IMPORTANT SAFETY INSTRUCTIONS WARNING - WHEN USING ELECTRIC PRODUCTS, THESE BASIC PRECAUTIONS SHOULD ALWAYS BE FOLLOWED: 1. Read all the instructions before using the product. 2. Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool or the like. 3. This product, in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss.
TABLE OF CONTENTS 8 UNPACKING & INSPECTION 8 SETUP & CONNECTIONS 9 ABOUT MATRIARCH 10 SIGNAL FLOW 10 FEATURES & CONTROLS 10 11 13 14 16 17 19 20 23 25 27 29 30 32 34 36 38 40 42 44 48 49 50 KEYBOARD LEFT-HAND CONTROLLER OSCILLATORS UNDERSTANDING OSCILLATOR SYNC OSCILLATOR PATCH POINTS MIXER MIXER PATCH POINTS FILTERS FILTER PATCH POINTS ENVELOPE GENERATORS (ADSR) ENVELOPE GENERATOR PATCH POINTS OUTPUT VCA PATCH POINTS STEREO DELAY STEREO DELAY PATCH POINTS MODULATION MODULATION PATCH POINTS UTILI
0 - 1 2 3 + 4 16’ 8’ 4’ 2’ 16’ - 8’ 4’ 2’ 16’ + 0 - + Based on the vintage circuitry of classic Moog synthesizer modules, Matriarch is a catalyst for creative ideas and a medium for multidimensional expression.
STEREO DELAY 0 200Hz 20Hz 2kHz - + 20kHz - - + - + 7 +
UNPACKING & INSPECTION Check the contents of the shipping carton. Be careful when unpacking your new Moog Matriarch® so that nothing is lost or damaged. Moog recommends saving the carton and all packing materials in case you ever need to ship the instrument for any reason. Matriarch ships with the following items: 1. Matriarch Semi-Modular Analog Synthesizer 2. Power Supply 3. Owner’s Manual 4. Patch Cables 5. Registration Card What you will need: 1. A table or surface where you can set your Matriarch.
ABOUT MATRIARCH Matriarch sits at the pinnacle of the Moog family of semi-modular synthesizers. The patchable architecture and classic Moog circuits reward open exploration with endless sonic possibilities and unparalleled analog sound. Matriarch’s four analog VCOs can be split into four notes of paraphony that can be sequenced, shifted, and stored with the instrument’s intuitive 256 step Sequencer, or stacked in unison to create a massive four-oscillator mono synth.
SIGNAL FLOW PITCH OSC 1 PWM PITCH OSC 2 PWM PITCH OSC 3 PWM PITCH OSC 4 MOD OSC MOD WHEEL VCA PWM NOISE REFERENCE: To view the full Signal Flow diagram see Page 70-71. FEATURES & CONTROLS Matriarch’s panel is comprised largely of single-function knobs, switches, and buttons that are grouped together by module. Each module is equipped with a set of 3.5mm patch points that can be utilized to create new audio and control pathways within Matriarch.
LEFT-HAND CONTROLLER The Left-Hand Controller (LHC) is home to a number of performance-enriching controls. The PITCH (Pitch Bend) and MOD (Modulation) wheels deliver real-time expression, while the GLIDE knob provides enhanced articulation between notes. The Left-Hand Controller is also home to the Transport Buttons for the Arpeggiator and Sequencer, allowing instant access to these powerful features during performance.
LEFT-HAND CONTROLLER (Continued) OCTAVE TRANSPOSE The Transport Buttons can also be used to shift the pitch of the keyboard up or down in one-octave increments. This allows the range of the keyboard to be extended without changing the settings of individual oscillators. To transpose the keyboard by octave units, simply press and hold the [SHIFT] button, and then press the [] button (up one octave). The transpose range is up or down two octaves.
LEFT-HAND CONTROLLER (Continued) GLIDE Glide produces a smooth, continuous change in pitch when transitioning from one note to the next. The GLIDE knob sets the amount of time needed to complete this transition. When the GLIDE knob is set to minimum, there is no Glide effect. Raising the value of the GLIDE knob will increase the Glide time between notes from zero to a maximum value of roughly ten seconds.
OSCILLATORS (Continued) FREQUENCY (Oscillators 2, 3, & 4) The FREQUENCY knob detunes each oscillator from the pitch of Oscillator 1 over a range of +/- 7 semitones (or a musical 5th). The center position (12 O’clock) tunes the oscillator in unison with Oscillator 1. Increasing the value (+) raises the pitch, while decreasing the value (–) lowers the pitch. NOTE: The range of the FREQUENCY knobs can be specified in the Global Settings.
OSCILLATORS (Continued) 2 3 SYNC Pressing this button (On/lit red) will cause Oscillator 3 to become sync’d to Oscillator 2. In this case, changing the Frequency of Oscillator 3 will vary the degree of the Sync effect and its associated harmonic content. The range of the FREQUENCY knob is also greatly increased while the oscillator is sync’d. 3 4 SYNC Pressing this button (On/lit red) will cause Oscillator 4 to become sync’d to Oscillator 3.
OSCILLATORS (Continued) SQUARE A Square wave is simply a Pulse wave with a 50% duty cycle, meaning that in a single cycle, it is on half of the time and off half of the time. If the frequency is 440 Hz, it turns on and off 440 times every second. Square waves have a hollow sound and provide a rich starting point for clarinet and bass sounds.
OSCILLATORS (Continued) LIN FM IN (Linear Frequency Modulation) Connecting an audio signal or high-frequency control signal to this input introduces Linear Frequency Modulation (FM) to a patched oscillator, which can be useful in creating brash, metallic, or bell-like tones. CV INPUT: -5V to +5V Control Voltage (AC coupled) PWM IN A control signal connected to this input will modulate the pulse width of the Square or Narrow Pulse waveform selected by a patched oscillator.
MIXER (Continued) NOISE Matriarch features a built-in White Noise generator. Noise is an unpitched sound source that can be a useful tool for creating powerful percussion sounds, or for adding a gentle breath to synthesized wind instruments such as flutes. The NOISE knob sets the level of the White Noise generator as it enters the Mixer. Settings above 11 O’clock will impart gentle distortion, while higher settings will result in more overdriven sounds.
MIXER (Continued) MIXER PATCH POINTS These Mixer module patch points provide a convenient way to replace any or all of the internal sound sources entering the Mixer with an external sound source, such as a Eurorack oscillator or other electronic music devices. TIP: Matriarch’s Mixer is DC coupled, which means it can also be used to sum multiple control voltages. Combining audio signals with control signals will yield results that can be unique, bizarre, or completely undesirable.
MIXER (Continued) OSC 4 IN When an external audio source is patched to this input, Oscillator 4 will be removed from the signal path, and the OSCILLATOR 4 knob will control the level of the new source. AUDIO INPUT: -5V to +5V (10V peak-to-peak) OUTPUT The combined signal of all audio sources connected to the Mixer is available at this output. AUDIO OUTPUT: 10V peak-to-peak FILTERS Filters are paramount in shaping the tone of your sound.
FILTERS (Continued) CUTOFF 200Hz 20Hz 2kHz Matriarch’s CUTOFF knob specifies the Filter Cutoff frequency for both VCF 1 and VCF 2 in a linked fashion. The SPACING knob is used to offset the frequency of VCF 1, above or below the Cutoff Frequency of VCF 2. 20kHz FILTER MODE This three-position switch defines how VCF 1 and VCF 2 are configured, and how they will interact with each other. HP / LP SERIES In this mode, VCF 1 is configured as a High Pass filter and VCF 2 is configured as Low Pass filter.
FILTERS (Continued) RESONANCE 1 & 2 Resonance channels a portion of the Filter’s output back to the input of the Filter, creating an emphasis peak at the Filter’s Cutoff frequency. This is useful for adding focus, funkiness, or “sci-fi laser blasts” to a sound. The RESONANCE 1 knob sets the amount of Resonance being applied to VCF 1, while the RESONANCE 2 knob sets the amount of Resonance being applied to VCF 2.
FILTERS (Continued) FILTER PATCH POINTS These Filter module patch points provide a convenient way to independently modulate the Cutoff frequency of VCF 1 and/or VCF 2, and to modulate the value of the ENVELOPE AMT knob. In addition, audio inputs and outputs allow each filter to be used as a stand-alone processor for filtering any internal or external sound source. VCF 1 IN The input to VCF 1 is connected to the output of the Mixer module.
FILTERS (Continued) CUTOFF 1 IN A control signal connected here will modulate the Cutoff frequency of VCF 1. This is based on the current CUTOFF, SPACING, ENVELOPE AMT, and KB TRACKING knob settings. CV INPUT: -5V to +5V CUTOFF 2 IN A control signal connected here will modulate the Cutoff frequency of VCF 2. This is based on the current CUTOFF, ENVELOPE AMT, and KB TRACKING knob settings.
ENVELOPE GENERATORS (ADSR) Sounds change over time. How they change over time is part of what makes each one unique. Some sounds begin abruptly, like the strike of a drum. Some sounds end just as quickly, and some linger like a held chord on a piano. We call this the envelope of a sound. Matriarch uses a pair of identical Envelope Generators to create control voltages that also change over time. This type of control voltage can be applied to the amplitude of the sound, changing its volume over time.
ENVELOPE GENERATORS (ADSR) (Continued) DECAY The DECAY knob determines the amount of time required for the control signal to fall from the maximum level achieved by the Attack stage to the Sustain level as the key is held. The DECAY knob has a range from 2 milliseconds to 10 seconds. Fast decay times are useful for creating articulated lead notes, while longer decay times allow a note to fade slowly into the Sustain level.
ENVELOPE GENERATORS (ADSR) (Continued) ENVELOPE GENERATOR PATCH POINTS These patch points allow each Envelope Generator to be triggered from a source other than the Matriarch keyboard and can be used to modulate any patchable parameter internal to or external of Matriarch. FILTER ENVELOPE GENERATOR ENV OUT (Filter EG) This output provides a control-voltage signal created by the current Filter Envelope Generator panel settings.
ENVELOPE GENERATORS (ADSR) (Continued) AMPLITUDE ENVELOPE GENERATOR ENV OUT (Amplitude EG) This output provides a control-voltage signal created by the current Amplitude Envelope Generator panel settings. CV OUTPUT: 0V to +8V NOTE: When the VCA MODE switch is set to AMP ENV, this signal controls the level of both VCA 1 and VCA 2.
OUTPUT Matriarch is equipped with two Voltage-Controlled Amplifiers, VCA 1 and VCA 2. Before the sounds created by Matriarch can be output and monitored through speakers or recorded, they pass through a pair of VCAs and are brought to an appropriate level. The Output module controls will determine how the final sound is heard. By default, VCA 1 controls the Left channel output level and VCA 2 controls the Right channel output level.
OUTPUT (Continued) VCA PATCH POINTS All of the VCA patch points are inputs. The upper row (VCA 1 IN and VCA 2 IN) are audio inputs, while the second row (VCA 1 CV IN and VCA 2 CV IN) are control signal inputs. Audio and control signals connected here will override, or replace, any normalled connections. VCA 1 IN The audio signal normally connected to the input of VCA 1 comes from the Filter module. The exact nature of the audio source is determined by the FILTER MODE switch located in the Filter module.
OUTPUT (Continued) VCA 2 CV IN A control signal connected here will determine the output level of VCA 2. Normally, this control signal comes from the Amplitude Envelope Generator. With the VCA MODE switch set to ENV or SPLIT, this jack can accept an -8V to +8V signal that will control the level of the signal at the input of VCA 2. In either setting, applying an LFO to this input can be used to create a tremolo effect.
STEREO DELAY The Stereo Delay is, in fact, two individual BBD-based analog delays that share certain parameters. In the Matriarch signal path, the Stereo Delay is positioned after VCA 1 and VCA 2, and before the MAIN AUDIO outputs. MODULE PROVENANCE: Matriarch’s Stereo Delay module is based on the Moog 500 Series Analog Delay module. TIME This parameter sets the initial delay time for both Delay 1 and Delay 2.
STEREO DELAY (Continued) FEEDBACK Feedback routes a portion of the Stereo Delay’s output back to its input, to build multiple repeats and a cascade of delay trails. Feedback is variable from single to infinite repeats, and everything in between. NOTE: FEEDBACK knob settings above approximately 2 O’clock will cause the Stereo Delay to self-oscillate, which may or may not be desirable. TIP: Setting the FEEDBACK knob at the brink of self-oscillation creates a musically expansive wash of sound.
STEREO DELAY (Continued) STEREO DELAY PATCH POINTS The Stereo Delay module features both Audio and Control signal inputs. The Audio inputs override and replace the normal hardwired audio connections. The Control inputs are summed with the current value of their corresponding panel knobs. NOTE: Additional Stereo Delay patch points are located on the rear panel. INPUT 1 Normally, the input to Delay 1 comes from VCA 1.
STEREO DELAY (Continued) MIX IN The value of a Control signal connected to this input will be summed with the current position of the MIX knob to determine the balance between the dry (unprocessed) audio signal, and the wet (processed) audio signal. CV INPUT: -5V to +5V TIME 1 IN A Control signal connected to this input will modulate the delay time of Delay 1, separate from the timing of Delay 2.
MODULATION Modulation is a vital facet of synthesizer performance and sound design. In short, whenever one signal is used to change the value of another– it is known as modulation. Modulation can come from a number of sources– the Envelope Generators, Keyboard Tracking, an audio Oscillator (FM), or a dedicated Modulation oscillator such as the one found here.
MODULATION (Continued) PITCH MOD ASSIGN (1&3, All, 2&4) Using this three-position switch, the amount of Pitch Modulation set using the PITCH AMT knob (above) can be assigned to all of the Matriarch oscillators, to Oscillators 1 & 3 only, or to Oscillators 2 & 4 only. The latter two options can be extremely useful in the 2-Note Paraphonic mode. 1&3 In this mode, modulation will be applied to the pitch of Oscillator 1 and Oscillator 3 only.
MODULATION (Continued) MODULATION PATCH POINTS Control signals connected to the RATE IN and SYNC IN patch point jacks can set the rate and reset the starting point of the Modulation oscillator. In addition, three patch point output jacks deliver Noise, S/H (Sample and Hold), and the selected Wave as control sources that can be used to modulate any controllable parameter. RATE IN A control signal connected to the RATE IN jack will determine the frequency of the Modulation oscillator.
MODULATION (Continued) S/H OUT (Continued) TIP: A control or gate signal received at the SYNC IN jack will reset the Modulation oscillator to the beginning of its wave cycle, meaning the Sample and Hold feature can be stepped by an external trigger or gate. Try patching from the GATE OUT jack in the ARP / SEQ module to the SYNC IN jack, and set the RATE knob to its minimum value.
UTILITIES (1) Matriarch is equipped with two Utilities modules. Each is filled with an assortment of tools that are key to the exploration of modular synthesis. A signal can be split and sent to multiple locations, multiple signals can be merged together, and individual signals can be attenuated and inverted. This first Utilities module (1) includes a four-way MULT jack, and two identical inverting Attenuators.
UTILITIES (1) (Continued) INPUT Any audio or control signal connected to this jack will be fed into the Attenuator. CV/AUDIO INPUT: -8V to +8V NOTE: An 8-Volt DC source is normalled to the input of each Attenuator. With nothing connected to the INPUT jack, a voltage is present at the Attenuator’s OUTPUT jack that is based on the position of the ATTENUATOR knob, and any control signal applied to the Attenuator CV IN jack.
UTILITIES (2) Matriarch is equipped with two Utilities modules. Each is filled with an assortment of tools that are key to the exploration of modular synthesis. A signal can be split and sent to multiple locations, multiple signals can be merged together, and individual signals can be attenuated and inverted. This second Utilities module (2) includes a four-way MULT jack, one inverting Attenuator, and an auxiliary LFO (Low Frequency Oscillator) modulation source.
UTILITIES (2) (Continued) INPUT Any audio or control signal connected to this jack will be fed into the Attenuator. CV/AUDIO INPUT: -8V to +8V NOTE: An 8-Volt DC source is normalled to the input of each Attenuator. With nothing connected to the INPUT jack, the voltage present at the Attenuator’s OUTPUT jack is based on the position of the ATTENUATOR knob, and any control signal applied to the Attenuator CV IN jack.
UTILITIES (2) (Continued) TRI OUT The frequency of the Triangle wave available here, either as a modulation source or an audio source, is determined by the current value of the LFO RATE knob, plus or minus the value of any signal connected to the RATE IN jack.
ARP / SEQ (Continued) RATE The RATE knob sets the playback speed of the Arpeggiator and the Sequencer, with a tempo range of 20 – 280 BPM (Beats Per Minute). The accompanying LED flashes at the current Rate setting. If Matriarch is sync’d to MIDI, External Clock, or Tap Tempo, the RATE knob will select timing values that are musical subdivisions of this external tempo. TIP: The Rate of the Sequencer or Arpeggiator can also be set by pressing the TAP button a few times at the desired tempo.
ARP / SEQ (Continued) DIRECTION The DIRECTION switch selects the order in which arpeggiated or sequenced notes are played. The same setting may have a different result based on whether the Arpeggiator or Sequencer is active. ORD (Order) ARPEGGIATOR Arpeggiated notes will play in the same order they were originally played on the keyboard. SEQUENCER Sequenced notes will play in the same order they were originally recorded.
ARP / SEQ (Continued) OCT / BANK 1 (Continued) ARPEGGIATOR Mode (1 Octave) Only the original notes played will be arpeggiated. SEQUENCER Mode (BANK 1) BANK 1 is chosen as the sequence source. 2 ARPEGGIATOR Mode (2 Octave) The arpeggiated pattern is played, and then repeated one octave higher than the original. SEQUENCER Mode (Bank 2) BANK 2 is chosen as the sequence source.
ARP / SEQ (Continued) REST, TIE, RATCHET (Continued) TIE Press the green TIE button to enter a Tie for the current sequence step. A Tie is used to string two or more individual sequence steps together as if they were played legato-style. The green TIE button will stay lit until the next step is entered into the sequence. During playback, the TIE button will light to indicate a tied step in the sequence.
ARP / SEQ (Continued) VELOCITY OUT The control signal available at this output is based on the Velocity of the notes entered into the Arpeggiator or Sequencer with the keyboard. CV OUTPUT: 0V to +5V (0V to +10V selectable via Global Settings) CV OUT The control voltage available at this output jack is the same used to specify the pitch of the Oscillators being played by the Arpeggiator or Sequencer.
ARP / SEQ (Continued) TAP Using the yellow TAP button, the playback tempo of the Arpeggiator or Sequencer can be entered using a series of successive button taps. Once a Tempo has been entered using the TAP button, this button will remain lit. As long as the yellow TAP button is lit (indicating a tempo has been entered using this method), turning the RATE knob in the ARP / SEQ module will select note-value clock divisions of this tempo.
PARAPHONY (Continued) VOICE MODE The VOICE MODE switch selects whether Matriarch will play as a 1-Voice monophonic synthesizer, as a 2-Note paraphonic synthesizer, or as a 4-Note paraphonic synthesizer. 1 (One-Note Monophonic) In this mode, all four oscillators are played from a single key on the keyboard. 2 (Two-Note Paraphonic) In this mode, two keys can be played on the keyboard simultaneously.
Matriarch’s rear panel expands the instrument as a powerful tool for interconnective expression. Process external sound sources, grow your Moog semi-modular family, or control a Eurorack modular system with ease.
REAR PANEL The rear panel of your Matriarch is populated with various audio, control, MIDI and USB jacks, as well as a global fine turning knob, power switch, the DC power connection jack, and a Kensington security slot. FINE TUNE The global tuning (± 1 semitone) for all Matriarch oscillators is controlled by the FINE TUNE knob. KENSINGTON SECURITY SLOT Your Matriarch can be securely attached to a desk, stand, or other fixture by connecting a Kensington security device to this slot on the rear panel.
REAR PANEL (Continued) MAIN OUTS Connect Matriarch to an amplifier, monitoring system, or audio interface using the 1/4” MAIN OUT LEFT (MONO) and MAIN OUT RIGHT jacks to enjoy sounds in stereo. If this is not possible, the MAIN OUT LEFT (MONO) jack is normalled to provide a mono mix of both the Left and Right channels when nothing is connected to the MAIN OUT RIGHT jack. AUDIO OUTPUTS: +4dBu NOTE: The MAIN OUT jacks will work with both TS and TRS 1/4” cables.
REAR PANEL (Continued) STEREO DELAY JACKS The STEREO DELAY section of the rear panel relates to the operation and control of the Stereo Delay. Other jacks and controls for the Stereo Delay are found on the front panel. DELAY OUTS The audio signals available at these outputs is the 100% wet output of the individual Delay modules – Delay 1 and Delay 2. By default, the output of Delay 1 is available at the DELAY OUT (L) jack; the output of Delay 2 is available at the DELAY OUT (R) jack.
REAR PANEL (Continued) KEYBOARD JACKS (Continued) Matriarch both accepts and creates a number of keyboard control signals that can greatly enhance performance. In addition to jacks accepting a Sustain Pedal and an Expression Pedal, this area of the rear panel provides CV (Control Voltage) outputs for keyboard performance elements including velocity, aftertouch, gate, mod wheel position, etc.
REAR PANEL (Continued) MOD WHL OUT (Modulation Wheel CV Out) The position of the MOD wheel generates a control-voltage signal that is available here. The signal available here can be routed to any controllable parameter, either internal to Matriarch or on any other synthesizer. CV OUTPUT: 0V to +5V (0V to +10V selectable via Global Settings) KB CV OUT (Keyboard CV Out) The Matriarch keyboard generates a control-voltage signal based on the note being played on the keyboard.
REAR PANEL (Continued) ON / OFF IN By default, a signal received here will arm and disarm the playback of the Arpeggiator or Sequencer. Press the notes to be arpeggiated, or the starting note of the sequence, to begin playback. CV INPUT: < 1V = Stop ; > 3.6V = Start RESET IN A signal received here will force the Arpeggiator or Sequencer to immediately reset to the first step, without stopping. CV INPUT: A rising signal > 2.
REAR PANEL (Continued) MIDI PORTS (Continued) MIDI THRU The MIDI signal received at the MIDI IN port is passed along unchanged via this MIDI THRU port. MIDI OUT By default, MIDI signals created by and originating with Matriarch can be shared with other MIDI compatible equipment via this MIDI OUT port.
GLOBAL SETTINGS Most Matriarch front-panel controls relate to creating sound. Below the surface, there is another level of parameters known as the Global Settings, which determine how the instrument operates, and how it can connect and interact with other electronic instruments and audio equipment.
Global Parameters Default Group (Group 0) 0.1 Note Priority Group Select Key Parameter Select Key Sync Enable Button Blinks (none) C#0 1x Note Priority selects which note will take priority when playing the Matriarch keyboard in monophonic mode. The choices are the highest note played, the lowest note played, or the most recently played note. Use the first three white keys to select LOW (C0), HIGH (D0), or LAST (E0).The default setting is LAST. 0.
(Continued) Global Parameters Default Group (Group 0) 0.8 Noise Filter Cutoff Group Select Key Parameter Select Key Sync Enable Button Blinks (none) F#1 8x Matriarch uses a 1-pole high-pass filter (VCF) to control the tonality and coloration of the analog Noise generator. Low-end content is removed as the filter cutoff frequency is increased. Use any of the white keys to set the cutoff frequency of the Noise Filter, from lowest (C0) to highest (C4). The Default is the lowest setting (C0). 0.
(Continued) Global Parameters Group 1 1.5 MIDI Clock Input Group Select Key Parameter Select Key Sync Enable Button Blinks C#2 A#0 1x/5x The Matriarch Sequencer and Arpeggiator can be set to follow MIDI Clock, and can respond to Start and Stop commands received via MIDI. Depending on your setup, you may wish for Matriarch to ignore some of these commands.
Global Parameters Group 2 2.1 Arp / Seq Clock Input Mode Group Select Key Parameter Select Key Sync Enable Button Blinks D#2 C#0 2x/1x The CLOCK IN jack on the Matriarch rear panel can work in two different ways: as an analog clock input which sets the tempo of the Sequencer’s internal clock, or as a step-advance trigger input, which advances the Arpeggiator or Sequencer by one step each time a rising-edge trigger is detected at the CLOCK IN jack.
(Continued) Global Parameters Group 2 2.8 FW / BW Repeat Group Select Key Parameter Select Key Sync Enable Button Blinks D#2 F#1 2x/8x When the DIRECTION switch in the Arp / Seq module is set to FW / BW, this setting will determine whether the first and last notes of an arpeggio pattern or sequence are repeated as the direction changes. This can be handy both melodically and rhythmically.
(Continued) Global Parameters Group 3 3.3 KB CV OUT Range Group Select Key Parameter Select Key Sync Enable Button Blinks F#2 F#0 3x/3x The Matriarch keyboard generates a specific control voltage for every note played. The voltage range of this signal appears at the KB CV OUT jack on the Matriarch rear panel, and can be set to (-5V to +5V) or (0V to +10V) in order to accommodate another synthesizer or piece of electronic music gear.
(Continued) Global Parameters Group 3 3.9 KB GATE OUT Range Group Select Key Parameter Select Key Sync Enable Button Blinks F#2 G#1 3x/9x The Matriarch keyboard generates a specific control voltage, or gate, whenever a key is depressed. This gate voltage appears at the KB GATE OUT jack on the rear panel, and can be set to +5V or +10V, in order to accommodate another synthesizer or piece of electronic music gear. Use the first two white keys to select either +5V (C0), or +10V (D0). The Default is +5V.
(Continued) Global Parameters Group 4 4.4 Update Unison on Note-Off Group Select Key Parameter Select Key Sync Enable Button Blinks G#2 G#0 4x/4x This Global Setting is only available while the Paraphonic Unison Global Setting is set to On. When the Update Unison on Note-Off setting is on, all four oscillators are reassigned to the notes which are still playing whenever a key is released. Use the lowest two white keys to select OFF (C0), or ON (D0). The Default is OFF. 4.
MIDI DOCUMENTATION 1 - Basic Information Transmit / Export Recognize / Import MIDI Channels 1 - 16 1 - 16 Note Numbers 0 - 127 0 - 127 Program Change 1 - 12 1 - 12 Bank Select Response No No Modes Supported: Mode 1: Omni-On, Poly No No Mode 2: Omni-On, Mono No No Mode 3: Omni-Off, Poly Yes Yes Mode 4: Omni-Off, Mono Yes Yes Multi Mode No No Note-On Velocity Yes Yes Note-Off Velocity No No Channel Aftertouch Yes Yes Poly (Key) Aftertouch No No Pitch Bend Yes Yes
MIDI DOCUMENTATION 1 - Basic Information (Continued) Transmit / Export Recognize / Import Master Volume No No Master Balance No No Notation Information No No Turn GM1 System On No No Turn GM2 System On No No Turn GM System Off No No DLS-1 No No File Reference No No Controller Destination No No Key-based Instrument Ctrl No No Master Fine/Coarse Tune No Yes Other Universal System Exclusive No No Manufacturer or NonCommercial System Exclusive Yes* Yes* NRPNs No No
MIDI DOCUMENTATION 2 - MIDI Timing and Synchronization (Continued) Transmit / Export Recognize / Import MIDI Clock Yes Yes Song Position Pointer No Yes Song Select No No Start Yes Yes Continue No Yes Stop Yes Yes MIDI Time Code No No MIDI Machine Control No No MIDI Show Control No No 3 - Extensions Compatibility Transmit / Export Recognize / Import General MIDI Compatible (Level(s) / No) No No Is GM default power-up mode (Level / No) No No DLS Compatible (Level(s) / N
MIDI DOCUMENTATION (Continued) MIDI Continuous Controller (CC) Mapping: CC Number (MSB) Parameter CC Number (LSB) Values Mod Wheel 1 33 MIN TO MAX (0 TO 16383) Mod Rate 3 35 MIN TO MAX (0 TO 16383) Glide Time 5 37 MIN TO MAX (0 TO 16383) Arp Rate 8 40 MIN TO MAX (0 TO 16383) Noise Filter Cutoff 9 41 MIN TO MAX (0 TO 16383) Delay Time 12 44 MIN TO MAX (0 TO 16383) Delay Spacing 13 45 MIN TO MAX (0 TO 16383) Arp Swing 14 46 MIN TO MAX (0 TO 16383) Arp Gate Length 15 47
MIDI DOCUMENTATION (Continued) MIDI Continuous Controller (CC) Mapping: Parameter CC Number (MSB) CC Number (LSB) Values Hard Sync Enable 80 - 0-63 = OFF, 64-127 = ON Osc 2 Sync 81 - 0-63 = OFF, 64-127 = ON Osc 3 Sync 82 - 0-63 = OFF, 64-127 = ON Osc 4 Sync 83 - 0-63 = OFF, 64-127 = ON Glide Type 85 - 0-42 = LCR, 43-84 = LCT, 85-127 = EXP.
OSC 1 OSC 2 OSC 3 MOD OSC MOD WHEEL VCA OSC 4 NOISE SOURCE 76
INPUT 1 LEVEL INPUT 2 LEVEL 77
FILTER MODE SIGNAL FLOW NOTE: The arrows entering jacks from the bottom are normalled input connections into the associated jack. HP / LP SERIES In this mode, VCF 1 is configured as a High Pass filter and VCF 2 is configured as a Low Pass filter. Signal passes from the Mixer module out into VCF 1 OUT (High Pass), and then is routed into VCF 2 IN (Low Pass). The mono output signal from VCF 2 feeds both VCA 1 IN and VCA 2 IN. NOTE: This is the foundation for creating a Band Pass filter.
FILTER MODE SIGNAL FLOW (Continued) HP / LP PARALLEL In this mode, VCF 1 is configured as a High Pass filter and VCF 2 is configured as a Low Pass filter. Both receive the same signal from the Mixer module out, and their outputs are summed into a monaural signal that feeds both VCA 1 IN and VCA 2 IN.
PRESET NAME: NOTES: PRESET NAME: NOTES: Additional patch sheets can be downloaded at www.moogmusic.com.
PRESET NAME: NOTES: PRESET NAME: NOTES: Additional patch sheets can be downloaded at www.moogmusic.com.
PRESET NAME: NOTES: PRESET NAME: NOTES: Additional patch sheets can be downloaded at www.moogmusic.com.
SPECIFICATIONS TYPE: Semi-Modular Analog Synthesizer SOUND ENGINE: Analog NUMBER OF KEYS: 49 Full-Size Keys TYPE OF KEYS: Velocity + Aftertouch NOTE: There are no hardwired connections for Velocity and Aftertouch; these control signals are available at the KB VEL OUT and KB AT OUT jacks found in the Keyboard section of the rear panel, and are also transmitted via MIDI.
SERVICE & SUPPORT INFORMATION MOOG’S STANDARD WARRANTY Moog warrants its products to be free of defects in materials or workmanship and conforming to specifications at the time of shipment. The Warranty Period is one year from the date of purchase. If, in Moog’s determination, it has been more than five years since the product shipped from our factory, it will be at Moog’s discretion whether or not to honor the warranty without regard to the date of the purchase.
Moog Music Is An Employee-Owned Company Located In Asheville, NC 88
