I in _nJ s OWNER'S MANUAL by Rock Wehrmann
Congratulations! Now, I realize that about 80 percent of all owner's manuals start with that word but, in this case, it's justified. The fact that you've purchased THE SOURCE says several things about you as a musician: — You're not afraid of what could be called a "computer-controlled instrument"; rather, you're ready to work with the advantages presented by a microprocessor-based synthesizer. — You are quality and cost conscious.
CONTENTS SECTION I Section I Basic Operation . . General Maintenance Setup Tuning Up Level 2 Functions 1 Using the Sequencer 2 Using the Arpeggiator 3 Using the Program Sequencer 6 Auto Trig 7 S&H 4 5 Playing Programs Factory Programs Performance Controls 1 .... Editing Programs Storage and Loading of Data Using the Remaining Level 2 Controls 11 Storing Programs 12 The Hold Control Repositioning Programs ....
SECTION I BASIC OPERATION GENERAL MAINTENANCE The components of the shipping carton for The Source should be saved in case short-distance transport is required. Do not repack The Source without surrounding it with some kind of plastic (similar to the bag in which it was shipped). Putting the instrument directly inside the styrofoam end pieces without any protection can generate harmful static changes and may also damage the wood side pieces. A carrying case is recommended for long-distance transport.
SETUP The initial setup of The Source is as follows: o r 9 sa 9 is (It POWER SUPPLY AMPLIFIER With the power switch OFF, connect the detachable line cord first to The Source, and then to a grounded wall socket. Run a 1/4-inch mono cable from the Source's Audio Out to the amplification system. Connect desired interface cables. (See Interfacing, page 48, for proper procedures.) Set amp volume and Source volume to zero. Turn the power switch on The Source ON.
TUNING UP After The Source has warmed up (4 to 5 minutes), follow this tuning procedure: VOLTAGE CONTROLLED FILTER KB TRACK LOUONE8B CONTOUR Touch program Q. Using the rear panel FINE TUNE control, tune The Source to any reliable pitch source (an organ, piano, tuning fork, etc.). Touch program Q.Touch the ERBISBI control and, while still holding it down, touch the E§EH controlin the Mixer section.
PLAYING PROGRAMS Touching a program To call up a programmed sound, touch the appropriate program. If the selected program does not position immediately resets every circuit of the analog synthe sizer and resets all digital functions. come up immediately, one of two conditions exists: CONTROLLED FILTER KB THACK LOUDNEBB CONTOUR 1. The Source is in the HOLD mode (see Storing Programs on page 11). If this is the case, a semi-colon figure will appear in the Program Display.
FACTORY PROGRAMS The factory programs (programs in memory when The Source is shipped) are: 1. Lead 1: a "fat" lead sound, reminiscent of the Minimoog. 2. Lead 2: a guitarlike lead voice; effective with pitch bending. 3. Horn: a simulation of brass instruments; realistic over a wide range. 4. Flute: voiced with tremolo, this program sounds best with the modulation wheel set at approximately 75%. 5. Clav Bass: a bright, funky bass voice with a "plucked" sound. 6.
PERFORMANCE CONTROLS THE PERFORMANCE CONTROLS ON THE SOURCE ARE NOT PROGRAMMABLE. THEY ARE ALWAYS ACTIVE AND READY TO BE USED. The Performance Controls are: X/OLTAOE CONTROLLED FILTER I 32' I I IS' I FOOTAGE I SING I 0 El 0 CM I KB TRACK II CUTOFF | |EMPHASIS| | "gjJJTR IMULT FILTER CONTOUR TRIGGER HE FOOTAGE 0 0 ONESS CONTOUR WAVESHA I interval! OSCILLATOR MEMORY STOP CONTINUE. PLAY 1 PLAT 2 BANK ARPEGGIO SSH SSHFILT AUTOTfllQ E DBBD HQDQBIiEliIliB PRQGRAM5 1.
EDITING PROGRAMS As previously shown, The Source may be used exclusively as a preset synthesizer. However, during performance, it is desirable to change the quality of a sound. For this and other reasons, The Source has extensive editing capabilities. Editing may be defined as "changing the memory values of a function.' the functions on any synthesizer fall into one of two categories: Switching functions or incremental functions.
1. Touch program Q - Hold down any key. 2. Touch LI in the OSC 1 section. The oscillator changes octaves immediately. (Note that the edit LED tights up.) The edit LED illuminates after a front panel control is touched. While the control is being held down, the LED shuts off to show that contact has been made. When the control is released, the LED illuminates again. 3. Touch Q?H in the OSC 1 section. (The oscillator returns to the lower octave.
4. Touch PBftW in the Mixer section. The edit LED momentarily goes off (showing that contact has been made), and the display reads "99f" showing that Osc 2 is at maximum level. The previous editing (Osc 1 level changed to zero) is kept in memory. At this point, turning the incremental controller will change the level of Osc 2. i * 5.
1. Touch program Q (this cancels all previous editing). Play the keyboard and note the quality of the sound. 2. Review lafliasrivisi in the Filter section. The display reads zero. 3. Touch MlhMdJ in the Filter section. The display reads 41. Turn the incremental controller while repeatedly striking a key. Note the change in sound quality. At any point, touching another control will hold the last value of the Cutoff control in memory. SUMMARY: 1.
STORING PROGRAMS Note that in all the following examples, the final sound A point mentioned several times earlier in this manual is that if a program position was touched, all previous editing was "erased." Often, however, an edited version of a program may be stored in memory began as an existing program. The existing program was substantially changed, and a new, desirable sound resulted. preferred over the original program. Changes made in existing programs may be stored in memory as new programs.
1. Touch program 2. Using the previous sound chart, edit all indicated controls by touching the appropriate switching functions and adjusting each incremental function. Note that program 16 is a duplication of program 1. No original programs are lost during this procedure. 3. When all indicated editing has been completed, follow the storing procedure on page 11 to store the new program at program 4. Now touch program Q .
VOLTAGE CONTROLLED FILTER KB TRACK CUTOFF EMPHASIS ~"~ FILTER CONTOUR WAVESHAPE LQUDNEBB CONTOUR INTERVAL 0 OSCILLATOR BANK I |_ S MODIFIERS 1. Move the first program (4) to position 16. a) Touch program Q . b) Touch HUHI . c) Touch Rmiaai and program simultaneously. 2. Move the second program (8) to the original location of the first program (4). a) Touch program Q .
SUMMARY: 1. To store a program, touch |i[*]321 , then touch pifKM and a PROGRAM NUMBER simultaneously. 2. The iSMWiJ control allows reviewing of existing programs and is reversible. 3. Reserving program [Q as a "holding" position allows relocation of programs.
LEVEL 2 FUNCTIONS Since The Source is a microprocessor-based instrument, a single control may have several different Touching converts the program functions, depending on the level of operation. Many of the controls on The Source have selectors to the Level 2 functions written in small letters above the program number. After the Level 2 function has been activated, control alternate functions, accessed by entering Level 2, an "expanded-operation" mode.
4. The Source is repeatedly playing Sequence 1. To change the playback rate, touch in the modulation section, and adjust the sequencer rate with the incremental controller. The last playback rate chosen will be held in memory when the sequencer is stopped; 5. While the sequencer is playing, the incremental display "counts up." Other programs may be selected and edited using editing techniques while the sequencer is running. subsequent sequences To continue 6.
(program 3). 3. At the end of the last desired event, touch To hear a recorded sequence, follow the sequence playback procedure. The sequence plays back at the last sequencer rate entered. To record the second sequence, follow the above procedure using (program 2). Playback of the second sequence is controlled by MUWixmfM (program 6). USING THE ARPEGGIATOR The arpeggiator can be thought of as a kind of "instant sequencer.
First note is repeated; Arpeggiator immediately begins Example: metronomic playback of first eight notes. I 3. To change the playback rate while the arpeggiator is running, touch |j&3|3 in the modulation section and adjust the playback rate with the incremental controller. While the arpeggiator is running, The Source is in Level 1; programs may be selected and/or edited. The last arpeggiator rate used is held in memory; the arpeggiator will play at this rate the next time it is started. 4.
USING THE PROGRAM SEQUENCER If the factory sequences The program sequencer allows different events of the sequencer to be played with different programs. For example, a 16-note sequence can play the first four notes on program 1, the next eight notes on program 2, and the last four notes on program 3.
3. Touch lllSMtl;iafligWi:«iI (program 7). The sequence will play once from the beginning. As the notes are played, touch programs at the appropriate times. 4. At this point, the sequencer can play back with or without program changes. For playback with program changes, touch tmi^WtM , then HSBBISHBISHSlSl^n (program 12), then IJBMH (or QQ^]). F°r Payback without program changes, follow normal sequencer procedure (see Using the Sequencer on page 15). 5.
STORAGE AND LOADING OF DATA All information held in The Source's memory may be stored on tape for reference and later use. The following information will be saved on tape: 1. All control values for 16 programs. 2. Last two sequences entered (and sequencer playback rate). 3. Last arpeggio entered (and arpeggiator playback rate). 4. Last program sequences entered. The first cassette operation should be making a copy of the factory programs.
3. Put the cassette recorder in the record mode. On The Source front panel, touch then rirflaa«««aB« (program 14). The cassette recorder's motor starts, and a short blank leader is recorded (with the display showing^ rj^), followed by data. As data are being saved, the display shows^ □ . (The program display will be blank during this operation.) When data are finished, the cassette motor stops. To ensure that data have been saved accurately, follow this procedure: 1.
USING THE REMAINING LEVEL 2 CONTROLS AUTO TRIG The Auto Trig function generates a metronomic trigger at the LFO rate. The pitch heard Since keyboard voltage is stored as a digital is determined by the last key depressed. value, pitch drift cannot occur if Auto Trig is left To use the Auto Trig function: running. 1. Play the desired key. 2. Touch nxiUWA, then rawiHM (program 12). When the function has been acti vated, control returns to Level 1. 3.
1. Play a desired key. (This sets up a general range of frequencies; it has no influence on the actual frequencies generated.) 2. Touch BSQS3 'then touch QSE1 (program 10). 3. At this point, adjusting the Q^Xl control in the Mod section will change the Sample & Hold rate and modify the apparent "pattern" of voltage changes. 4. To cancel the Sample & Hold effect, touch ■■Mia»ei. then touch |£fg£]again. S&HFILT This control (program 11) routes the random Sample & Hold voltage to the filter alone.
section n REFERENCES THE ANALOG SYNTHESIZER The part of The Source that actually produces sound is a monophonic analog synthesizer. This synthesizer is controlled by digital devices (explained in Digital Functions on page 41), but the synthesizer itself has many points in common with existing established models such as the Minimoog. There are three major kinds of circuits in the sound chain of any synthesizer — monophonic or polyphonic. These circuits are: 1.
A synthesizer design may, in theory, incorporate any number of signal sources, modifiers, and/or controllers. Note, also, that the output of a controller may theoretically be sent to the control input of any voltage controlled device. The major circuits ("modules") are explained here, roughly in order of importance and occurrence in the signal path. SIGNAL SOURCES OSCILLATORS The Source has two audio oscillators.
1. Hold down any key. 2. Touch different octave controls. Note the change in pitch. 3. Touch program Q, then ||£||3iKfiD m t^ie ^^ 2 ration. 4. Turn the incremental control clockwise. Note that Osc 2, in addition to octave controls, has an interval adjustment. Osc 2 may be tuned as much as two octaves up from the chosen octave control. 5. Both oscillators will be adjusted by turning the FINE TUNE control on the rear panel. SUMMARY: 1.
1. Touch Id in the Osc 1 section. Hold down any key. This is an unfiltered sawtooth waveshape. The sawtooth waveform is rich in harmonics, and has a "bright" sound. 2. Touch Q in the Osc 1 section. This is a triangular waveshape. It has a harmonic structure unlike acoustic instruments, so it sounds very " electronic." 3. Touch IliBil . The rectangular waveshape has an adjustable duty cycle (comparative time of the positive portion of the waveshape).
1. This factory program is voiced with Sync on. Change the frequency of Osc 2 (with the Octave and Interval controls) and note the change in tone color. alternately off and on. No matter how far apart in frequency 2. While holding down a key, switch on will lock them together, eliminating any "beating." the two oscillators are, turning 3. Hold down any key and move the pitch wheel. When Sync is on, the pitch wheel becomes a "tone color wheel." These dynamic tone color changes are useful in performance.
MODIFIERS A modifier alters or attenuates the basic output of the signal sources. A modifier characteristically has a signal input and a signal output; the signal from the oscillator(s) and/or noise must "pass through'* the modifier. There is theoretically no limit to the number of modifiers that may be used in a synthesizer. The Source employs two: a voltage-controlled filter and a voltage-controlled amplifier.
3. Turn the incremental control counterclockwise. As the cutoff frequency is set lower, more of the high frequencies are rejected, and the sound loses its "brightness" and becomes more muted. 4. Touch the L£UiIfl!l3 position labelled OEQ9 Now turn the controller. Note that the resolution of the controller is much finer. This makes "tuning" the filter easier when the filter is used as an audio source (see Emphasis).
4. Set IdAIJiHcH^ tn 99. Touch 1^:1 J;ftWM mm. Set IWtlfliUHUnwtlilMB and all Mixer controls to zero. Play different keys. At maximum emphasis, the filter oscillates and produces a controllable sine wave. CONTOUR AMOUNT The Source's filter is voltage controlled; a positive voltage at its control input raises the cutoff frequency. The filter accepts voltages from many places on The Source, but the main voltage source is the filter contour generator.
KB TRACK As mentioned above, The Source's filter is voltage-controlled; voltage at its control input will raise the cutoff frequency. The KB Track switches route the keyboard voltage (the same voltage that controls the oscQlators) to the filter. Without this voltage, higher notes will sound disproportionately "dull" because the filter is not following pitch relationships. The keyboard voltage may be applied fully, attenuated to half, or cut off entirely. Touch program 1.
r VOLTAGE-CONTROLLED AMPLIFIER (VCA) The Voltage-Controlled Amplifier (VCA) is the final point in The Source's signal path. Like the filter, it responds to a positive voltage at its control input; the response, however, is an increase not in brightness, but in loudness. » The VCA itself is not pictured on the front panel, but its primary controller, the loudness contour generator, is. Voltage from the loudness contour generator opens and closes the VCA.
CONTROLLERS As discussed before, a controller is a circuit that controls another circuit. A controller usually has only an output; the audio signal rarely "passes through" a controller. A controller may control a signal source, a modifier, or another controller. The output of a controller is generally sent to the control input of the circuit to be controlled. KEYBOARD The most important controller on The Source is the keyboard.
1. Set KB GLIDE to 60. Alternately play the lowest and highest keys. Note how the pitch glides from note to note. 2. Set ia:gcm»]^ to 99; set VCA lifflgEEm to "• Play the lowest key- After the Pitch has settled, release the lowest key and quickly touch and release the highest key. Keyboard glide is unconditional; it will continue until it reaches the pitch of the last key played. 3. Simultaneously hold down two keys — one high and one low. Note that the pitch glides down to the lowest key depressed.
1. Attack time: Time taken for voltage to increase from zero (initiated by trigger) to maximum. 2. Decay time: Time taken for voltage to decrease from maximum to sustain level. 3. Sustain level: A static voltage amount that, once initiated, continues as long as a key, or keys, is held down. 4. Release: Time taken for voltage to drop from sustain level to zero after the key is released. Different settings of these times and levels will produce markedly different contours.
MODULATION (Low-Frequency Oscillator) All the controllers mentioned up to this point have generated non-repetitive voltages; the keyboard generates a static voltage level for each key, and the contour generators output a "one-shot" voltage pattern. Musical sounds demand repetitive changes such as vibrato, trills, or tremolo.
1. Hold down any key. Turn the Mod wheel up. A low-frequency triangular waveform is changing the oscillator frequency, causing the pitch to move up and down. (The Mod Rate LED flashes at the rate of the low-frequency oscillator). 2. Touch |i£||3 in the Mod section. Change the incremental control. The setting of the low-frequency oscillator determines the rate of the pitch change. 3. Touch mi in the Mod section.
1. Hold down any key. Turn up the Mod wheel. Modulation to the oscillators produces a vibrato effect. 2. Switch modulation |t]gg| to Osc and |2U| to Filter. Modulation of the filter cutoff frequency is called tremolo; it is a more subtle effect and will usually be hidden by vibrato. 3. Touch Ml and repeat steps 1 and 2. The square wave can also control the oscillators or filter.
DIGITAL FUNCTIONS The microprocessor, in addition to storing programs, directs and controls all Level 2 functions. Some of the Level 2 functions, such as Auto Trig and Interface on-off, are basically "change-of-status" functions, and require little memory The "recording" functions — the sequencer, the arpeggiator, and the program sequencer - require recording, not only of status and voltage amounts, but of time values.
The absolute value of keyboard voltage is stored, so the setting of the octave transpose switch during recording will determine the octave of sequence playback. Note that when sequences are recorded, rests, or spaces between notes, are recorded as events, and take up one event position each. To store the maximum number of actual notes in a sequence, follow this procedure: 1. When recording, play all notes in legato (smooth) style, lifting off the keys only when an actual rest is desired. 2.
THE ARPEGGIATOR The Arpeggiator will store up to twenty-four control voltage values and metronomically play them back at the LFO rate. The first note recorded cannot be repeated during the arpeggio; replaying the first note shifts the arpeggiator into the playback mode. The arpeggiator records the keyboard control voltage present at the initiation of each new note; it does not record timing information.
In other words, entering these notes: i results in this playback pattern: This occurs because, in the arpeggiator record mode, triggers are stored only when the keyboard voltage changes. Repetitions of the same note produce no keyboard voltage changes, so no triggers are stored. This feature can be used to produce arpeggios with rhythmic variations.
THE PROGRAM SEQUENCER The program sequencer works in conjunction with the two sequencers and, in fact, stores its information in the same general memory locations. Each event of each sequence is stored in memory as a digital value. A portion of that digital value is reserved for program sequence information. When the program sequencer playback is activated, it looks at the sequencer memory for information. If no program sequencer information has been recorded, the program will not change.
UNCONDITIONAL TUNING ("AUTO TUNE") It is possible that, after warm-up and stabilization, the two audio oscillators in The Source may not be nominally tuned to exact unison. A procedure to correct this is described in Tuning Up, on page 3 . This procedure involves unconditional access to oscillator 2 and should be explained further. Simultaneously touching |8||t|2|g and |tggU Level connects the incremental control to the master tuning input for Osc 2.
Iliis system permits adjustable resolution. Relatively coarse controls, such as the mixer level controls, may go from minimum to maximum in one complete turn. This means that 100 values (0 to 99) are controlled by 240 status changes, resulting in a resolution of approximately 0.41%. In other words, 12 changes of status produce a change of 5%. On sensitive controls, such as Osc 2 frequency, minimum to maximum can take up to 16 complete turns, yielding a resolution of 0.025%.
INTERFACING The Source communicates with the outside world through its rear panel connections. The audio output has already been discussed; without it, no signals can be heard. The remaining jacks send control signals to and from The Source. Communication between electronic devices is called interfacing. The audio connection between The Source and an amplifier is a very simple interface; more sophisticated interfaces will allow The Source to control, or be controlled by, other synthesizers.
INPUTS Control Voltage In As an input, the CV jack sends any control voltage received to the oscillators and filter, which track this incoming voltage at 1 volt/octave. Any device that outputs a control voltage — a Moog 1120 Foot Pedal Controller, an external sequencer, or another synthesizer's keyboard — may be used as a control input. Trigger In The Source's contour generators will be triggered whenever an S-trig (a shorting connection) appears at the input portion of the Trig jack.
CV OUT: TIP Input cables are made as follows: TRIGGER IN: (FEMALE CINCH-JONES CONNECTOR) CVIN: 50
Simultaneous input/output control voltage connections can be accessed with a cable setup as shown: (TO CV INPUT ON EXTERNAL SYNTHESIZER) a::"::::j( (FROM SOURCE INPUT/OUTPUT JACK) a::::::::: (FROM EXTERNAL CV SOURCE: PEDAL CONTROLLER, SEQUENCER, ETC.) The same cable could be used for simultaneous trigger input/output connections. To interface two Sources together, two stereo (3-conductor) cables, wired ring-to-tip and ground-to-ground, will be needed.
As mentioned earlier, the Level 2 MEiMfflci control determines the presence or absence of triggers at the trigger output. However, switching this control off does not defeat the control voltage output. If an external synthesizer is connected, it will always be affected (transposed) by The Source's CV output. To scale the CV output, follow this procedure: 1. Connect a 10K linear potentiometer in series between The Source's CV output and the second ("slave") synthesizer's OSC or CV input. 2.
TROUBLESHOOTING If a problem exists on The Source, check the symptoms listed below. If the solutions listed (or common sense) won't correct the problems, the instrument should be taken to an authorized service center for examination and/or repair.
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TUNING A generalized tuning procedure is as follows: 1. Select a program using only Osc 1 as a signal source. Hold down any key and tune to the desired pitch source, using the rear panel FINE TUNE control. 2. Select a program using both Oscillators that has Osc 2 set at a known interval (fifth, octave, etc.) Touch MWa^ and PUflj^j simultaneously. This connects the incrementer to the master tuning control for Osc 2. Adjust the incremental controller until Osc 2 is at precisely the known interval. 3.
As mentioned earlier, a high-quality leaderless cassette tape should be used. If the tape is to be reused, it must be totally erased with a bulk eraser or demagnetizes Since, in the "verify" mode, each piece of data is counted and compared to a master checksum, the presence of any additional or residual data will cause an error. LEVEL 2 FUNCTIONS The following is a quick reference chart for the functions of the Level 2 controls.
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INCREMENTAL RESOLUTION This chart shows the different resolutions present on the incremental controller when incremental (adjustable) functions are selected. Generally speaking, if a function is critical, it will have very fine resolution. Less critical functions will generally need only one turn to cover all ranges of that function.
SOUND CHARTS PROGRAM 1: LEAD 1 VOLTAGE CONTROLLED FILTER HKB TRACK H El 16 H 0 IM FOOTAGE 56 56 WAVESHAFE SYNC FILTER CONTOUR 69 10H 0 STORE ■■-■■. REC1 REC 2 :::tj"-:: STOP OSCILLATOR CONTINUE ,Jf JPLAY 1 PLAY 2 SANK 77 99 MODIFIERS S&H S& H FILT 'AUTO TRIG EXT.THIG : SAVE PROGRAMS The high settings of the mixer controls (maximum for both oscillators) overdrive the filter input and produce the controlled distortion that characterizes the "Minimoog Sound.
PROGRAM 2: LEAD 2 CONTROLLEO FILTER KB TRACK 26 73 27 FILTER CCMVTOUR 65 42 The foundation of this voice is the use of square waves through a filter with high resonance and low contour amount. Playing "guitar-like" melody lines — with pitch-bending and vibrato — produces excellent results.
PROGRAM 3: HORN Full keyboard tracking gives this voice a tuba-like quality in the lower octaves and a brighter, trumpet-like quality in the higher registers. Vibrato is available at the modulation wheel.
PROGRAM 4: FLUTE VOLTAGE COIMTROU-ED FILTER KB TRACK 30 0 0 CUTOFF I I EMPHASIS This program uses a small amount of noise to simulate the sound of air blowing over a flute mouthpiece. Tremolo is available at the modulation wheel and should be used for most authentic results.
PROGRAM 5: CLAV BASS VOLTAGE CONTROLLED RLTER KB TRACK 2 4 80 EMPHASIS 0 ■it 67 A ^J | ' 11 D LOUDNEBB CONTOUR Narrow rectangular waveshapes simulate the sound of a plucked string. A high contour amount setting gives this program a very bright sound. Pitch-bending is effective with this voice.
PROGRAM 6: VIBES CONTROLLED FILTER KB TRACK 10 20 40 LOUOIME8S COfSfTOUP Turn the mod wheel up to approximately 75% for tremolo. Note the settings of the contour generators. If a key is depressed and held down, the contour generators reach the sustain level (zero) and stop all sound, producing a "damped" sound. If a key is tapped and released quickly, the contours "skip" the sustain setting and move immediately to the long release time, producing a "ringing" vibes sound.
PROGRAM 7: STRING BASS VOLTAGE CONTROLLED FILTER K8 TRACK 18 0 26 CONTOUR FILTER CONTOUR 0 OUDNE88 CONTOUP 0 65 o OSCILLATOR BANK 0 | | s MODIFIERS This voice sounds best toward the bottom of the keyboard. This program is voiced with the same touch-dependent iif effect described in program 6, so certain notes may be allowed to "ring" longer than others.
PROGRAM 8: HARPSICHORD CONTROLLED FILTER KB TRACK 74 0 21 EMPHASIS LOUDNE8B CONTOUR 0 69 0 43 This voice pitches the second oscillator an octave higher to simulate the octave strings of full harpsichord stops. For an "absolutely in tune" harpsichord sound, touch SYNC ON. Leaving sync off, however, may produce a more authentic sound.
PROGRAM 9: ORGAN VOLTAGE CONTROLLED FILTER KB TRACK 26 0 The percussive attack of the filter contour will be heard only after all keys have been released and a new key (or keys) has been played. This enables particular notes within a phrase to be accented.
PROGRAM 10: TRILL VOICE VOLTAGE CONTROLLED FILTER K8 TRACK 13 This program is one of several voiced to sound "electronic" — unlike any traditional instrument. The modulation wheel will set the upper note of a trill. Sync is voiced ON; move the pitch wheel to hear the sync effect.
PROGRAM 11: TAURUS VOLTAGE CONTROOEO FILTER KB TRACK 1/2 I 21 0 I CUTOFF I I EMPHASIS One of the keys to the power of this voice is the tuning of Osc 2. If the tuning procedure listed in the Troubleshooting Section is followed correctly, the two oscillators should be detuned just enough to produce a rich, rolling sound.
PROGRAM 12: SYNTHEVOX Another "electronic" voice — especially good for long, singing solo lines. The oscillators are tuned an octave apart and long attack times are set up on both contour generators.
PROGRAM 13: SAX AQE CONTROLLED FILTER ' OSCILLATOR REC2.V.i,&STDP CONTlNUi ^ 8 MODIFIER] ,\Oi>r S&H S& HfrLT.-AUTC tti . SAVt VtRlhV LOAD , PROGRAMS The use of narrow rectangular waveforms as audio signals gives this program the high resonance present in the sound of an alto or soprano saxophone. This voice sounds more realistic when pitch-bending and modulation are used.
PROGRAM 14: WIND VOLTAGE CONTROLLED FILTER KB TRACK 18 1/2 I I CUTOFF I 80 0 I EMPHASIS LOUDNEBB CONTOUR Noise is the audio signal here. Emphasis is set high to give the noise signal a "pitch" (by sharply accenting a narrow band of frequencies). The filter may be slowly moved up and down (by raising the modulation wheel) to simulate a "sweeping" wind sound.
PROGRAM 15: SNARE DRUM VOLTAGE CONTROLLED FILTER KB TRACK 52 0 LOUDNE88 CONTOUR A high-level noise signal is mixed with a low-level triangle wave to give the sudden drum sound a sense of pitch. The pitch, or tuning, of the drum is determined by the key played. Setting LFO rate to between 65 and 70 and turning on AUTO TRIG will produce a drum roll.
INDEX Amplification Arpeggiator Loading Playback Rhythmic Arpeggios Attack Time Auto Trig Auto-Tune Cassette Operations Loading Saving Verifying Connectors Recording Level Types of Data Stored Contour Generators Defined Filter Contour Loudness Contour Controllers Decay Time Display Program Incremental Editing Programs Ext Trig Factory Programs Charts Filter Cutoff Frequency Emphasis KB Track Contour Amount 2 17,43 17 18 44 36 23 3,46, 56 21, 56 22 21 22 56 56 21 36 36 32, 37 34,37 35 37 2,8 2 8 7 24 5
Maintenance 1 Microprocessor Mixer Sample & Hold TO OSC TO FILT 15 8-9 23-24 23 24 30 38 Sawtooth Waveshape Defined 38 Operation LFO 38 Playback 15 Routing 39 Recording 16 6 26 Efficient Loading 42 Setup Multiple Triggering 36 Signal Sources 26 Noise 29 Single Triggering 36 Square Waveshape 28 Modifiers Modulation Wheel Modules Octave Switches 6 Oscillator Octaves Tuning 11 Sustain Level 37 6 19,45 Loading 19-20 Cancelling , Programs Factory 2 Store Control
GENERAL INFORMATION Under normal playing conditions, the rear panel of The Source will feel quite warm to the touch. This is not a malfunction; The Source's internal components are calibrated to operate correctly at this temperature. The Source is a software-based instrument. As new developments are completed, additions to the Owner's Manual will consist of drop-in sheets stating a revision number and a description of the software function changes.
MOOG MUSIC INC. 2500 Walden Avenue Buffalo, New York 14225 993-045352-001 Copyright 1981 Moog Music -nc. Printed in U.S.A.
