USER’S MANUAL Version ARTURIA – MOOG MODULAR V 2.6 – USER’S MANUAL 2.
Programming: Robert Bocquier Nicolas Bronnec Pierre-Jean Camilieri Thomas Diligent Sylvain Gubian Xavier Oudin Gilles Pommereuil Cedric Rossi Graphics: Yannick Bonnefoy Thomas & Wolfgang Merkle [Bitplant] Manual: Antoine Back (V2.5) Silvère Letellier (V2.
Introduction to version 2.5 of the Moog Modular V manual The first version of the Moog Modular V was commercialized in March 2003 having been announced at the NAMM show of the same year. It quickly became popular being the first to offer an emulation of a modular synthesizer. The name Moog® was obviously a trigger as for many it remains synonymous with the golden age of vintage synthesizers.
TABLE OF CONTENTS 1 What's new in Moog Modular v 2.6......................................................................... 7 2 Introduction........................................................................................................ 8 2.1 The birth of modular moog systems.................................................................... 8 2.2 A modular synthesizer, why? ........................................................................... 12 2.3 A better emulation thanks to TAE® ..
7 6.4.7 Key follow or sequencer connections ............................................................. 65 The modules ..................................................................................................... 68 7.1 Programming section ...................................................................................... 7.1.1 Description ................................................................................................ 7.1.2 Oscillators.........................................
10 Using the Moog Modular V in different modes.......................................................140 10.1 Stand-alone..................................................................................................140 10.1.1 Launching the application ........................................................................140 10.1.2 Configuration of an instrument: the tool bar ..............................................140 10.2 Using your plug-in in a host...........................................
1 WHAT'S NEW IN MOOG MODULAR V 2.6 Moog Modular V 2.6 includes the following new features: • Support for 64-bit VST and Audio Unit • Improvement for MIDI assignments o MIDI assignment configurations can be saved and restored o Controls can be assigned to multiple parameters o Minimum and maximum ranges for an assigned parameter can be set • Standalone program updated • Bug fixes System requirements: • MAC OSX 10.5 and 10.6 Intel o PPC no longer supported o MAC OSX 10.
2 2.1 INTRODUCTION THE BIRTH OF MODULAR MOOG SYSTEMS Robert A. Moog was born in May 1934 in New York. A passionate for music (he took piano lessons for 12 years), he was introduced to electronics by his father, an engineer in this domain. During his adolescence, he discovered the Thereminvox plan, invented during the 30’s by a Russian engineer, Leon Theremin (or more exactly Lev Sergeivitch Termen).
A second prototype, regrouping the all of the new modules, was built during the summer of 1964 and was presented during the AES show (Audio Engineering Society), where Moog worked from an unused stand. This new product generated a huge amount of interest, but Moog did not yet realize the commercial punch of his machines. Two or three orders were obtained at AES and kept Moog busy for several months. In 1965, after the success at the show, Moog decided to release the 900 series for commercial sale. The R.A.
In 1968, worldwide recognition came with the success of “Switched-On Bach” by W. Carlos. This album, where classical music is played on a Moog, sold over one million copies as it was bought both by classical music fans (it was in the American “Classical” charts for 94 weeks) and fans of pop. It won three Grammy awards. “Switched-On Bach” by W. Carlos A little later, Keith Emerson, keyboard player for the groups Nice and ELP (Emerson, Lake and Palmer), was he himself to become an ambassador for Moog synths.
In 1969-70, the company which now has around forty employees was building up to three modulars per week and the order book was always full. The modular had 5 years of high sales, and sold around 200 models in the United States. Construction and testing of a modular Moog (Courtesy of Roger Luther, MoogArchives.com) In 1969, Bob Moog received demands for a more compact instrument that could be transported more easily, directed more to stage than studio.
2.2 A MODULAR SYNTHESIZER, WHY? Why create a modular synthesizer, that is to say comprised of independent modules that we must connect ourselves, sometimes with difficulty, before obtaining a sound? The answer, as you can imagine, is very simple: the modularity brings immense possibilities for the creation of sound. To convince you, let’s look at some basic concepts. Sound synthesis is essentially based on the use of generators and filters.
In detail, TAE means: 2.3.1 Aliasing-free oscillators: Standard digital synthesizers produce aliasing in high frequencies, and when using Pulse Width Modulation or FM. TAE® allows the production of totally aliasing-free oscillators in all contexts (PWM, FM…), and at no extra CPU cost. Aliasing Linear frequency spectrum of an existing well-known software synthesizer Linear frequency spectrum of the Moog Modular V oscillator made with TAE® 2.3.
Temporal representation of a waveform on a Modular Moog 55 Temporal representation of the waveform of an existing Moog-like software synthesizer Temporal representation of the Moog Modular V waveform thanks to TAE In addition, original analog oscillators were unstable. Actually, their wave shape was always slightly different from one period to another. In addition, due to analog hardware sensitivities, new period trigger times varied with the temperature and other environmental conditions.
Standard 24 dB digital low pass resonance filter for a typical software synthesizer Very selective 24 dB resonance filter of the MiniMoog TAE made Moog Modular V resonance filter: First 24 dB resonance filter to be that selective Comparative response filters 2.3.4 Implementation of soft clipping In analog synthesizers, the resonant filter uses a current limiting function, preventing the signal from being too loud (soft clipping).
1,5 1 0,5 1 0, 8 0, 6 0, 4 0 0, 2 -0 ,2 -0 ,4 -0 ,6 -1 -0 ,8 0 -0,5 -1 -1,5 Soft-clipping transfer function 16 ARTURIA – MOOG MODULAR V 2.
3 3.1 INSTALLATION WINDOWS INSTALLATION (XP, VISTA, 7) Insert the CD-ROM in the drive. Explore the CD-ROM content; double-click on the “Moog Modular V 2 Setup PC.exe” icon At the first step in the installation, choose the folder to install the Moog Modular V. It will be installed by default in C:\Program Files\Arturia\Moog Modular V2. You can change the destination with the Browse button. Choice of installation folder The Moog Modular V2.6 will be installed as a standalone application.
Choosing the protocols For the VST and RTAS protocols, you need to choose the installation folder to allow the host application to use the Moog Modular V2.6 as a plug-in. Selecting all is a good idea.. Installation folder choice for the VST plug-in The installation program now has enough information to complete the installation. When the installation process is completed, please proceed to authorization step (Chapter 3). 18 ARTURIA – MOOG MODULAR V 2.
3.2 INSTALLATION MAC OS X Insert the CD-ROM into the drive. Explore the content of the CD-ROM, then double-click on the icon named “Moog Modular V2.6 Setup”. Follow these steps: Read and accept the End User License Agreement, Select a destination. When prompted, enter the administrator name and password of your computer in the authentication window. Authentication window The Moog Modular V2.6 will next be installed as a standalone application, but also as VST, AU and RTAS plug-ins.
4 AUTHORIZATION Now your Moog Modular V 2.6 has been installed, you have to authorize the synthesizer. Earlier versions used an “original CD + license number” protection scheme, however, the Moog Modular V 2.6 uses the Soft-eLicenser full-software solution. Avoiding the use of a USB port by default, this system allows using the synthesizer on one machine which must be connected to the Internet during the authorization process.
Or if you already have an account, simply log in: Once you are logged into your account, you can register your Moog Modular V and request your activation code. Go to the “My Registered Products” section of your account and click on the “Add” button: In the form that appears, select “Moog Modular V” from the drop down menu, and type in your synthesizer serial number and unlock code (as written on the registration card): ARTURIA – MOOG MODULAR V 2.
Moog Modular V You will then see the confirmation screen: Moog Modular V And finally there is a screen from which you can copy the eLicenser Activation Code, which is needed for the next step. The very same information is sent to you by email as a backup. 4.2 LICENSE DOWNLOAD Now that you have retrieved the activation code, launch the eLicenser Control Center.
In the eLicenser Control Center main window you should see a Soft-eLicenser (SeL) virtual dongle created onto your computer. eLicenser Control Center main window, showing an empty Soft-eLicenser. Click on the Enter Activation Code button, and enter the code when prompted. Simply paste in the 32-digit code you’ve just copied from your account on the ARTURIA website: Moog Modular V2.5 Enter the activation code ARTURIA – MOOG MODULAR V 2.
The eLicenser Control Center is now ready to download the software license that will allow you to use Moog Modular V. Click on Start, the progress bar should anime until download completion. A popup window will confirm completion, just click Close. Now the main eLicenser Control Center window should show your Moog Modular V license installed and activated.
5 QUICK START This section of the manual will allow you to learn the general principles of how the Moog Modular V works. This will be a presentation of the different views available, the modules and signals used while using the program for the first time. You will find a detailed and precise description of all of the modules and controllers visible on the screen in the following chapters.
The first section composed of 2 cabinets 5.1.2 The other three sections The first, situated at the top of the synthesizer, contains the step sequencer and 4 effects (the right hand effect can be either a chorus or phaser). The two others are found under the synthesis section. One is a small extension containing the internal cables, while the other holds the virtual keyboard and its assignable controllers. The second section composed of a sequencer and effects 26 ARTURIA – MOOG MODULAR V 2.
The virtual keyboard and extensions section 5.1.3 Reduced view of the keyboard and the real time controllers You also have the possibility to only keep the keyboard and its assignable controllers visible on the screen. The goal is to have quick access to all of the important real time controllers and sound presets all while having a smaller work surface. Reduced view of the keyboard 5.
Select the preset bass1 The presets, located on the Moog Modular V toolbar, are classed in “banks” and “sub-banks”. Each bank contains a certain number of sub-banks, which determine in general a type of sound: sub-bank “basses”, sub-bank “sound effects”, etc. Each sub-bank contains a certain number of presets. The Moog Modular V is supplied with 800 additional “factory” sound banks, which allow you to get acquainted with more sounds and sequences of the synthesizer.
Saving a preset 5.3 MODULAR SYNTHESIZER The modular synthesizer cabinet contains 28 modules, which will help you to create an infinite variety of sounds. These 28 modules can be broken down into different categories and will be connected by cables. 5.3.1 First connections Let’s see how to quickly create an evolving polyphonic sound: To correctly understand the programming of the Moog Modular V, select the “Blank_ synth” preset in the “User” / “Blank” bank.
Connection of the filter1 audio output to the VCA1 audio input Once you have obtained a basic sound, you can add elements to enrich the sound. Take the “saw” output of oscillator2 and connect it to the audio input of filter2. Connection between oscillator 2 and filter 2 Next connect the audio output of this filter to the VCA2 audio input. 30 ARTURIA – MOOG MODULAR V 2.
Connection of the VCA2 audio input Slightly detune the pitch of the second oscillator by turning the “frequency” button. You will obtain a sound that is more “alive” and “thick”. Detune the pitch of the second oscillator Continue to complete the sound with modifications acting on the 2 filters. For this, connect the “sin” output of LFO1 (placed next to the 3 filter modules) to one of the modulation inputs of filter1.
Turn the jack ring On the original Moog Modular, it was not possible to directly set the value of the modulation input signal. To do this we needed to go through controllable VCAs or dampening modules of which there were not very many. On the virtual synthesizer, it is possible to control the input modulation level (once the connections have been made) by turning the ring of the connected jack – this ring will “transform” virtually into a knob.
The final patch 5.3.2 5.3.2.1 Description of the synthesis section modules The oscillators They are 9 in total, regrouped in threes like the original Moog: 1 “Driver” oscillator: allow the management of the frequency and impulse width of the 3 “slave” oscillators. These 3 “slave” oscillators can be tuned and modulated separately. They deliver 4 waveforms that can be simultaneously used. An oscillator bank: 1 “driver” and 3 “slave oscillators” 5.3.2.
White and pink noise generator 5.3.2.3 The filters The Moog Modular V possesses 3 filters. Each of these filters can be chosen between 4 types: Low pass 24 dB/octave (type 904A) High pass 24 dB/octave (type 904B) Band pass and band reject 24 dB/octave (type 904C) Multi-modes 12 dB/octave (low-pass, high-pass, band pass, band reject, bell, shelf). The type change is done by clicking on the title of the filter type and by selecting the desired filter in the proposed menu. The 4 filter types 5.3.2.
The auxiliary envelope 5.3.2.5 The dual trigger delay A module with two trigger delays allows the management of the signals used to trigger envelopes and sequencer. The trigger delays 5.3.2.6 The LFOs Two low frequency oscillator modules (“Low Frequency Oscillator”) are used to create a cyclic modulation on one (or several) sound setting. The “slave” oscillators can also be used as LFOs when they are brought to low frequency positions when they are switched in low frequencies (“low freq”).
The LFO module 5.3.2.7 The VCAs There are two output amplifiers (VCA), each with an individual envelope. We can imagine placing a VCA on the right and one on the left to create a stereo effect. An output VCA 5.3.2.8 Mixers and amplifiers 16 independent amplifiers are at your disposal. Each has its own volume setting with the rotating “level” button and amplitude modulation input. These amplifiers can be regrouped to create mixers.
The mixer VCAs 5.4 5.4.1 THE OTHER SECTIONS The sequencer This module conforms to the original Moog while simplifying the programming with internal connections. It is with this module that you can create melodic sequences or sequences applied to a parameter (a sequence line applied to the opening of the frequency can, for example, be very efficient). The sequencer has 3 sections: Low frequency oscillator controls the timing of passage from one sequence to another.
Assign “Driver” oscillators to one of the 4 sequence lines. For this, on the sequencer screen click a few times on the corresponding LCD display on the bottom of the “Driver”, (on the right) to select the sequence line :L1, 2, 3 or 4.
Click on “on” to start the sequencer Set the pitch of each note in turning the knobs of the sequence row applied to the Driver oscillator. Setting of the values corresponding to the pitch of the oscillators Also set the length of the notes with the “length” knob Set the length of each note You can add a little portamento by turning the “smooth” knob on the right of the line corresponding to your sequence. ARTURIA – MOOG MODULAR V 2.
Turning the “smooth” knob It is also very easy to rhythmically enrich the sequence by linking (“link” button) or repeating certain notes (select the number of repetitions by clicking several times in the LCD display beside the “repeat” button and click on the latter to confirm the repetition of the notes) Click on the “repeat” button If you wish to add more steps to your sequence, 16 for example, select “L4” in the LCD display below the oscillator “Driver” of the sequencer.
The 3 effect modules Resonant filter bank (Fixed Filter bank): affects equalization to the outgoing signal coming from the 2 output amplifiers in function with the state of the interrupters “VCA1” and “VCA2”. This equalization is done with the help of resonant filters with 12 band-pass filters; each of the bands has a level (positive or negative) and bandwidth setting. This module also possesses a low-pass filter (80 Hz) and a fixed high-pass (12 kHz).
To add a complex filtering with the fixed filter bank, start by activating the 2 switches “VCA1” and “VCA2”. This will connect the effect to the two VCA outputs. Modify the filter frequency bands by turning the gain knobs. This will increase (to the right) or reduce (to the left) the gain corresponding to these frequencies. Increase the gain of the chosen frequency You can refine the equalization with the bandwidth knob corresponding to the frequency you have chosen.
The delay effect As is the case for all of the Moog Modular V effects, the Dual Delay works in “real” stereo in the sense that it possesses an independent input and output for both sides. To activate the delay effect, begin by triggering the 2 “VCA1” and “VCA2” switches. This will commute the action of the effect to the 2 audio outputs of the sequencer. It is also possible to keep a part of the sound effect free by deactivating one of the two VCA switches.
The “feedback” settings Now, set the balance between the sound without effect (“dry” knob) and the delay return (“wet” knob). The “dry” and “wet” settings 5.4.2.3 The chorus Chorus is used to create a doubling effect on a sound; this will give it more width and “thickness”. If you accentuate the effect intensity, you will obtain a very discordant sound.
To correctly hear the different modulation depths, simply increase the value of the “amount” knob. The higher the value, the more discordant the sound. The “amount” parameter Set the modulation rate by turning the “rate” knob. The faster the speed, the quicker the detuning. You can also widen the stereo action field by increasing the value of the “stereo width” knob.
The pitch bend and modulation dials are also available for height (affected to the oscillator or filters) and modulation settings (affected to any of the synthesizers modulation sources). The connections are made by cables on the first screen. 5.5.2 The keyboard controllers The different settings concerning the real time controllers affected to the keyboard can be found on the left, above the virtual keyboard.
4 independent key follows: apply a continuous change of a modulation parameter in relation to the scale of the keyboard (tune the oscillators for example). The pitch bend and modulation dials: add a modulation to the parameter(s) connected to its source. The portamento (“Glide”): adds a frequency smoothing (portamento) between 2 notes. The velocity: adds a modulation to the parameters, which are affected by the force with which the key is played on the MIDI keyboard.
The “retrig” button, also active when the synthesizer is in monophonic mode, allows the systematic re-triggering of the envelopes, even if you link the notes in your playing sequence. If, on the other hand, you don’t wish to re-trigger the envelopes when 2 notes are linked, leave the button raised. When the synthesizer is in polyphonic mode, 1 LCD display on the right of the switch allows the setting of the maximum number of notes that can be played simultaneously (“poly” screen.
The connection of modulation inputs of filter1 to the 2D controller Return to the second screen and manipulate the 2D controller handle vertically (X) or horizontally (Y) to hear the result of the modulation. Using the 2D controller To have access to these 2 modulation inputs on a low-pass resonant, it is essential to change the filter type (the low-pass 24dB Moog does not possess a modulation input in the resonance.) Take the multimode filter and set it to low-pass mode, if it isn’t already the case. 5.
The three filter cutoff frequency controllers This chapter has given you a look at some of the many aspects of the Moog Modular V. Now try to go a little deeper using the rest of the documentation. You will find all of the details concerning the modules, the sequencer and the many different modes of use of the Moog Modular V. 50 ARTURIA – MOOG MODULAR V 2.
6 6.1 THE INTERFACE USING THE PRESETS The presets memorize the Moog Modular V sounds. A preset contains all of the inter module connections and the different controller information necessary for the recreation of an identical sound. In the Moog Modular V, presets are classed in “banks” and “sub-banks”. Each bank contains a certain number of sub-banks, which determine a type of sound: sub-bank “basses”, sub-bank “sound effects”, etc. Each sub-bank contains a certain number of presets.
Choice of preset in another sub-bank To choose a preset in another main bank, click on the button on the left of the name of the current bank. A drop-down menu appears with the choice of the main banks that are available, and the sub-lists corresponding to the sub-banks defined in each main bank and the presets contained in each sub-bank. You can now freely choose a preset by clicking on its name.
6.1.3 Saving a user preset To save your current settings under the current preset, click on the “Save” button on the Moog Modular V toolbar. “Save” button on the toolbar If you want to save your preset under a different preset name, click on the “Save As” button in the toolbar.
Preset bank import button on the toolbar When you click on this button, a dialog appears allowing the choice of Moog Modular V preset bank files (*.amb). Choose the file that you want to import, and click on “Open”. The new preset bank will automatically appear in the available banks. The Moog Modular V also offers the option to export your own sound banks to save them, use them on another machine, or share them with other users. It is possible to export a preset, a sub-bank, or a complete bank.
The complete view contains all of the Moog Modular V sections. The full interface being too big to be displayed on a single screen, a scroll function allows you to move to the desired section. Simply click on the background of the synthesizer and drag the mouse up and down to move it. Work page selection buttons The ‘+’ and ‘-’ buttons in the toolbar let you make the plug-in window bigger or smaller so as to adapt to your screen and resolution.
6.3.1.2 Mouse control (higher linear precision) The Moog Modular V allows access to a higher level of precision when adjusting the knobs with the mouse, with the use of the right click (or [Shift]+click). In this mode, the precision of movement is multiplied by 4 in relation to the normal linear mode. This mode can be accessed no matter which mode has been chosen on the sequencer (circular or linear). 6.3.1.
Rotating selectors • The digital displays: They are notably used in the sequencer. We can manipulate by click and drag (like the knobs), or by a simple click: a left click increments the value, while a right click ([Shift]+click for Mac) decrements the value. Digital displays 6.3.4 Keyboard The keyboard lets us listen to the synthesizer sounds without having to use an external master MIDI keyboard, and without programming a melody in the sequencer. Simply click on a key to hear the corresponding sound.
• “Save Config As” saves current configuration to a new one • “Delete Current Config” removes current configuration from list The second section contains the list of existing configurations • The checked one is the currently selected MIDI map • Click on a configuration to load it 6.3.5.2 Assigning MIDI controls In order to start assigning MIDI controls, click the “Midi Learn” button (left part). The button remains highlighted to indicate that the “learn mode” is ON.
6.3.5.3 Manage configurations New in Moog Modular V 2.6: the possibility to maintain multiple configurations. Default configuration By default, Moog Modular V loads the configuration for Arturia Analog Experience keyboards. Select one configuration A configuration is loaded by clicking the corresponding entry in bottom part of “Learn menu”. Create a new configuration A new configuration can be created by clicking on the “Learn menu”, “New Config” entry.
Output parameter values MAX Input control values MIN DEFAULT Output parameter values Output parameter values MAX Input control values MIN POSITIVE SLOPE MIN MAX Input control values NEGATIVE SLOPE parameter_value = MIN + (MAX – MIN) * control_value 6.3.5.5 Multiple assigned parameters It is possible to assign multiple parameters to a single control. This allows you to change many parameters with one fader or knob.
6.4 USING CABLES The connection of different modules is the base work of creating a new patch. The Moog Modular V owes its creative possibilities in no small part to the innumerable connections possible between modules. On the original system, all of the connections were made with cables of two types: Audio and modulation cables (which allow for example the connection of an oscillator sawtooth signal to a filter input).
Modulation input connectors To connect a modules output to the input of another module, click on the output and drag it to the target input while holding down the mouse button. When you are above the input, the connector lights up. In this case, you just need to release the mouse button to link a cable between the selected output and input. Creating a new cable and finding an appropriate input, by click and drag Another means is to right click (or [Shift]+click for Mac) on the input or output of a module.
6.4.2 Modifying a connection To disconnect the end of a cable at input connector level, and reconnect it to another input, click on the end of the cable concerned and hold down the mouse button. You can now drag the end of the cable to another input with the mouse and release the button. To delete a connection, you can use the menu available with a right click (or [Shift]+click).
The cable display filter allows the display of a section of existing cables in a given patch, depending on their type. The cable display filter is controlled by the buttons on the Moog Modular V toolbar: The cable display filter menu When a button is selected (pressed), the cables of the corresponding color are displayed. If the “ALL” option is selected, all of the cables are visible despite the state of the color filters. 6.4.4.
Trigger type input connection menu This menu tells us to which module a trigger input is connected, and allows us to create a new connection or delete an existing one. When a trigger input is connected, its graphical aspect changes, and this tells us if a module is connected without checking the menu: Trigger input disconnected – Trigger input connected 6.4.
convert a key on the keyboard to a Hertz frequency value that can be used by the oscillator. The Moog Modular V has four different key follows. The default setting for each key follow is that of the Western tempered (scale of twelve equal semi-tones). It is possible to set the key follows differently to create other types of scales (scale of quarter tones, tones, etc.). The key follows can be edited in the keyboard page of the synthesizer.
Key follow K1 K2 K3 K4 No LFO Driver Oscillator Key follow No 1 Key follow No 2 Key follow No 3 Key follow No 4 No key follow No key follow, or trigger from the keyboard; the oscillator works permanently on a polyphonic track (LFO mode) K1 K2 K3 K4 No Filter Key follow No 1 Key follow No 2 Key follow No 3 Key follow No 4 No key follow S1 S2 S3 S4 No Filter Follow of line 1 of the Follow of line 2 of the Follow of line 3 of the Follow of line 4 of the No sequencer follow Sequencer follow S1 S2 S3 S4
7 THE MODULES The Moog Modular V can be broken down into 4 parts, from top to bottom, a section containing sequencer and effects, a section dedicated to the sound programming, a small extension where the external cables are regrouped (velocity, after-touch, external signals...) and finally a section containing the keyboard and different play settings. 7.1 7.1.1 PROGRAMMING SECTION Description The programming section gathers all of the modules, which need to be connected by cables.
The controller is for the management of the impulse frequency and width of the 3 slave oscillators. It can be used either statically with the knobs or thanks to the modulation inputs, which can be connected to the output of any module (envelope, oscillator, modulation dial…). The slave oscillators can equally be tuned and modulated separately with a knob and a range selector. These oscillators provide four waveforms that can be used simultaneously.
The first two frequency modulation inputs work in an exponential mode, while the third, “Lin” works in a linear mode. Connected directly to a generator (envelope, oscillator, sequencer…), the maximum amplitude of the modulation is of +/- 4 octaves. When it is necessary to have a stronger modulation, an amplifier module must amplify the signal of the generator. A certain number of internal connections simplify the use of the keyboard follow, sequencer, portamento and pitch bend.
The 921B type slave oscillators possess four outputs that can be used simultaneously: sawtooth, sinusoid, triangle, square. There is also an output generating a trigger signal synchronous with the square signal and with an identical width, which lets us trigger envelopes and sequencer in a cyclic manner. This output is visible only visible at trigger input menu level. Sawtooth Triangle Square Sinusoid These oscillators are independently tuned with the “frequency” knob.
A connected oscillator is active and consumes calculation power. It is therefore necessary to verify that the connected oscillators are in use. Similarly, a group of oscillators disconnected from the keyboard by the “keyb” interrupter is permanently active. 7.1.3 Filters The Moog Modular V possesses 3 filter modules.
The low-pass 24 dB/octave filter is typical of Moog synthesizers. It has a setting for the cut-off frequency and a setting for the resonance. Only connecting the output of any module to one of the 3 modulation inputs can dynamically modulate the cut-off frequency. Like all of the modulation inputs, once connected, turning the dial of the jack with a right click sets its amplitude.
Unlike the low-pass 904A filter, the high-pass 904B filter does not possess resonance. The cutoff frequency can be set with the rotating “frequency” dial or by the 3 modulation inputs which function in the same manner as the inputs of the low-pass. The following image represents the spectrum of a high-pass filter with a cut-off frequency of 500 Hz. High-pass 24 dB/octave filter 7.1.3.3 Band-pass 24 dB/octave filter (904C) Type Frequency Resonance Audio Input Audio Output Mod.
first modulation input allows the dynamic modification of the bandwidth, the 2 others, the central frequency. A “type” selector provides a choice of filtering, band pass or band reject. The following images represent the spectrum of the band-pass and band-reject filters where the central frequency is 500 Hz. Band-pass 24 dB/octave filter 7.1.3.
The multi-mode 12 dB/octave filter has different types of filtering that the original Moog modular synthesizers could not offer. The selector holds six types if filtering: low-pass, bandpass, notch, high-pass, low-shelf, high-shelf, bell. The 3 knobs “Frequency”, “Resonance”, and “Gain” respectively set the cut-off frequency, the resonance, and the gain (used only for the shelf and bell) Three modulation inputs allow the dynamic modification of the cut-off frequency.
7.1.4 Modulation envelopes Attack (A) Decay (D) Release (R) Sustain (S) Output Input Trigg Envelope Attack Decay Release Sustain Input Trigg Output Sets the attack time (Attack) Sets the decay time Sets the release time Sets the sustain level Trigger signal input connection Envelope output signal Six in total, the modulation envelopes make the sonority evolve in function with time. An envelope possesses four sequentially following temporal periods: attack, decay, sustain and release.
7.1.
A St D Sn S R Trigg On t t Representation of the output VCA envelope The output amplifier internally connected to this envelope has volume “gain” and amplitude input modulation settings. The input trigger can be connected to the output trigger coming from the keyboard, the trigger delay module, the oscillators or LFO trigger output, or from the sequencer. Each of the two amplifiers possesses a trigger output, which is activated when the signal level is cancelled.
Frequency Delay Mode Fade in Width PWM Input FM Input Outputs Sets the oscillation frequency Delay time setting after a keyboard trigger Choice of frequency setting: low, mid, synchronized on the MIDI tempo Sets the time constant for the increase of modulation Sets the impulse width Input connection for the impulse width modulation Frequency modulation input connection Connection jacks for the different outputs The use of a low frequency generator as a modulation source is typical.
There are 16 independent amplifiers. Each has its own volume setting with the rotating “level” button and its amplitude modulation input. These amplifiers can be regrouped to form mixers. To group 2 amplifiers, just click on the “Link” button separating them. When 2 amplifiers form a group, the output signal of the first corresponds to the sum of their collective outputs, whereas the output of the second remains identical to the signal before grouping.
A trigger delay module manages the signals used for triggering envelopes and sequencer. There are 2 delays, which can function independently, in series or parallel following the setting on the “mode” selector. Set to the “off” position, the 2 delays are independent. When their trigger input moves to an active state, their internal counter is initialized. The output will move to an active state when their internal counter reaches the value specified by the rotating “time” button.
Serial mode 7.1.
White noise spectrum Pink noise spectrum Whether it is for white or pink noise, the two output jacks correspond to two independent noise generators. 7.1.
7.1.11 Envelope follower Time choice Threshold Time Follow in Follow out Comparator in Envelope follower Time choice Time Threshold Follower out Follower in Comparator in Selection of follow mode Sets the constant time of the level measurement Sets the threshold of comparator Envelope follow output connection jack Envelope follow input connection jack Comparator input connection jack This module possesses two functions. The first generates an envelope from the audio signal connected to “Follower in”.
7.1.12 Ring modulator Frequency Depth Freq. Mod. Input Depth Mod. input Mul Signal Input HiQ Selection Signal Out Signal In Ring modulator Frequency Depth HiQ Selection Freq. Mod. Input Depth Mod.
7.1.13 Formant filter Frequency FM Input Resonance RM Input Gain Gain Mod Input Input Vowel Mod.
Scale Amount of Shift Mix Mixed output Positive output Negative output FM Input Audio Input Sets the scale frequency Sets the frequency transition Mix between the positive and negative translations Mix of negative and positive translations output connection jack Positive translation output jack Negative translation output jack Frequency modulation connection jack Input signal connection jack This module is used for a linear translation of the frequencies contained in the input signal.
7.2.2 Resonant filter bank Gain Resonance Output gain Connection VCA1-VCA2 Reset Filter bank Gain Resonance Connection VCA1-VCA2 Output Gain Reset Sets the band level to positive or negative Sets the bandwidth Connection of the filter bank to the VCA1 or VCA2 output Sets the output gain Resets the filter bank This module allows the equalization of the signal coming from the 2 output amplifiers in function with the state of the interrupters “VCA11” and “VCA2”.
7.2.
7.2.
7.2.
7.2.6 Sequence generator Sequencer Also called sequencer, this module is similar to the original Moog 960 sequencer while simplifying the programming with internal connections. This module has 3 parts: low frequency oscillator, the 8-step sequence manager and the output controller.
The low frequency oscillator gives rhythm to the passage from one sequence to another. The speed can be statically set with the “frequency” knob and dynamically with the modulation input situated on the first section. The “synchronization” interrupter synchronizes this generator on the tempo of the host application. In this case, the “frequency” knob selects multiples and sub-multiples of this tempo.
It is possible to force the sequencer to initialize itself on a particular step, either by clicking on the “Forcing” button of the desired step, or through a signal in the associated input trigger. Every time the sequencer comes to a step, the corresponding trigger output is activated, allowing the start-up of certain envelopes. It is possible to remain on a particular step by modifying the “Hold” display.
The fourth output, for which the smooth can also be set with a “smooth” knob, is managed in the following manner. It takes the value of one of the 3 outputs in function with the current step and the type of progression specified by the “Mode output 4” selector. When placed in the “none” position, the fourth output takes the output value selected by the “Forcing Line” button and its corresponding trigger input.
7.4.
7.4.2 General settings Course Bend (tune) Course Bend (filter) Poly Mono Legato Re Trigger General settings Course Bend (filter) Course Bend (accord) MonoPoly Legato Re Trigger Nbr Release Poly Filter coarse for the pitch bend wheel Oscillator tuning coarse for the pitch bend wheel. (by semitone from 0 to 4 octaves) Selects synthesizer mode: ( Monophonic, Unison or polyphonic ) Selects legato mode (the portamento is active when the notes are detached).
8 THE BASICS OF SUBTRACTIVE SYNTHESIS Of all of the forms of sound synthesis, subtractive synthesis is still one of the oldest and most frequently used today. This method was developed from the 60’s on Moog analog synthesizers, and then later on ARP, Buchla, Oberheim, Sequential Circuits (Prophet series), Yamaha (CS series), Roland, Korg (MS and PS series) to name but a few.
could be used for sub basses emphasized in the mix (the square oscillator should be thus set an octave below the that of the saw tooth), wooden sounds (clarinet if the square signal is a little filtered), etc. The PWM (Pulse Width Modulation) is a setting which allows the modification of the square ware form cycle (or wave width). This can be done manually with the “PW” knob or through modulation (using an envelope or a LFO).
Triangle waveform • The sinusoid is the purest waveform of them all. It is composed of a single fundamental harmonic and produces a very “damper” sound (the tonality of a telephone is sinusoid). It will be used to reinforce the low frequencies of a bass sound or as a frequency modulator in order to create harmonics that do not exist in the original waveforms.
The complete cycle of a wave form (sawtooth) = one period Oscillator synchronization: the second is synchronized on the first one In the image above, oscillator2 is synchronized with the first, and then tuned to a frequency with double the tonality. The noise module: the noise signal spectrum possesses all frequencies at the same volume. For this reason, the noise module is used to create different noises like the imitation of wind or a breath, or even special effects. White noise is the richest of noises.
On the Moog Modular V, you have access to 7 different types of filtering. Let’s have a look at their respective properties. The low-pass filter (LPF) deletes the high frequencies from a frequency limit (the famous cut-off frequency) and only allows mow frequencies to pass. Depending on the setting, we will hear the sound becoming more or less “brilliant”, or more or less “thick”. This is the type of filtering that you will commonly find on synthesizers using subtractive synthesis.
Band-pass filter The band-reject filter (notch) eliminates the frequencies inside a band of frequencies. This filter is above all else interesting when we want to vary this band of frequencies (with the “frequency” on the Moog Modular V filters or the modulation of an LFO on this same parameter). You will thus obtain a sound close to a “phasing” effect. Band-reject filter These 4 types of filtering are more often used on analog synthesizers.
Low-shell filter The high-shell filter increases or decreases the frequencies above the cut-off frequency (with the action of the gain knob). High-shell filter A second setting completes the cut-off frequency: the resonance. You will also find it under the terms “emphasis” or “Q” – as a “filtering quality factor”. The resonance amplifies the frequencies close to the cut-off frequency; the other remaining frequencies are unchanged (before the cut-off frequency) or diminished (after the cut-off frequency).
Filter resonance, noted as “Q” 8.1.3 The amplifier or VCA The amplifier (Voltage Controlled Amplifier) is charged with receiving the audio signal coming from the filter (or directly the one from the oscillator if it is not filtered) to adjust its volume with a knob, before the signal is directed to the speakers. In conclusion, here is a scheme that may help you to understand the composition of a basic sound: 8.2 8.2.
8.2.2 The envelope generator The envelope generator, connected to the amplifier, is used to “sculpt” the form of a sound during a cycle, which begins when we press a note on the keyboard, and ends when we release. The most current envelope modules use 4 settings that we can vary: The Attack is the time that the sound will take to reach its maximum volume once the key has been pressed on the keyboard. The Decay is the time that the sound will take to decline after the key is played.
VCA modulated by a LFO Now to finish, the scheme of a full synthesizer containing: 3 oscillators (VCO) 1 noise module 1 mixer (mixing the 3 VCO and the noise module towards 2 filters) 2 filters (VCF) 2 amplifiers (VCA, can be placed in stereo with the pan knobs) 3 envelopes (ADSR) 3 LFO 1 keyboard Synthesizer scheme 108 ARTURIA – MOOG MODULAR V 2.
9 A FEW ELEMENTS OF SOUND DESIGN Here is a series of examples designed to guide you through the creation of a sound and a sequence. They are classed in order of complexity beginning with the easiest, and are organized into 4 parts: The first part will teach you the basics of modular sound synthesis.
Simple patch #1 To begin, load the “Blank_Synth” preset in the “User” / “Blank”.You will notice that it has no cable connection and it delivers no sound . This is normal, it is from this preset that you will program your sounds from scratch. Choose a sound source on the first oscillator situated in the lower section: take the audio output of the saw-tooth waveform by clicking on the jack . This wave form produces the richest noise signal out of the 5 wave forms proposed.
1 envelope 1 LFO It will more or less constitute the classic composition of a basic synthesizer. You will be able to regularly reuse this patch, don’t erase it. Patch #2 complete For more clarity, reuse the “Blank” preset. As previously, connect the “saw” output of oscillator1 to the first mixer VCA input. Next, connect the oscillator2 “saw” waveform to the second VCA. Connection of oscillators to mixer ARTURIA – MOOG MODULAR V 2.
Create a link between these 2 VCA by clicking on the “link” button situated between the first and second VCA. This will allow you to mix these 2 sources before directing them towards the audio input of filter1. Click on the link button to create a link between the 2 VCA To connect the audio output coming from the 2 mixed VCA to the filter1 input, drag a cable from the first VCA “out” to the filter1 “in”.
To give more life to your sound, click on the “frequency” knob on the first oscillator with the right click of the mouse (“Fine tune” position) then lightly turn towards the right (to increase the height of its tone) or the left (to decrease it). You will thus progressively hear a beating resulting from the light difference in tuning of the 2 oscillators. This beat will create a chorus effect, which will give more life and “warmth”.
This sound will be polyphonic and constitute a good example of accompaniments with subtle stereo evolutions. The complete patch For the conception of this sound, you can complete the previous patch. Start by clicking on the “link” button between the second and third mixer VCA to create the link between these 3 VCA. Then, on this third slice, connect the audio output of the square waveform of the third oscillator. Notice that filter1 is still connected to the audio output of the first slice of the mixer.
Connection towards the second filter Change the second filter type: for example, select the 12 dB multi-mode filter by clicking on the button on the top left of the module. Choose the low pass mode. Its filtering characteristics allow us to obtain a different color from the other filter (a 24 dB band-pass). This will be very useful for the creation of interesting stereo effects for your accompaniment sound.
modulation input directed towards the cut-off. Do the same thing on filter2 using envelope2. If you do not hear the sound, make sure with a right click on the “trigg” inputs of these 2 envelopes that “keyboard trigger” has been selected. Apply light cyclic variations on the filter1 cut-off frequency. Choose the “Sin” output of LFO1 and direct it to the first modulation input of filter1.
The setting of the VCA envelopes 9.1.4 Complex patch #2 This fourth example will let you go a little further in the approach of different types of modulations. It contains: 4 1 3 2 3 3 oscillators (the second being in “synchro” mode with the third) white noise filters (1 LP, 1 HP & 1 BP) VCA (in stereo) auxiliary envelopes LFO (the 2 principal LFO + 1 low frequency) This sound is stereo and uses delay and chorus effects.
For this example, we recommend that you start over with the patch #2 base. Successively connect the outputs of the waveforms inputs 3 and 4 of the mixer. of oscillators 3 and 4 to the VCA Set the “Range” of oscillator 3 to 16. It will play 1 octave upper than the 3 others Connect the white noise output to the third filter and choose the third type of filter on this (the Filter Coupler). It will be very useful in creating a resonance particular to white noise. For this set it to Band Pass mode.
The mixing On the fourth oscillator, set the “synchro” mode to “ON” and to “Hard” type. Then, turn the “frequency” button to find the color and height of the sound that you like. This will also be modulated by a third LFO (for this take the “Sin” output of oscillator 7 and set it to “Low” mode so that it acts as a LFO). To save on CPU load, also click on the “Key F” (for Key Follow) button to deactivate the keyboard connection mode. The frequency will thus be fixed.
Finally, set the 2 output VCA envelopes as you wish, while trying to keep the same values on the 2 envelopes. If you apply several modulations provoked by the different LFOs and on different destinations (filter “Cutoff”, FM, PWM etc…), try to vary the different levels of modulation in order to create as many different variations in the evolution of the final sound. This is one of the strongest points of modular synthesizer. 9.2 9.2.
Selection of Sequencer trigger Now move to the second screen and click on the “ON” button situated in the “Oscillator” module. The sequencer starts up but you only hear the same pitch for all the steps. This is normal. Start the sequencer Set each knob corresponding to the first sequencer line (the one to which the sequencer oscillator had been directed). You can now hear a melody.
Set the “Length” knob To stop the sequencer click on the “OFF” button. Sequence1 9.2.2 Sequence #2 Now let’s see how to use the different combinations between knobs (by lines or columns to create 8, 16 or 24 step sequences). This will allow you to quickly have very different sequence lines available which although different will harmonize perfectly together. We will also look at the possibilities for the creation of ternary sequences (for example: 6, 12 or 18 steps).
Select the function “L1-2” Do the same thing for the third line. To hear it, select “L1-2-3” and try the other selections and the columns (3 knobs per column) by activating “C1-2-3”. With the “Al” position, the playing will be done randomly between each line and column. Now let’s look at the creation of ternary sequences. For this, choose step 1 on the “Next” step selector of the seventh line. This will force the sequence to reset at the sixth column.
“Force” the triggering of a step You can also “trigger” one of these steps using a MIDI keyboard by selecting “Keyboard Trigger” on the “Trigg” output above the “ON” button. The sequence will be triggered when you press one of the notes. In the same manner, you can switch lines or columns by selecting the same function on the “Trigg” “Chain” output. Select “Keyboard trigger” on the “Trigg” output 124 ARTURIA – MOOG MODULAR V 2.
Sequence 2 complete 9.2.3 Sequence #3 Reuse again the melodic sequence #1 and complete it by adding another type of modulation. For example, make a variation on the opening frequency of filter1 (“frequency”), which will be managed by the second line of knobs. Then the third line on a second VCO and finally the fourth on the opening frequency of filter2.
Now connect the L4 sequencer output (at the bottom of the section) to the first modulation input of filter2. You can also try a positive or negative value. Select the “Seq Trig” output by clicking on the “Trig” input of VCA2 and separate the knobs of the 2 VCA in order to create an evolving stereo sequence. Move to the second section, click on the sequencer “on” button and set the 2 knobs lines corresponding to filter1 and VCO4. Finally, choose the type of sequence chaining with the fourth column.
Click several times on the key follow display You can also try another type of VCA control, PWM, oscillator fine tune, LFO speed… by selecting one of the 4 key follows in one of the modulation inputs. Connection of the PWM to the key follow input 1 (key follow1) Now move to the second screen to set the slope and the notes that will separate the key follow actions. For this example, choose key follow #1. Turn knob “k. follow slope 1” to determine the slope of this key follow.
To obtain an inverted slope (the higher you go in the scale on your keyboard, the faster the filter will close), connect the key follow1 output to the filter modulation input and turn the modulation jack ring counter clockwise. Turn the modulation jack ring counter clockwise. Each of the key follows also allows the generation of a trigger signal when the selected note is between 2 limits. Because of this, certain envelopes can be triggered in function of notes or particular sections of the keyboard.
Click on the trigg “in” plug on the envelope Generally the envelope is triggered by the keyboard. The use of a trigger delay allows you to make the modulation appear after a determined time, as long as the note is still active. You will obtain a different sound depending on the length of the note. Choose the “dual trigger” option on the envelope The starting and stopping of the sequencer can also be done using a trigger signal. Triggered by the keyboard the sequencer is initialized on every On note.
Sequencer startup through a MIDI keyboard 9.3.3 Stereo without the effects Obtaining a stereo sound comes down to treating 2 independent channels. Each of the output VCA is positioned in stereo space using the “pan” knob. Set the VCA1 “pan” to the left, and the VCA2 to the right to create 2 independent channels needed for convincing stereo. Setting the output VCA panoramic Connecting a different oscillator to each of the VCA allows you to obtain a very wide space.
Connection of an auxiliary envelope for the output VCA These patches, you will have noticed have very different levels of difficulty. We hope that they will have allowed you to see some of the possibilities that the Moog Modular V has to offer. But don’t hesitate in testing the programming yourself, this is how we learn and progress and develop more originality. 9.4 9.4.1 USING THE NEW MOOG MODULAR V 2.
The bode Shifter module It allows the creation of a huge number of unique sounds, which we will see, in the two following examples: 9.4.1.1 More stereo width Obtain more stereo width by slightly dephasing the pitch of the sound. Take as an example the preset “Bode_Bass” (in the “Factory” bank). For this very simple preset, we will use an oscillator where the “sawtooth” signal will be directed straight to the Bode Frequency Shifter audio in.
The “Bode-Bass” patch 9.4.1.2 Electronic percussion sequence For this example we will use the sequencer to create a simple melody with the Bode Shifter. Sequence lines 1 and 2 will modulate the height of the Bode frequency (” Frequency shifter modulation”). Take the preset “Sequences” > “Bode_Seq” in the “Factory” bank. The composition of modules is about the same as the previous example. A low pass 24dB filter has been added to filter undesirable high-pitched harmonics as output from the Bode Shifter.
The “Bode_Seq” patch We are not obliged to use a sequencer as source of frequency modulation for the Bode Shifter. More subtle modifications are also possible with a LFO or a key follow. 9.4.2 The Envelope Follower The envelope follower is a module favored by aficionados of modular synthesizers with the goal of modulating the envelope with an external signal. (A drum line is very appropriate for this type of use.) The result: obtain a complex envelope following the evolution of an audio signal.
The “envelope follower” module Let’s have a closer look at these two situations: 9.4.2.1 Trig by an external audio source. In the first case, the Moog Modular V will be used as a VST insert effect for an audio track in Cubase SX. If you don’t have Cubase, know that the procedure remains globally the same for any other sequencer. Firstly, place a sample (preferably a drum loop) on an audio track on the sequencer. Open a VST “Insert” effect on this track by choosing “Moog Modular V2 FX”.
The “Ext_In” preset This module will be used to modulate the low pass filter frequency (LP Filter 24 dB). After “opening” the modulation rate, the filter cut-off frequency will be modified by the dynamic evolutions of the audio signal when the Moog is played through MIDI. You can modify the curve of the envelope with the “Time Follower” setting situated under the “Threshold” knob. 9.4.2.2 Create your LFO form Here we will see how you can create your own complex LFO waveform.
The preset “Pads / Env_Follow” To modify this wave form, we will connect the result of the mixing of the 3 oscillators as source of modulation to the input of the envelope follower. Click on the audio out of the first VCA (going from the left). Turn the “Time Follower” knob (below the “Threshold” knob) to modify the amplitude. 9.4.3 The sample and hold The Moog sample and hold module was only introduced on the last modular systems (1974).
The sample and hold module Here we will look at creating a random modulation. Use the “Pads / Slow_SH” preset from the “Factory” bank for this example. It is made up of 3 oscillators, a low pass filter (LP Filter 24dB), a noise module and a Sample and Hold. The “Slow_SH_Pad” preset 138 ARTURIA – MOOG MODULAR V 2.
The pink noise output is filtered by a low pass filter (6 dB/oct) and directed to the sample & hold audio in. The audio out of the latter is connected to one of the 3 cut-off frequency modulation inputs of the low pass filter. The result is random changes to the filter cut-off frequency. Now set the modulation rate by turning the “Clock rate” knob on the Sample and Hold module. By setting the filter cut-off frequency on the “Noise” module, the high-pitched frequencies will be filtered.
10 USING THE MOOG MODULAR V IN DIFFERENT MODES 10.1 STAND-ALONE The Moog Modular V application can be used as an instrument independent of a sequencer or other host application (stand alone mode). It allows you to open one instrument, and to play it with a master MIDI keyboard. 10.1.1 Launching the application To launch the Moog Modular V application from Windows, go to Start > Arturia > Moog Modular V 2 and choose Moog Modular V 2.
10.1.2.2 Configuring Knob Mode This combo box sets how the knobs respond to mouse movements: either in “Circular” mode (you have to turn around them with the mouse) or in easier “Linear” mode (moving the mouse vertically rotates the knobs). 10.1.2.3 Panic There are times when the software can not receive a MIDI note off message from a controller. The PANIC button will send a MIDI message to the instrument to cut off all notes that haven’t stopped. Click on the “Panic” button to solve this problem. 10.1.2.
10.3 VST™ 10.3.1 Cubase™ 10.3.1.1 Check plug-in setup Opening the Moog Modular V2 VST plug-in is done like any other VST plug-in, please consult the user manual of the host sequencer for more information.
The Instrument selection dialog will appear, where you can select the Moog Modular V2. Once created, the routing of the default MIDI input to the Moog Modular V is set for that track. ARTURIA – MOOG MODULAR V 2.
10.3.1.3 Opening the instrument To open the Moog Modular, please click on the little Keyboard logo located below the instrument track output as shown on the picture: 10.3.2 Ableton Live™ 10.3.2.1 Check plug-in setup Opening the Moog Modular V plug-in is done like any other plug-in, please consult the user manual of the host sequencer for more information.
10.3.2.2 Insert an Instrument Track To insert an instrument track, open the left sided folder. All your plug-in devices are listed as below. Then, double-click on your Instrument will create a MIDI track which include your Moog Modular. List of the Plug-in devices 10.3.2.3 Opening the instrument To open your instrument, display the Live’s Detail view by double-clicking on the MIDI track or press [Cmd]+[Alt]+L on Mac, or [AltGr]+L on Windows.
The program will ask you for Track option, press OK or make your own configurations. 10.3.3.2 Opening the instrument To open your Virtual Moog Modular, please double-click on the MIDI logo on your MIDI track as below: 10.4 AUDIO UNIT 10.4.1 Logic Studio™ 10.4.1.1 Check Plug-in setup Opening the Moog Modular V plug-in is done like any other plug-in, please consult the user manual of the host sequencer for more information.
Go to Audio Units Manager The Audio Units Manager gives information about all the plug-in detected by Logic. Please scroll to the Moog Modular V 2 and check that the Logic box is ticked: Audio Units list You are now ready to create a new instrument track. 10.4.1.2 Insert an Instrument Track To insert an Audio Unit track please proceed that way: click on the ‘+’ logo next to Global Tracks as below: On the popup Windows please choose ‘Software Instrument’ and press ‘Create’.
Grey field Then click and select AU Instruments > Arturia > Moog Modular V 2 > Stereo. 10.4.1.3 Opening the instrument In order to open the Moog Modular you must click on the previous grey field now replaced by the Moog Modular: Open the Instrument You setup is now functional and your Moog Modular is ready to be played. 10.4.2 Digital Performer™ 10.4.2.
Insert an instrument track 10.4.2.2 Connection to a MIDI track So that the Moog Modular V can play the information coming from a MIDI track, you must choose a MIDI track and select the Moog Modular V as the MIDI output for this track, using the adequate menu in Digital Performer: Connecting a MIDI track to the Moog Modular V The events played on a MIDI keyboard are then transmitted by your Digital Performer to the Moog Modular V.
10.5 PRO TOOLS™ (RTAS) 10.5.1.1 Installation During the initial installation, select Install as a RTAS/HTDM plug-in. Then, when you are asked, indicate the folder in which the other RTAS and HTDM plug-ins are placed. Generally the path is: Mac OS X: Library\Application Support\DigiDesign\Plug-Ins Windows: C:\Program Files\Digidesign\DAE\Plug-Ins If your system can or cannot use the HTDM plug-ins or not (see the next section), the installation is the same. 10.5.1.
Click on an Insert field and select Multichannel plug-in > Instrument > Moog Modular V2. The image below shows the different steps: Insert the Moog Modular V2.6 To open you instrument click on the same Insert area: Open the RTAS plug-in Pro Tools is now ready to play the Moog Modular V2. ARTURIA – MOOG MODULAR V 2.
MOOG MODULAR V2.6 END USER LICENSE AGREEMENT In consideration of payment of the Licensee fee, which is a portion of the price you paid, Arturia, as Licensor, grants to you (hereinafter termed “Licensee”) a nonexclusive right to use this copy of the Moog Modular V2.5 program (hereinafter the “SOFTWARE”). All intellectual property rights in the software belong to Arturia SA (hereinafter: “Arturia”).
completely adjust the nature of the support (hotline, forum on the website etc.), upgrades and updates at any time. The product registration is possible during the activation process or at any time later through the Internet. In such a process you are asked to agree to the storage and use of your personal data (name, address, contact, email-address, and license data) for the purposes specified above.
You may also not sell the USB-eLicenser separately as a license; the usage rights always remain with the software, in particular with the original software data carrier (e.g. CD). 8.
