

Master

Multimoog

to

the

S-TRIG

INPUT

of

the

Slave

Multimoog.

CONTROL

REQUIREMENTS

GENERAL:

"I

want

the

pitch

of

both

instruments

to

follow

the

keyboard

of

the

Master

Multimoog."

SPECIFIC:

The

OSCILLATOR

section

of

both

Multimoogs

must

be

controlled

by

the

keyboard

signal

of

the

Master

Multimoog.

ACTION:

Connect

KBD

OUTPUT

of

theMaster

Multimoog

to

the

OSC

INPUT

of

the

Slave

Multimoog.

The

following

diagram

shows

the

basic

connection

for a Master-Slave

interface

for

two

Multimoogs:

S-TRIG

OUTPUT

S~\

AL

AUDIO

OUTPUT

S-TRIG

INPUT

FRONT

PANEL

D

KEYBOARD

TO

AMP

MASTER

AUDIO

OUTPUT

FRONT

PANEL

Q

KEYBOARD

TO

AMP

SLAVE

The

Master

Multimoog

triggers

and'controls

both

itself

and

the

Slave

Multimoog.

67

Even

though

you

have

made

the

basic

connections,

further

thought

is

required

for

a

successful

interface.

First,

from

reading

the

OPEN

SYSTEM

section

you

know

that

the

KBD

OUTPUT

provides

an

unsealed

version

of

the

Master

Multimoog

keyboard

signal.

It

will

have

to

be

scaled

to

cause

the

Slave

Multimoog

to

follow

the

Master

keyboard

accurately.

Let's

think

in

terms

of

the

sound

charts

below

for a tuning/scaling

procedure:

MASTER

QQQeQQaSEQSSS

must

omuains

ruomod

mm

wot

mm

iooo«s

womb

susn»

sswi

■nmrn

ton

h«m

«• v mi*

inns

mm

rau

tow

SLAVE

OO0QO

uin.1T

u»«inicai.t

tOEUt

OIOLUtOtS

RUIUMD

RUMBOOt

mitt

UUOKS

lOUtWQS

note*

sucr««

KOTiu

nrus

T|

on

a>

0*'

«[M

StKMC

ROM

r

(for

tuning,

leave

MOD

AMOUNT

fully

toward

you)

First

of

all,

let's

tune

one

Multimoog's

pitch

level

to

the

other,

just

as

we

would

tune

all

the

instruments

of a band

together.

We

should

tune

at

the

pitch

represented

by a keyboard

signal

voltage

of

"zero."

Why?

When

the

Master

keyboard

signal

is

zero

volts,

the

output

at

its

KBD

OUTPUT

will

be

zero

volts

and

will

not

influence

the

pitch

of

the

Slave

Multimoog.

This

is

rather

like

resorting

to

tuning

the

open

strings

of

two

guitars

when

you're

not

sure

where

the

frets

(scaling)

are

on

each.

To

accomplish

tuning:

1.

Depress

the

lowest

key

on

the

keyboard

of

each

Multimoog

to

set

each

to

"zero

volt"

keyboard

signal.

2.

Place

BYPASS

of

each

Multimoog

ON

to

hear

the

sound

of

each

continuously

for

tuning.

3.

Use

the

FINE

TUNE

control

on

the

rear

panel

of

each

Multimoog

to

match

their

pitch.

Now

Master

and

Slave

are

tuned

to

the

same

pitch

level.

At

this

point

you

might

want

to

place

the

OSCILLATORS

switch

of

the

Slave

to

DRONE

so

its

keyboard

won't

affect

its

pitch.

Otherwise,

any

accidental

touching

of

the

Slave

keyboard

might

transpose

its

pitch.

{Useful

in

some

applications,

like

producing

parallel

intervals

at

the

touch

of

the

Slave

keyboard).

If

you

play

the

Master

keyboard,

you

may

notice

that

the

Slave

will

follow

pitch

generally,

but

increasingly

diverges

as

you

go

up

the

keyboard.

This

is

because

the

Slave

is

being

controlled

by

an

unsealed

version

of

the

Master

keyboard

signal,

available

from

the

Master's

KBD

OUTPUT.

Let's

scale

it:

68

4.

Check

tuning

by

playing

lowest

key

on

Master

keyboard,

if

OK

go

on.

If

not,

repeat

steps

1-3,

5.

Play

highest

key

on

Master

keyboard

and

adjust

attenuator

for

KBD

OUTPUT

on

Master

until

Master

and

Slave

agree

in

pitch.

Tune

Multi-

moogs

by

listening

to

OSCILLATOR

B,

which

always

is

near

A-440.

When

you

scale,

you

stretch

or

shrink

the

KBD

OUTPUT

signal

from

the

Master

to

fit

the

sensitivity

of

the

OSCA&BINPUToftheSlave,to

create

the

familiar

diatonic

scale.

Play!

Notice

that

settings

for

the

Master

and

Slave

can

be

quite

different.

Try

MOD

AMOUNT

wheels.

Complete

voices,

with

separate

modifier

paths,

can

be

created.

The

connection

between

the

Master

and

Slave

can

be

made

and broken

instantly

during

perfor

mance

using

the

KBD & TRIG

EXT

OUTPUT

switch

on

the

front

panel

of

the

Master

instrument.

If

you

would

like

to

review

what

each

jack,

plug,

and

socket

on

the

rear

panel

does,

refer

to

the

appropriate

portion

of

the

REVIEW

OF

FUNCTIONS

section of

this

manual.

Multimoog

69

r

70

review

of

functions

This

section

of

the

manual

tells

how

each

knob

selector,

switch,

jack,

plug,

and

socket

on

the

Multimoog

functions

—

what

it

does.

Knowledge

of

terminology

is

assumed;

don't

start

here

if

you

can't

speak

"synthesizerese!"

Multimoog

functions

are

numbered

and

described

in

the

order

indicated

by

the

diagrams

below.

A

description

of

how

any

individual

control

or

jack

functions

can

be

gotten

by

turning

to

the

appro

priate

numbers

on

the

following

pages.

10

11

12

13

14

15

31

32

33

34

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—+•

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oa

16

17

18

19 20

21

22

23

24

25 26 27 28

29

30

35

36

rani

37 38

39

40

41

42

43

44

45

46

47

48

49

50

51

52

53

UMtSIO

HI

MOW

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TOOK

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HOOOUTKHI

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OSCJUB

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OUTPUTS

l-ON/OFFC0NTROL->

WPUTS

fIRE

TUIIC

71

MULTIMOOG™

CONTROL

PANEL

OSCILLATOR

A&B

The

oscillator

section

is

the primary

source

of

pitched

audio

signals.

.UNISON.

INTERVAL

WAVESHAPE

OSCILLATOR

A

MIX

OCTAVE ^-WIDEFREQ

MASTER

A&B

WAVESHAPE

DOUBLING

OSCILLATOR

B

1

INTERVAL

Provides

continuous

tuning

of

OSCILLATOR

A

(only)

relative

to

OSCILLATOR

B.

Tuning

span

is

±

Perfect

Fifth

relative

to

OSCILLATOR

B.

The

INTER

VAL

control

is

calibrated

with

marks

indicating

half-

steps.

2

WAVESHAPE

(A)

Provides

continuous

waveshape

control

of

OSCILLATOR

A;

calibrated

in

arbitrary

units.

The

position

marked

"0"

provides

the

sawtooth

wave

form;

as

the

control

is

moved

clockwise,

this

sawtooth

is

mixed

with a narrow

rectangular

waveform.

As

the

WAVESHAPE

control

is

moved

toward

the

position

marked

"5/'

the

rectangular

waveform

widens

and

the

sawtooth

truncates.

Between

"5"

and

"6"

a

square

waveform

is

produced;

as

the

control

is

moved

on

toward

"10,"

the

square

waveform

narrows

to

a

narrow

rectangular

wave.

The

narrowness

of

this

rectangular

waveform

is

limited,

making

it

impossible

to

"lose"

the

sound

at

any

WAVESHAPE

setting.

Sawtooth,

square,

variable

rectangular,

and a mixture

of

sawtooth

and

variable

rectangular

waveforms

are

available.

This

continuously

variable

WAVESHAPE

control

allows

a

change

of

the

harmonic

spectrum

of

the

output

of

the

instrument

that

is

independent

of

the

FILTER

control

settings.

3

MIX

Provides

a

continuous

mix

of

the

audio

oscillators

A&B.

Full

counterclockwise

position

"A"

provides

the

output

of

OSCILLATOR

A

only.

Full

clockwise

position

"B"

provides

the

output

of

OSCILLATOR

B

only.

Intermediate

positions

repre

sent

mixes

of

the

two

oscillators.

Calibration

is

arbitrary,

in

units

from

"0"

to

"10."

4

OCTAVE

Selects

to

tune

both

oscillators

in

octave

increments

from

32'

to

2'

stops,

with

middle

C

on

the

keyboard

as

footage

reference.

The

rightmost

position

activates

the

adjacent

WIDE

FREQ

control

in

order

to

provide

continuous

tuning

of

both

oscillators

over

an

eight

octave

span.

Fine

tuning

in

all

positions

of

OCTAVE

is

accomplished

using

the

FINE

TUNE

control

on

the

rear

panel.

The

CUTOFF

control

of

the

FILTER

is

internally

arranged

to

track

the

OCTAVE

control

to

maintain

consistent

tone

color

in

all

pitch

registers.

When

the

FILTER

MODE

switch

is

in

the

FULL

position,

a

pitch

change

of

one

octave

is

ac

companied

by a concomitant

change

of

one

octave

in

the

cutoff

frequency

of

the

filter.

In

the

NORM

(normal)

position,

the

cutoff

frequency

is

changed

by

a

half-octave

per

each

pitch

change

of a full

octave.

The

OCTAVE

selector

is a performance

control

which

expands

the playable

span

of

the

keyboard

to a full

eight

octaves.

5

WIDEFREQ

Provides

continuous-sweep

tuning

over

approximately

eight

octaves,

operable

only

when

the

OCTAVE

selector

is

placed

to

the

rightmost

position.

The

WIDE

FREQ

control

is

calibrated

in

octaves;

the

center

point

marked

"0"

places

the

Multimoog

in

approximately

the

8'

range.

Settings

on

the

WIDE

FREQ

control

do

not

interfere

with

any

of

the footage

(32'-2')

settings

on

the

OCTAVE

selector;

the

WIDE

FREQ

control

is

operable

only

when

the

OCTAVE

selector

is

set

to

its

rightmost

position.

The

WIDE

FREQ

control

tunes

both

oscillators

proportionately-

tuned

intervals

remain

the

same

over

the

entire

tuning

span.

The

WIDE

FREQ

control

is

fine-tuned

using

the

FINE

TUNE

control

on

the

rear

panel.

The

WIDE

FREQ

control

may

be

"preset"

to

any

pitch

level

to

allow

instantaneous

transposition

(when

OCTAVE

control

is

set

to

activate

WIDE

FREQ).

72

6

WAVESHAPE

(B)

Provides

continuous

waveshape

control

of

OSCILLATOR

B;

calibrated

in

arbitrary

units.

The

position

marked

"0"

provides

a

sawtooth

waveform;

as

the

control

is

moved

clockwise,

this

sawtooth

is

mixed

with a narrow

rectangular

waveform

widens

and

the

sawtooth

truncates.

Between

"5"

and

"6"

a

square

waveform

is

produced;

as

the

control

is

moved

on

toward

"10,"

the

square

waveform

narrows

to a

narrow

rectangular

wave.

The

narrowness

of

this

rectangular

waveform

is

limited,

making

it

impossible

to

"lose"

the

sound

at

any

WAVESHAPE

setting.

Sawtooth,

square,

variable

rectangular,

and a mixture

of

sawtooth

and

variable

rectangular

waveforms

are

available.

This

continuously

variable

WAVESHAPE

control

allows

a

change

of

the

harmonic

spectrum

of

the

output

of

the

instrument

that

is

independent

of

the

FILTER

control

settings.

7

DOUBLING

Provides

a

continuous

mix

of a square

waveform

either

one

or

two

octaves

lower

than

the

primary

OSCILLATOR

B

pitch

for

doubling

effects.

The

"0"

center

position

provides

a

dead band

with

no

doubling;

from

that

point

clockwise

to

"+5"

provides

doubling

at

the

two-octave

interval;

from

"0"

to

"-5"

provides

doubling

at

the

octave.

NOISE

The

NOISE

section

provides

a

pink

noise

(pseu

dorandom)

signal

used

for

both

audio

and

control

purposes.

8

LEVEL

Introduces

noise

as

an

audio

source

as

the

control

is

turned

clockwise

to a maximum

of

10;

calibration

is

arbitrary.

The

noise

generator

is

a

pseudo-random

generator

which

outputs

essentially

pink

noise;

this

is

also

filtered

internally

and

made

available

for

sample

and

hold

purposes.

The

LEVEL

control

has

no

effect

on

the

noise

source

when

noise

is

used

as a sample

and

hold

signal.

The

LEVEL

control

mixes

noise

as

an audio

signal

relative

to

the

fixed

audio

output

of

the

oscillators.

The

oscillators

may

be

removed

from

the

sound

chain

by

selecting

"OFF"

on

the

OSCILLATORS

switch.

FILTER

The

FILTER

section

is a lowpass

filter

with

variable-height

resonant

peak

at

the

cutoff

frequency,

with a 24dB/octave

attenuation

slope

above

the

cutoff

frequency.

CUTOFF

EMPHASIS

-r'N

FILTER

CONTOUR

AMOUNT

9

CUTOFF

Provides

manual

control

of

the

nominal

setting

of

the

cutoff

frequency

of

the

lowpass

filter.

When

the

FILTER

is

placed

in

the

oscillatory

mode

by

switching

the

FILTER

MODE

switch

to

TONE,

the

CUTOFF

control

becomes

a

wide-range

frequency

control.

The

calibration

indicates

octave

increments

of

the

cutoff

frequency,

with

"0" a point

very

near

the

fundamental

frequency

set

by

OSCILLATOR

B

in

the

8'

OCTAVE

selector.

The

FILTER

in

the

oscillatory

mode

may

be

synchronized

with

the

oscillators

at

the

oscillators'

fundamental

frequency

or

at a harmonic.

10

EMPHASIS

"Emphasizes"

the

area

around

the

cutoff

frequency

of

the

filter

by

increasing

the

height

of

a

resonant

peak

at

that

frequency.

Maximum

emphasis

is

reached

at

position

"10";

calibration

is

arbitrary.

The

EMPHASIS

control

is

restricted

so

that

the

filter

will

not

be

placed

into

oscillation

accidentally

during

performance.

Maximum

emphasis

("Q")

at

the

"10"

position

may

be

adjusted

by

the

user

through

a

port

on

the

rear

of

the

instrument.

The

Multimoog

has

a

separate

FILTER

MODE

switch

which

may

be

switched

to

the

TONE

position

to

unequivocally

place

the

filter

into

the

oscillatory

mode

regardless

of

the

EMPHASIS

setting.

11

CONTOUR

AMOUNT

A

reversible

attenuator

that

controls

the

amount

and

polarity

of a control

voltage

routed

from

the

FILTER

CONTOUR

to

the

control

input

of

the

FILTER

section;

calibration

is

in

octaves.

Each

tick

mark = one

octave

of

sweep

of

the

cutoff

frequency

of

the

filter.

The

"0"

center

position

provides

a

dead

band

where

no

contouring

can

occur.

As

CONTOUR

AMOUNT

is

moved

clockwise

toward

"+5,"

a

"positive"

contour

is

allowed

to

control

the

cutoff

frequency

of

the

filter,

producing

a

rising-and-falling

excursion.

When

the

CONTOUR

AMOUNT

control

is

moved

into

the

negative

region,

the

contour

is

inverted;

this

inverted

contour

then

causes

a

reverse

contour,

or a falling-and-rising

excursion

of

the

cutoff

frequency.

The

CONTOUR

AMOUNT

control

is

internally

arranged

with

the

CUTOFF

control

to

minimize

the

need

for

adjusting

the

CUTOFF

control

when

going

from

normal

to

reverse

contours.

As

the

CONTOUR

AMOUNT

control

is

moved

progressively

negative,

the

CUTOFF

control

is

moved

(internally

and

electrically)

progressively

positive,

and

conversely.

In this

way,

sound

will

not

be

completely

"cut

off"

by

the

filter

as

a

result

of

a

deep

reverse

contour.

Here's

another

way

to

look

at

this—as

panel

graphics

indicate,

normal

contours

start

6e/ow

the

nominal

filter

cutoff

frequency

as

set

by

the

CUTOFF

control,

and

reverse

contours

start

above.

This

makes

possible

the

use

of

various

contours

without

constant

readjustment

of

the

CUTOFF

control.

which

can

last

no

longer

than

the

settings

of

its

ATTACK

and

RELEASE

timing

controls

allow,

regard

less

of

how

long

a

key

is

depressed.

In

the

maximum

sustain

mode

to

the

left,

the FILTER

CONTOUR

generates

a

three-part

contour

/wmf

pm

t

whose

middle

portion

will

be

sustained

as

long

as

a

key

is

depressed.

In this

case,

the

RELEASE

part

of

the

contour

becomes

operable

only

when

all

keys

are

released.

13

RELEASE

Controls

timing

of

the

last

(falling)

part

/ %

of

the

filter

contour

from

1

msec,

to

10

seconds.

The

RELEASE

control

is

operable

over

its

full

range

only

when

the

RELEASE

switch

in

the

row

of

switches

is

switched

to

the

left.

FILTER

CONTOUR

The

FILTER

CONTOUR

is

an

envelope,

or

contour

generator

that

produces a control

signal

which

rises

and

then

falls,

and

which

is

used

to

control

the

cutoff

frequency

of

the

filter.

Controls

in this

section

are

used

in

conjunction

with

the

FILTER

SUSTAIN

switch;

consequently

this

switch

will

also

be

discussed.

FILTER

SUSTAIN

m

12

ATTACK

Controls

timing

of

the

initial

(rising)

^

of

the

filter

contour

from

1

msec,

to

part

W

10

seconds.

FILTER

SUSTAIN

A

level

switch

rather

than a timing

control.

This

switch

determines

whether

or

not

the

FILTER

CONTOUR

voltage

level

will

be

sustained

at

a

maximum

when a key

is

held.

This

switch

determines

whether

the

contour

produced

will

have

(wo

or

three

parts.

Inthenon-sustain

mode

to

the

right,

the

FILTER

CONTOUR

will

generate

a

two-part

contour

s^\

LOUDNESS

CONTOUR

The

LOUDNESS

CONTOUR

is

a

second,

independent

contour

generator

which

is

connected

internally to

the

control

input

of

the

voltage

controlled

amplifier

to

create

articulations,

or

loudness

contours.

Controls

in this

section

are

used

in

conjunction

with

the

LOUDNESS

SUSTAIN

switch;

consequently

this

switch

will

also

be

discussed.

ATTACK

/V

RELEASE/V

LOUONESSCONTOUR

LOUDNESS

SUSTAIN

r~n

14

ATTACK

74

Controls

timing

of

the

initial

(rising)^"

\

part

of

the

loudness

contour

from 1 msec,

to

10

seconds.

LOUDNESS

SUSTAIN

A

level

switch

rather

than a timing

control.

This

switch

determines

whether

or

not the

LOUDNESS

CONTOUR

voltage

level

will

be

sustained

at

a

maximum

when a key

is

held.

This

switch

determines

whether

the

contour

produced

will

have

two

or

three

parts.

In

the

non-sustain

mode

to

the

right,

the

LOUDNESS

CONTOUR

will

generate

a

two-part

contour

/^\

which

can

last

no

longer

than

r

the

settings

of

its

ATTACK

and

RELEASE

timing

controls

allow,

regardless

of

how

long a key

is

depressed.

In

the

sustain

mode

to

the

left,

the

LOUDNESS

CONTOUR

generates a three-part

contour

/*7

^*y

whose

middle

portion

will

be

sustained

as

long

as a key

is

depressed.

I n this

case,

the

release

part

of

the

contour

becomes

operable

only

when

all

keys

are

released.

15

RELEASE

Controls

timing

of

the

last

(falling)

part

/ ^

of

the

loudness

contour

from

1

msec,

to

10

seconds.

The

RELEASE

control

is

operable

over

its

full

range

only

when

the

RELEASE

switch

in

the

row

of

switches

is

switched

to

the

left.

KEYBOARD

TOUCH

The

KEYBOARD

TOUCH

section

provides

use

and/or

routing

of

the

fluctuating

D.C.

signal

produced

by

the

force

sensor

under

the

keyboard

of

the

Multimoog.

The

EFFECT

switch

selects

to

provide

direct

or

cascaded

use

of

the

force

signal.

I n the

BEND

position,

the

force

signal

is

used

directly

as a control

voltage

that

may

be

routed

to

various

control

inputs

using

the

DESTINATION

selector.

In

the

MOD

position,

the

force

signal

is

used

to

open

and

close

a

VCA

which

passes

signals

provided

by

the

SOURCE

selector

in

the

MODULATION

section.

Here

we

have

control

over a controller,

hence

"cascaded"

control.

All

signals

passing

through

the

KEYBOARD

TOUCH

section

are

controlled

in

amount

by

the

AMOUNT

control,

which

attenuates

the

signal

that

is

in

use.

Routing

of a chosen

signal

is

accomplished

using

the

DESTINATION

selector.

DESTINATION

KEYBOARD

TOUCH

16

DESTINATION

Determines

the

destination

of

the

control

signal

in

use

in

the

KEYBOARD

TOUCH

section

as

follows:

OSC

A&B—Routes

the

selected

signal

to

the

frequency

control

inputs

of

both

audio

oscillators

(A&B).

OSC

A—Routes

the

selected

signal

to

the

fre

quency

control

input

of

OSCILLATOR A only.

OSC

A&B

FILTER—Routes

the

selected

signal

to

the

frequency

control

inputs

of

both

audio

oscillators

(A&B),

and

the

cutoff

frequency

control

input

of

the

FILTER

section.

FILTER—Routes

the

selected

signal

to

the

cutoff

frequency

control

input

of

the

FILTER

section.

SYNCH A TO

B—Synchronizes

OSCILLATOR

A

to

OSCILLATOR

B,

and

routes

the

selected

signal

to

the

frequency

control

input

of

OSCILLATOR A only.

^y

I

A—Routes

the

selected

signal to

the

waveshape

control input

of

OSCILLATOR

A

only.

Use

of a positive

voltage

is

analogous

to

a

clockwise

movement

of

the

WAVESHAPE

control

for

that

oscillator

(from

front

panel

setting).

And

the

converse.

17

AMOUNT

Attenuates

the

signal

selected

for

use

by

the

KEYBOARD

TOUCH

section.

Arbitrary

calibration;

the

"10"

setting

passes

the

full

signal—"0"

attenuates

the

signal

completely.

The

AMOUNT

control

is

used

in

conjunction

with

force

exerted

on

the

keyboard

to

"scale"

the

desired

effect.

18

EFFECT

Selects

to

determine

how

the

signal

from

the

force

sensor

will

be

used.

In

the

BEND

position,

this

signal

is

used

directly—a

D.C.

voltage

that

fluctuates

according

to

the

amount

of

force

exerted

on

the

keyboard.

OFF

provides

a

way

of

removing

the

effect

of

the

KEYBOARD

TOUCH

section

instantly.

When

MOD

is

selected,

the

signal

from

the

force

sensor

is

used

to

open

and

close a VCA.

As

panel

graphics

indicate,

the

signal

flowing

through

that

VCA

is

determined

by

the

SOURCE

selector

in

the

MODULATION

section.

MODULATION

The

MODULATION

section

is

responsible

for

routing

control

voltages

from

several

sources

to

several

destinations.

As

indicated

in

the

diagram,

the

SOURCE

selector

determines

the

source

of

the

modulation

signal;

the

ROUTING

selector

determines

the

destination

of

the

modulation

signal.

All

modulations

are

attenuated,

or

lessened

by

the

MOD

AMOUNT

wheel

on

the

Performance

Panel.

Progressive

attenuation

occurs

as

the

MOD

AMOUNT

wheel

is

rotated

toward

you.

75

SOURCE

■*•-.

ROUTING

MODULATION

19

RATE

Controls

the

rate

of

the

modulation

oscillator

and

sample

and

hold

clock,

calibrated

from

.3

Hz

to

30

Hz.

Normal

vibrato

rate

is

found

between

positions

"4"

and

"6."

20

SOURCE

Determines

signal

as

follows:

the

source

of

the

modulation

BEND—Provides

a

DC

voltage

as a modulation

signal.

Use

of

this

SOURCE

setting

in

conjunction

with

the

OSC A&B

setting

on

the

ROUTING

control

makes a wide-range

pitch

bender

out

of

the

MOD

AMOUNT

wheel.

FILTER

CONTOUR—Provides

output

of

FILTER

CONTOUR

section

as a modulation

signal.

—Square

waveform

output

of

the

modulation

oscillator;

controlled

in

frequency

by

the

RATE

control.

When

used

in

conjunction

with

the

OSC

setting

of

ROUTING, a trill

is

produced,

whose

interval

is

set

with

the

MOD

AMOUNT

wheel.

(A

positive

going,

non-zero-

crossing

waveshape.)

—Triangular

wave

form

output

of

modulation

oscillator;

controlled

in

frequency

by

the

RATE

control.

Use

of

this

setting

with

the

OSC

setting

of

ROUTING

yields

vibrato,

variable

in

depth

by

the

MOD

AMOUNT

wheel.

(Symmetrical

around

zero

volts).

S&H

AUTO—Triggers

sample

and

hold

circuit

and

both

contour

generators

at a speed

set

by

the

RATE

control.

Generates

synchronous

string

of

random

voltage

steps

derived

internally

from

the

noise

source.

Like

all

modulations,

the

voltage

steps

are

attenuated

using

the

MOD

AMOUNT

wheel.

S&H

KBD—Provides

a series

of

random

voltage

steps

controlled

in

speed

by

the

RATE

control.

The

keyboard,

or

an

external

source

of

triggers,

may

be

used

to

trigger

the

contour

generators

independent

of

the

frequency

of

voltage

step

changes

as

modulations

AMOUNT

wheel.

set

by

the

RATE

control.

All

are

attenuated

with

the

MOD

21

ROUTING

Determines

the

destination

of

the

modulation

signal

that

has

been

selected

by

the

SOURCE

selector

as

follows:

OSC

A&B—Routes

the

selected

modulation

sig

nal

to

both

oscillators

for

voltage

control

of

oscillator

frequency.

OFF—Defeats

any

modulation.

Useful

for

switching

modulation

effects

off

instanta

neously.

The

ROUTING

control

is

never

more

than

one

position

away

from

an

OFF

position.

Does

not

defeat

triggers

in

S&H

AUTO

mode.

OSC

A&B & FILTER—Routes

the

selected

modulation

signal

to

both

oscillators

and

the

FILTER

section,

for

voltage

control

of

oscillator

frequency

and

filter

cutoff

frequency.

FILTER—Routes

the

selected

modulation

signal

to

the

FILTER

section

for

voltage

control

of

the

cutoff

frequency.

\S

I

B—Routes

the

selected

modula

tion

signal

to

the

OSCILLATOR

B

section

for

voltage

control

of

WAVESHAPE.

ROUTING

settings

are

inert

unless

the

MOD

AMOUNT

attenuator

wheel

is

placed

forward,

allowing

modulation

signals

to

flow

from

their

source,

as

determined

by

the

SOURCE

selector,

to

their

destination

as

determined

by

the

ROUTING

selector.

GLIDE/VOLUME

22

GLIDE

Smooths,

or

slows

down

output

of

the

keyboard

to

create

glide

or

glissando

between

keys

on

the

keyboard.

Speed

of

glide

is

variable

from

1

msec

to

five

seconds,

calibrated

in

arbitrary

units

with

a

maximum

of

"10."

This

is a logarithmic

glide

which

stops

when

all

keys

are

released

and

remains

at

that

r

76

pitch

until

another

key

is

depressed.

Operational

when

GLIDE

switch

is

ON,

or

when

GLIDE

jack

on

rear

panel

is

used

properly.

23

VOLUME

A

final

gain

control

(attenuator)

which

is

independent

of

the

voltage

controlled

amplifier

associated

with

the

LOUDNESS

CONTOUR.

Calibration

is

arbitrary

from

"0"

to a maximum

of

"10."

STATUS

SLIDE

SWITCHES

The

STATUS

SWITCHES

(not

named

on

panel)

indicate

the

conditions

for

operation

of

many

sections

on

the

Multimoog,

or

provide interconnection

of

sections.

27

FILTER

MODE

SWITCH

Switches

to

control

tracking

by

filter

cutoff

frequency

of

keyboard

and

OCTAVE

selector.

Also

places

the

FILTER

into

the

oscillatory

(TONE)

mode.

NORM

(normal)

delivers

one-half

volt

to

the

control

input

of

the

filter

for

each

vo/(

change

(1

volt

per

octave)

on

the

keyboard

or

OCTAVE

selector.

(A

change

of

one

octave

in

pitch

causes

a

change

of

one-

half

octave

in

FILTER

cutoff

frequency.)

The

FULL

position

delivers

one

volt

per

each

octave

of

pitch

change.

(A

change

of

one

octave

in

pitch

causes

a

change

of

one

octave

in

FILTER

cutoff

frequency.)

The

TONE

position

also

delivers

one

volt

per

octave

to

the

filter

control

input,

and

places

the

FILTER

into

the

oscillatory

mode,

generating

a

sine

waveform.

The

FILTER

will

oscillate

in

the

TONE

mode

regardless

of

the

EMPHASIS

setting

in

the

FILTER

section.

rmrm

an

izn

an

24

RELEASE

SWITCH

Switches

to

achieve

immediate

release

of

sound

on

release

of

all

keys.

As

panel

graphics

indicate,

when

RELEASE

is

switched

to

the

right,

all

releases

will

be

abrupt.

When

switched

left,

the

RELEASE

controls

in

the

FILTER

CONTOUR

and

LOUDNESS

CONTOUR

sections

are

operable

over

their

entire

range,

and

the

release

of

any

sound

will

depend

on

their

settings.

25

OSCILLATORS

SWITCH

The

NORM

(normal)

position

places

the

oscillators

under

keyboard

control

and

into

the

sound

chain,

so

they

will

be

heard

and

will

follow

the

keyboard

in

pitch.

The

DRONE

position

removes

the

oscillators

from

keyboard

control;

the

oscillators

are

heard,

but

"drone"

(at

low

"F"),

and

do

not

follow

the

keyboard.

The

OFF

position

removes

the

oscillators

from

the

sound

chain,

so

they

are

not

heard;

however

the

oscillators

remain

under

keyboard

control.

26

FILTER

MOD

BY

OSC

B

SWITCH

FILTER

MODULATION

BY

OSCILLATOR

B

connects

the

output

of

the

OSCILLATOR

B

section

(including

DOUBLING)

to

the

control

input

of

the

FILTER

section.

This

creates

ring

mod

and

such

timbral

effects

without

changing

the

apparent

pitch

center.

The

OFF

position

provides

no

connection.

WEAK

and

STRONG

positions

represent

degree

of

modulation

index.

28

FILTER

SUSTAIN

SWITCH

Determines

whether

or

not

the

FILTER

CON

TOUR

voltage

level

will

be

sustained

at a maximum

when a key

is

held.

This

switch

determines

whether

the

contour

produced

by

the

FILTER

CONTOUR

will

have

two

or

three

parts.

In

the

non-sustain

mode

to

the

right,

the

FILTER

CONTOUR

will

generate

a

two-part

contour

/\^

which

can

last

no

longer

than

the

settings

of

its

ATTACK

and

RELEASE

timing

controls

allow,

regardless

of

how

long a key

is

depressed.

In

the

sustain

mode

to

the

left,

the

FILTER

CONTOUR

generates

a

three-part

contour

/mn

J^^

whose

middle

portion

will

be

sustained

as

long

as a key

is

depressed.

In

this

case,

the

RELEASE

part of

the

contour

becomes

operable

only

when

all

keys

are

released.

29

LOUDNESS

SUSTAIN

SWITCH

Determines

whether

or not

the

LOUDNESS

CONTOUR

voltage

level

will

be

sustained

at a maxi

mum

when a key

is

held.

This

switch

determines

whether

the

contour

produced

by

the

LOUDNESS

SUSTAIN

will

generate

a

two

or

three-part

contour.

In

the

non-sustain

mode

to

the

left

the

LOUDNESS

CONTOUR

will

generate

a

two-part

contour

that

can

last

no

longer

than

the

Settings

of

its

ATTACK

and

RELEASE

controls,

regardless

of

how

long a key

is

depressed.

In

the

sustain

mode

to

the

left,

the

LOUD

NESS

CONTOUR

generates

a

three-part

contour

/iB7

P\

whose

middle

portion

will

be

sustained

as

long

as a key

is

depressed.

In

this

case,

the

RELEASE

part

of

the

contour

becomes

operable

only

when

all

keys

are

released.

77

30

BYPASS

SWITCH

33

KBD

&

TRIG

EXT

OUTPUT

Selects

to

"bypass",

or

hold

internal

voltage

controlled

amplifier

on

constantly.

The

ON

position

holds

the

VCA

fully

on,

resulting

in

constant

sound

output.

The

OFF

position

to

the

left

provides

for

normal

use

of

the

LOUDNESS

CONTOUR

to

articu

late

sound.

PERFORMANCE

STATUS

SWITCHES

The

PERFORMANCE

STATUS

SWITCHES

(not

so-named

on

panel)

indicate

the

routing

and/or

status

of

performance

devices

such

as

the

keyboard

and

the

PITCH

ribbon.

31

GLIDE

Acts

to

enable/disable the

glide

function.

Glide

is

controlled

in

amount

by

the

rotary

GLIDE

control;

that

control

is

operable

only

when

GLIDE

switch

isON,

or

when

GLIDE

jack

on

rear

panel

is

used.

(See

OPEN

SYSTEM

section

of

this

manual

for

alternative

ways

to

switch

glide.)

32

KBD

TRIGGERING

KBD

TRIGGERING

(keyboard

triggering)

selects

the

type

of

triggering

that

the

keyboard

will

produce.

SINGLE

triggering

requires

that

all

keys

be

released

before a new

trigger

will

be

produced,

making

the

keyboard

sensitive

to

staccato/legato

touch.

MULT,

or

multiple

triggering

provides

circuitry

that

senses

when a new

pitch

has

been

produced,

and

provides

a

synchronous

trigger.

KBD & TRIG

EXT

OUTPUT

(keyboard

and

trigger

output)

is

used

to

facilitate

connection

of

"master"

and

"slave"

synthesizers,

with

the

Multirrfoog

acting

as

master.

The

OFF

position

insures

that

no

signals

are

present

at

theS-TRIG

OUTPUT

and

KBD

OUTPUT

on

the

rear

panel.

The

ON

position

enables

any

connection

to

those

outputs

and

provides

triggers

and

control

voltages

(respectively)

as

produced

by

the

Multimoog's

keyboard.

The

ON

+

RIBBON

position

also

supplies

the

output

of

the

PITCH

ribbon

as

an

integral

part

of

the

KBD

OUTPUT

signal.

You

can

turn

external

synthesizers

on/off

and

control

them

with

the

Multimoog's

keyboard.

34

RIBBON

ROUTING

RIBBON

ROUTING

switches

to

provide

several

alternatives

for

internal

routing

of

the

PITCH

ribbon

signal.

The

OSC

A&B

position

routes

the

ribbon

signal

to

the

frequency

control

inputs

of

both

oscillators

A

and

B.

The

OSC A position

routes

the

ribbon

signal

only

to

OSCILLATOR A (frequency

control

input).

The

OFF

position

makes

the

PITCH

ribbon

inoperable

for

internal

purposes.

(Since

none

of

the

positions

of

the

RIBBON

ROUTING

switch

affect

the

RIBBON

OUTPUT

on

the

rear

panel,

it

would

be

possible

to

bend

pitch

of

the

"slave"

synthesizer

from

the

PITCH

ribbon

on

the

Multimoog

without

bending

the

oscillators

within

the

Multimoog.)

PERFORMANCE

PANEL

The

unique

features

on

the

PERFORMANCE

PANEL

for

the

left

hand

allow

for

subtlety

and

nuance.

78

35

PITCH

RIBBON

A

resistance

element

protected

with

plastic-

coated

mesh

used

to

bend

the

pitch

of

the

oscillators.

In

the center

of

the

ribbon

is a dead

band,

marked

with a bump;

this

causes

no

bending

of

pitch,

and

provides

a

way

to

feel

the

"center"

of

the

pitch.

Pitch

is

bent

by

depressing

the

ribbon

and

moving

away

from

the

center

bump,

deflecting

oscillator

pitch

up

or

down

with a like

movement

on

the

ribbon.

On

release

of

the

ribbon

at

any

point

the

pitch

is

returned

to

"zero"

or

the

original

pitch

instantly.

36

MOD

AMOUNT

The

MOD

AMOUNT

(modulation

amount)

wheel

is

connected

to a potentiometer

which

attenuates

(lessens)

all

modulation

signals.

Progressive

attenuation

occurs

as

the

MOD

AMOUNT

wheel

is

rotated

toward

you.

Modulation

signals

selected

by

the

SOURCE

selector

pass

through

the

MOD

AMOUNT

wheel

where

they

may

be

attentuated,

and

are

routed

to

several

destinations

using

the

ROUTING

selector.

The

first

half

of

the

mechanical

excursion

of

the

MOD

AMOUNT

wheel

accounts

for

only a small

percentage

of

the

total

electrical

span

of

the

potentiometer.

This

allows

the

performer

to

make

less

critical,

larger

movements

of

the

wheel

to

create

"performance"

effects

such

as

vibrato.

REAR

PANEL

For a complete

discussion

of

the

features

on

the

rear

panel

of

the

Multimoog,

refer

to

the

OPEN

SYSTEMS

section

of

this

manual.

39

S-TRIC

An

output

trigger

("switch

trigger"

to

ground)

appears

at

this

output

whenever

contour

generators

are

triggered

by any

means.

Compatible

with

all

Moog®

synthesizers

and

accessories,

and

many

other

products.

This

output

can

also

function

asan/nput

for

S-Triggers,

triggering

the

contour

generators

when

ever

switch

closure

occurs.

40

KBD

Provides

the

keyboard

voltage

(with

glide)

fully

compatible

with

Moog®

synthesizers

and

accessories.

Nominal

scaling

is

one

volt/octave

with

low

"F"

on

the

keyboard

= 0 volts.

41

RIBBON

Provides

output

of

PITCH

ribbon

on

Performance

Panel,

regardless

of

control

panel

settings.

(Attenuated).

42

KBD

FORCE

Proves

unattenuated

(D.C.)

signal

produced

by

force

sensor

mechanism

under

keyboard.

ON/OFF

CONTROL

43

GLIDE

Provides

footswitch

control

for

turning

glide

ON/OFF.

This

jack

is

functional

only

when

the

GLIDE

switch

on

the

front

panel

is

OFF.

(Note:

3/16"

mono

jack).

44

MODULATION

This jack

allows

an

external

switch

to

turn

modulation

on

and

off,

or

an

external

pedal

to

control

cni

S-TK6

MO

-OUTPUTS

CUBE

MODULATION

FHIER

OSCMB

USD

FORCE

—>

I-OII/OFFCOIITROLJ

j-nac

INPUTS.

AUDIO

TOUCH

HOD

EFFECTS

ACCESSOR

POKE*

0

FHE

TIME

OUTPUTS

37

LO

AUDIO

A

low

level

audio

output

(-10

dBM

max

level

at

IK

output

impedance)

suitable

for

connection

to

a

guitar

amplifier,

fuzz,

wah-wah,

etc.).

38

HI

AUDIO

A

high

level

audio

output

+12

dBM

max

level

at

1.5K

output

impedance)

suitable

for

connection

to

a

power

amplifier.

Will

also

drive

headphones.

amount

of

modulation.

When a 3/16"

stereo

plug

is

inserted,

all

internal

connections

are

interrupted;

the

jack

will

then

function

both

for

output

and

input

of

modulation

signals.

The

modulation

signal

produced

by

the

MODULATION

section

of

the

Multimoog

appears

at

the

"tip"

connection

and

will

be

attenuated

by

the

MOD

AMOUNT

wheel;

this

is

the

output

function.

External

modulation

signals

may

be

fed

directly

to

the

ROUTING

control

(MOD

WHEEL

nonfunctional)

through

the

"ring"

connection

of

the

plug;

this

is

the

input

function.

79

INPUTS

OTHER

FEATURES

45

FILTER

Allows

external

voltage

control

of

the

cutoff

frequency

of

the

filter.

Scaling

is

0.95

volts/octave.

Input

impedance

is

100K.

50

ACCESS

PWR

Supplies

+15

volts

regulated

D.C.

power

for

all

standard

Moog

accessories.

Absolute

maximum

current = 50

mA.

46

OSC

Allows

external

voltage

control

of

the

frequency

of

the

audio

oscillator.

Scaling

is

0.95

volts/octave.

Input

impedance

is

100K.

51

LINE

VOLTAGE

SELECTOR

This

switch

selects

for

operation

at

115

or

230

volt

line

current

for

worldwide

use

of

theMultimoog.

47

S-TRIG

Switch

closure

triggers

contour

generators.

Internal

circuit

removes

switch

bounce.

Input

impedance

=

100K.

48

AUDIO

Allows

external

sound

source

to

be

processed

through

the

synthesizer.

Any

audio

signal

routed

to

this

input

appears

at

the

audio

input of

the

FILTER

section.

lOOmV

RMS

input

required

for

full

drive.

Input

impedance

=

4.7K.

52

POWER

SWITCH

Selects

to

turn

power.

ON

and

OFF.

53

FINE

TUNE

Parallels

OCTAVE

and

WIDE

FREQ

controls

on

front

panel

to

provide

fine

tuning.

Provides

greater

than

one

whole

step

above

or

below

center

pitch.

49

TOUCH

MOD

EFFECTS

Allows

input

of

external

signal

into

the

MOD

path of

the

KEYBOARD

TOUCH

section

(in

lieu

of

MODULATION

section

signal).

Functional

only

when

the

EFFECT

switch

on

the

front

panel

is

to

MOD.

80

TECHNICAL

DATA

MULTIMOOC

SPECIFICATIONS

lJ

TONE

OSCILLATORS

NUMBER:

2—(designated

A

and

B)

FREQUENCY

RANGE:

.IHz

to

20KHz

STABILITY:

Short

term

range

drift

after 5

minute

warm-up

less

than

.1%

in

IHz

to

1KHz

range.

Long

term

scale

drift

less

than

.05%.

Oscillators

are

totally

insensitive

to

temperature

changes

over

5°C

to

45°C

SCALE

ACCURACY:

Better

than

99.95%

TRACKING

ACCURACY,

OSCILLATOR A TO

B:

.1%

from

IHz

to 1 KHz

RELATIVE

STABILITY,

OSCILLATOR A TO

B:

Short

term

range

or

scale

drift

.05%

after

5

minute

warm-up.

MASTER

OCTAVE

SWITCH:

Transposes

oscillator

A

and B to

preset

32716',8',4',

or

2'

range,

with

99.75%

accuracy.

Wide

range

position

activates

8

octave

wide

range

frequency

control

for

user

preset.

WAVEFORMS,

OSCILLATORS

A&B

Variable

from

sawtooth

through

square

to

narrow

pulse.

DOUBLING

(OSCILLATOR

B):

Provides

variable

mix

of

square

wave

either

one

or

two

octaves

below

pitch

of

OSCILLATOR

B.

MASTER

MIX:

Variable

mix

from A only

to B only.

INTERVAL,

OSCILLATOR

A:

Tunes A ± a fifth

relative

to

OSCILLATOR

B.

NOISE

SOURCE:

Pink

noise

random

waveform

as

"hiss"

audio

source.

CONTOUR

GENERATORS

NUMBER: 2 (one

for

Voltage

Controlled

Filter

(VCF)

and

for

loudness

(VCA).

RANGE

OF

ATTACK

AND

RELEASE

TIMES:

1

millisecond

to

10

seconds.

SUSTAIN

LEVEL:

Filter

and

loudness

independently

selectable

for

full

or

zero

sustain.

BYPASS:

Switches

to

hold

VCA

fully

on

indefinitely.

KEYBOARD

DESCRIPTION:

44

note F to C keyboard

with

low

note

priority.

I n the

8'

range

the

second C from

the

low

end

of

the

keyboard

is

middle C (261

Hz)

TRIGGERING:

Single

or

multiple

triggering

selectable

by

the

KBD.

TRIGGERING

switch.

In

the

single

mode,

no

new

triggers

can

be

generated

until

all

keys

are

released.

In

the

multiple

mode, a new

trigger

is

produced

every

time

the

keyboard

voltage

changes.

KEYBOARD

FORCE

SENSOR:

Produces a control

voltage

proportional

to

amount

of

force

applied

to

the

keyboard.

This

signal

may

be

used

either

directly

(BEND)

or

to

control

the

amount

of a selected

signal

(MOD)

from

the

SOURCE

selector.

FILTER

CHARACTERISTIC:

Temperature

stabilized

lowpass

filter

with

variable-height

resonant

peak

at

cutoff

frequency

and

24dB/octave

slope.

RANGE

OF

CUTOFF:

IHz

to

40KHz,

voltage

controlled

TRACKING:

Half-tracking

or

full

tracking

of

oscillator

OSCILLATION:

In

"tone"

mode

filter

becomes

a

pure

sinewave

generator

with

at least

a

50Hz

to

5KHz

range.

ACCURACY

OF

OSCILLATION:

Better

than

99%

16'

Lo F to

4'

Hi

C.

Synchronizeable

with

tone

oscillator

to

achieve

same

accuracy

and

stability

characteristics

as

tone

oscillator.

CONTOUR:

Filter

contour

generator feeds

through

reversible

attenuator

for

positive

or

negative

sweeps

up

to 5 octaves.

FREQUENCY

MOD.

BY

OSC:

Injects

tone

oscillator

into

control

input

of

filter

to

yield

tone

color

and

ring

modulation

effects.

LOUDNESS

CONTOUR

DYNAMIC

RANGE:

80dB

Voltage

Controlled

Amplifier

(VCA)

MODULATION

MODULATION

OSCILLATOR:

Produces a 50%

duty

cycle

square

wave

and a triangle

wave.

Supplies

trigger

to

sample-hold

and

may

be

used

to

trigger

contour

generators.

RATE:

Adjustable

over

.3Hz

to

30

Hz

by

RATE

control.

SOURCE

SWITCH:

Selects

source

of

modulation

for

wheel

modulation

and

keyboard

(MOD)

touch

control

modulation.

ROUTING

SWITCH:

Selects

destination

of

wheel

modulation

signal.

MOD

AMOUNT

WHEEL: A playing

control

that

varies

the

amplitude

of

modulation

fed

to

the

ROUTING

switch.

KEYBOARD

TOUCH

EFFECT

SWITCH:

Selects

the

modulation

SOURCE

switch

output

or

FORCE

SENSOR

output

as

the

modulation

signal

to

the

DESTINATION

switch,

via

the

AMOUNT

control.

FORCE

SENSOR:

See

keyboard

force

sensor.

81

AMOUNT

CONTROL:

Attenuates

the

signal

applied

to

the

DESTINATION

switch.

DESTINATION

SWITCH:

Sends

the

keyboard

touch

modulation

signal

to

one

or

more

of

six

control

inputs.

SYNCH A TO

B:

In

this

positionof

the

DESTINATION

switch,

oscillator

A

is

reset

by

oscillator

B

which

locks

the

fundamental

frequency

of A to

B.

Modulation

routed

into

oscillator

A

shifts

the

harmonic

structure

of A resulting

in

dynamic

spectrum

changes.

SAMPLE

&

HOLD

FUNCTION:

Samples

noise

source

at

rate

set

by

modulation

oscillator

to

yield

randomly

changing

control

steps

that

occur

at a regular

tempo.

S

& H

AUTO:

Modulation

oscillator

triggers

contours

synchronously

at

the

beginning

of

each

control

step.

Trigger

duty

cycle = 50

%.

S

& H

KBD:

Sampling

rate

still

set

mod.

osc.

but

keyboard

alone

triggers

contours.

GLIDE

Exponential

portamento

adjustable

from

1

millisecond

to 5 seconds

with

GLIDE

ON/OFF

switch.

Glide

stops

when

no

key

is

depressed.

RIBBON

Supplies

pitch

bend

signal

to

oscillator

A

or

oscillator

A

and

B,

determined

by

the

RIBBON

ROUTING

switch.

Automatic

reset

to

center

when

ribbon

is

released.

REAR

PANEL

LOW

AUDIO

OUTPUT:

-10

dBM

max

level

at

1K

output

impedance

HI

AUDIO

OUTPUT:

+12

dBM

max

level

at

1.5

K

output

impedance.

Will

drive

headphones.

S-TRIG

OUTPUT:

Output

trigger

occurs

whenever

contour

generators

ar

triggered

but

can

be

disabled

by

front

panel

KBD & TRIG

EXT

OUTPUT

switch.

Compatabie

with

all

Moog

Synthesizers

and

Accessories.

(An

S-Trig

is a "switch"

or

closure

to

ground.)

KBD

OUT:

Keyboard

voltage

with

glide

at 1 volt

per

octave

adjustable

over+10%

range.

Front

panel

KBD

&

TRIG

EXT

OUT

switch

turns

KBD

OUT

off,

or

on

without

ribbon,

or

on

with

ribbon.

May

be

used

as

keyboard

input

to

override

keyboard

control

voltage

when

adjustment

pot

is

in

click

position.

RIBBON

OUTPUT:

±.6VDC

full

scale

with

±20%

adjustment

KBD

FORCE:

Outputs 0 to 6 VDC

from

FORCE

SENSOR

mechanism

under

keyboard.

GLIDE

ON/OFF:

Provides

glide

ON/OFF

control

with

an

external

foot

switch

(front

panel

GLIDE

on

Position).

MODULATION:

This

input/output

jack

allows

an

external

switch

to

turn

modualtion

on

and

off,

or

an

external

pedal

to

control

amount

of

modulation.

May

also

be

used

to

route

modulation

signal

to

external

equipment

or

feed

in

modulation

signal

from

external

equipment.

FILTER

INPUT:

Allows

external

voltage

control

of

filter.

Scaling

is

0.95

volts/octave.

Input

impedance

=

100K.

OSC.

A&B

INPUT:

Allows

external

voltage

control

of

oscillators.

Scaling

is

0.95

volts/octave.

Input

impedance

=

100K.

S-TRIG INPUT:

Switch

closure

triggers

contour

generators.

Internal

circuit

fully

removes

switch

"bounce."

Input

impedance

=

100K.

AUDIO

INPUT:

Allows

external

sound

source

to

be

processed

through

synthesizer.

100MV

RMS

input

required

for

full

drive.

Input

impedance

=

100K.

TOUCH

MOD

EFFECTS:

Allows

external

modulation

source

to

be

used

to

replace

internal

keyboard

touch

modulation

source.

Maximum

input

3 V peak

to

peak.

Input

impedance = 30K.

ACCESSORY

POWER.-Supplies

±15V

regulated

D.C.

at

50

MA

max

for

all

standard

MOOG

accessories.

POWER

REQUIREMENTS

90-130

VAC

or

180 -260

VAC

50/60

Hz.

18

Watts

Detachable

international

power

cord

DIMENSIONS

AND

WEIGHT

OVERALL

SIZE:

313/*

wide

15"

deep x SVi"

high.

NET

WEIGHT:

26

lbs.

82