Mutefmoog Multimoog Muitimoog Multimoog OPERATION MANUAL by Tom Rhea
introduction The Multimoog is for performers who recognize the power of physical control of electronic musical instruments. Before we had electronic musical^ instruments there was no issue—if you didn't involve your body you couldn't make music. Acoustic instruments require human energy during performance-they must be struck, scraped, plucked, or blown into before they will make sound. Therein lies their power—musical nuance is achieved through subtle physical control.
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index setting up the multimoog Amplifier connection procedure getting a SOUnd way to get a sound tuning U p Sound check.
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setting up the multimoog A. Before plugging in the Multimoog, check the 115/230 switch on the rear panel. Set this for the appropriate operating voltage (115 for U.S.A.). B. Plug the power cord into any conventional A.C. outlet. C. Use an appropriate patchcord to connect either LO AUDIO or HI AUDIO on the Multimoog to your monitoring system. If you are using a P.A. system or a portable guitar-type amplifier, connect the LO AUDIO OUTPUT of the Multimoog to the input of your amplifier.
tuning up 1. Turn power on and allow heated- chip oscillators to completely sta bilize (5 min.) □ ON FINE TUNE POWER 2. Fine tune Oscillator B using fine tune control on rear panel. •"8s POWER •iAPE OCTAVE ^ Wll MASTER ASB FINE TUNE 3. Tune Oscillator A to match Oscil lator B using INTERVAL control. ON ULT H INTERVAL . WAVESHAPE OSCILLATOR A MIX OCTAVE ^ WIDE FR MASTER A&B BBON •CCCCPT\ I I 4.
sound charts Sound charts are the "paint by numbers" approach to the synthesizer. This section shows you how to create sounds easily by duplicating sound charts settings on the control panel of the Multimoog. The Multimoog makes sounds that you have synthesized, or created from the basic elements of sound such as pitch, tone color, and loudness. The Multimoog can produce a lot of different sounds because it can manipulate elements of sound.
The position of slide switches is always indicated by blacking in the position in use. An asterisk in another position of the same slide switch oaciujiToa a fatATKH AfcJI ^^ indicates an alternative position that might be tried. See below: OMGW.I ATOffW"~ ^—^— Mamk ■ M^ Vh_S^5^«' ^ utOTf ^~\ QMSS *^\ PJ^^W** must arrows.
BASS DOS oanutiM nxn SOUND SOURCE: OSCILLATOR B Advance VOLUME to comfortable listening level. Play the keyboard and bend pitch with the PITCH ribbon. POTTO Vary CUTOFF to control amount of "highs". mot Vary CONTOUR AMOUNT to control amount of "punch", or contour. Switch RELEASE to left for different key release. SINGLE KBD TRIGGERING makes keyboard sense legato/staccato. DOUBLE OCTAVES . 'SSS^rS?^ - ^ssJ?**"** ^^a..
THE MOOC™ "FAT" SOUND SOUND SOURCE: OSCILLATORS A & B with DOUBLING Advance VOLUME to comfortable listening level. row* Play the keyboard and bend pitch with the PITCH ribbon. PRCH Switch FILTER MOD BY OSC B to STRONG for complex phasing effect. Switch FILTER SUSTAIN to left to sustain filter at maximum. Vary EMPHASIS to control "nasality." MOOG™ WHISTLE most enturact SOUND SOURCE: FILTER in TONE mode Advance VOLUME to comfortable listening level. MOD * moan mat Play keyboard.
RING MOD EFFECTS morioust © PQOOQ untua ¥\ wnffliu SOUND SOURCE: FILTER in TONE mode with FILTER MOD BY OSC B Advance VOLUME to comfortable listening level. Depress and hold a key. Switch LOUDNESS SUSTAIN to left to sustain sound indefinitely. Vary CUTOFF to produce a variety of sounds. Switch FILTER MOD BY OSC B to OFF position. JET BU W ocacioic QOOQOOO SOUND SOURCE: NOISE Advance VOLUME to comfortable listening level. Depress and hold a key.
SAMPLE AND HOLD ■ainwat ooe ■nmu. wnstwi B1CIUATOH * '^'Ei -1 ocfm SS-=» irn OO000OOO o«cm-»roa» J I woSt« ^ oo ^ StrmS^ «Swn nLTmcnmua SBSCMI ■D M I I M 1*1 ■ I I ^ ^ «qm mom orr or* «im moM Mai nu xtm «UK MOOUUATIOW SOUND SOURCE: OSCILLATOR B Advance VOLUME to comfortable listening level. Switch SOURCE to S&H AUTO to initiate reiteration. TORI Move MOD AMOUNT wheel fully forward (away from you) to control depth of pattern.
EXTERNAL AUDIO INPUT cm a VSSSUrS?"'1 *=" m^S?«>■"«• •fes'j^ ^ffiL oos ^5^ liS^ nF^ SS^^l^i 00 am txwat estuoMt nmaao tTOSCI nunaaoc tun IIIIUM oo OTia /N. BUittA tanas OtRM tntncn wumr SOUND SOURCE:Any external instrument through AUDIO INPUT i Insert patchcord from output of external instrument into Audio Input on rear of Multimoog™. ►own Switch BYPASS to ON so external instrument can be heard. Play external instrument; move MOD AMOUNT wheel forward.
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do-it-yourself demo This section shows you a way to explore the Multimoog intelligently and learn by doing. You can learn a lot about the Multimoog by playing around with each front panel control while listening to its effect on sound. This is a time-honored teaching method in music! The sound chart below helps save time and energy in learning by exploration- J ttuut ascutma run wo nun woe ■mcirn w» tnos mm mu m EXPLORER'S SOUND CHART rani SOME HINTS FOR EXPLORING . . . UPPER ROW: 1.
guided synthesizer tour This section has two parts. SOUND AND SYNTHESIS deals with general features of the synthesizer and discusses how it creates and controls sound. GUIDED TOUR presents specific features of the Multimoog and presents exercises that illustrate those features. SOUND AND SYNTHESIS Before we look at specific features of the Multimoog, let's talk about sound and how synthe sizers make it.
modules requiring patchcord connection. (The modular patchcord synthesizer still offers maximum Synthesizers designed specifically for stage use —like the Multimoog—let you "patch" together sec tions (modules) of the instrument using switches and pots (potentiometers) instead of patchcords. But for purposes of learning basic principles let's continue to think of all synthesizers as having physically separate flexibility in connection choice.
The path from the audio output of the sound source through the modifiers to the speaker is called the "audio signal path." The audio signal path carries electrical signals that are to be made audible by the speaker. Notice that the sound source has only an audio output since it actually generates the audio signal. The modifiers must have both an audio input as well as an audio output since the audio signal to be modified flows through them. At this point, let's use appropriate synthesizer terminology.
Now we can route control signals into the con trol input of each module shown above to dynami cally control its function. Think of a control signal fed into the control input as acting like an invisible hand that turns the knob for you. Voltage controlled modules are sometimes referred to with letters, such as VCO (voltage controlled oscillator), VCF (voltage controlled filter), and VCA (voltage controlled amplifier).
SYNTHESIZER BLOCK DIAGRAM (BASIC) SOUND SOURCE SOUND MODIFIER SOUND MODIFIER vco VCF VCA AUDIO KEYBOARD FILTER CONTOUR LOUDNESS CONTOUR CONTROLLER CONTROLLER CONTROLLER KEYBOARD TRIGGER SOURCE
GUIDED TOUR In this sub-section we will look at the sound sources, modifiers, controllers, and triggering devices found on the Multimoog. Exercises are presented "by the numbers" to help explain specific features. You might skim through the first time by doing just the exercises before reading the GUIDED TOUR thoroughly. (Set up the Sound Chart that precedes each exercise; follow numbered instructions precisely for best results.
6. Hold the lowest key on the keyboard. 12. Rotate the MIX control to the A=B position to hear both oscillators. 7. Step the OCTAVE selector through all of its positions and rotate the WIDE FREQ control for each position. Notice that the WIDE FREQ control is operable only when the OCTAVE selector is in the rightmost position. 13. Rotate the INTERVAL control of OSCILLATOR A to UNISON. The INTERVAL control tunes OSCILLATOR A relative to OSCILLATOR B. Try different intervallic tunings. 8.
The INTERVAL control tunes OSCILLATOR A relative to OSCILLATOR B, over a span of ±P5 (like violin strings). For proper tuning of the instrument, one or two octaves lower than OSCILLATOR B tune OSCILLATOR B using the FINE TUNE control; OSCILLATOR B. then tune OSCILLATOR A to match OSCILLATOR B. The DOUBLING control isn't really a tuning control.
The differences that you hear among the various waveshapes are due to their different harmonic structures. A waveshape may bethought of as a collection of simple components called "partials." Most pitched sounds consist of a first partial called the "fundamental/' and other partials that are higher and often not as loud. When the frequencies (pitches) of the upper partials are whole number multiples of the frequency of the fundamental, all the partials are called "harmonics.
.UNISON, INTERVAL W/WESHAPE OSCILLATOR A MIX WAVESHAPE DOUBLING OSCILLATOR B Each WAVESHAPE control allows continuous selection and mixture of the waveshapes produced by that OSCILLATOR section. The position marked "O" provides the sawtooth waveshape; as the control is moved clockwise this sawtooth waveshape is mixed with a narrow rectangular waveshape (about "2").
In the previous exercise, the OSCILLATORS are actually not turned "off," but simply removed from the audio signal path so we don't hear them. The OSCILLATORS generate audio signals continuouslyeven when we choose not to listen to them. The OSCILLATORS switch is placed in the OFF position used as sound sources simultaneously. When this is done, the filter can be "synchronized," or locked together at harmonic intervals (whole number multiples) to the oscillator.
CLANGOROUS SOUNDS So-called clangorous sounds are often characterized as being metallic or "bell-like." A characteristic feature of a bell sound is the presence of partials that are not harmonic. That is, partials that do not stand in whole number relationships to each other. On the Multimoog, when the FILTER section is in the TONE mode it is possible to use the FILTER MOD BY OSC B switch to create non-harmonics that give the impression of metallic or bell-like sounds.
EXERCISE 6: LISTENING TO THE NOISE SECTION arcu hi' nuaaSma ,u SS err ■? ■CD eutotr —> OBCIU^kTOB * oas ocnyneii O0 mnoxt KfTI 1. Hold down the highest key on the keyboard. You are listening to pink noise. :J atnuus 4*V KILTKB esnout MWUin mmrn 3. Since we want to hear the NOISE section as the sole sound source, the sound of the oscillators must be removed by placing the OSCILLATORS switch to OFF.
EXERCISE 7: MODIFYING LOUDNESS BY CONTROLLING THE VCA OCX ■Mat uaantoa Q0PDQ0DQ 1. Place BYPASS switch to ON position. You should hear sound continuously, since the voltage controlled amplifier (VCA) is being held completely open ("bypassed"). note that the sound is articulated with immediate attack and release (beginning and end). then release. The sound is articulated with nearly 4. Vary the ATTACK control in the LOUDNESS CONTOUR slightly. Play keyboard.
EXERCISE 8: MODIFYING A WAVESHAPE WITH THE FILTER SECTION «m*M 1. Hold down any key on the keyboard. You are listening to the sound of an unfiltered sawtooth waveshape. onuiets niqwec reramx nttu sstw toaaas uui umcmb cms 6. Move the EMPHASIS control to "10." Now move the CUTOFF control. You can actually hear each harmonic in the sawtooth waveshape as you 2. While listening, slowly rotate the CUTOFF control counterclockwise.
EXERCISE 9: MODIFYING NOISE WITH THE FILTER SECTION OQOQOOQB ■ium. ij nmsurt ma ocurt ^» mm« mmxitt oas oonynw jtawnti WI »«iim ma /-v. nuta/s. ■OUONSSB COMTOUfl CX5 awe MOBUtATIQW inn 1. Hold down any key on the keyboard. The sound source is the NOISE section. Muna 3. Set the EMPHASIS control to "10." Now move the CUTOFF control throughout its positions. You should hear "wind" sounds varying pitch. 2. Slowly rotate the CUTOFF control counterclockwise.
EXERCISE 10: KEYBOARD CONTROL OF OSCILLATOR/FILTER SECTIONS oq ceo qopp^oo ^yy »wmiwi. an Kuit ^ we FnQ wensmn pfrutimc uw cgTOff *~^ nrrmp^ tA gcmtoos ■*i i ■ 1. Set up the sound chart and play up and down the keyboard. The frequency of (both) oscillators is being controlled by the keyboard. Notice that the OSCILLATORS switch is in the NORM (normal) position. crises /"v^ ttiiuut^^ LBUDWIM CCJIMI OUff I I ■*! I signal from the keyboard controls frequency.
The preceding confirms that GLIDE affects the keyboard signal. The OFF position of the OSCILLATORS switch and the TONE position of the FILTER MODE switch remain to be explored: For now, let's just note that the OFF position of the OSCILLATORS switch removes the sound of the oscil lators but places them under keyboard control. LOUPNESS CONTOUR SECTION 14. Place the OSCILLATORS switch to the OFF position. Play.
EXERCISE 11: ARTICULATION—CONTOURING LOUDNESS j 1. Play the keyboard. Notice that the attack and release of the sound are practically immediate. The ATTACK and RELEASE controls are set for quick (1 msec = one-thousandth of a second) attack and release times. 2. Play again. The sound will sustain as long as you hold a key. Notice that the LOUDNESS SUSTAIN switch is in the "sustain" mode to the left. Look at the graphics for the LOUDNESS SUSTAIN switch—it depicts what you are hearing.
an organ-like sustained sound with on-off keying. This is not quite so, as the following shows: The preceding shows that when both the RELEASE switch and the LOUDNESS SUSTAIN switch are to the right the following is true: (1) The sound can never last longer than the combined settings of the LOUDNESS CONTOUR controls, regardless of how long a key is held; (2) The release of a sound will always be abrupt when all keys on the keyboard are 14. Place the RELEASE control to "700." 15.
You might select a sound source and try the above settings to hear the shape of the contour produced. It is important to remember that loudness has priority over other aspects of sound. After all, if the LOUDNESS CONTOUR and its related switches don't allow a sound to be heard, it hardly matters what the other sections of the Multimoog are doing. musical instruments have a dynamic control signal that "contours," or moves the cutoff frequency of the VCF.
1. Hold down any key on the keyboard. The tone sounding is static in timbre; the cutoff frequency of the filter is not being moved. 2. Move the CONTOUR AMOUNT control to "+5." Now hold a key down. The timbre is dynamic because the filter cutoff frequency is being contoured by the FILTER CONTOUR section. You could get the same effect by manually moving the CUTOFF control. 3. Play. Move the CONTOUR AMOUNT control back towards "0" to progressively attenuate, or lessen the amount of contour.
TYPICAL INVERTED CONTOUR SIGNAL KEY DEPRESSED KEY RELEASED MAX ZERO •••• JTIME *■ Also, as in the case with positive CONTOUR AMOUNT settings, when the CONTOUR AMOUNT control is moved toward "0" the signal is attenuated, or lessened. To better understand inverted contours, do the following: EXERCISE 13: INVERTED CONTOURING OF THE FILTER 1. Set up the sound chart for EXERCISE 12. 2.
MODULATION SECTION The MODULATION section routes control sig nals from several sources to several destinations. It lets you hook up a controller to the control input(s) of Multimoog sections. The source selector determines which controller is selected. The selected signal from that controller passes through the MOD AMOUNT wheel where it is attenuated. The ROUTING rotary switch dictates where the control signal will go.
EXERCISE 14: EXPLORING THE MODULATION SECTION tlffttf ^tfHIffTOC «om mom en ninao aoa en ± mam kmsim mm rTh ramt 1. Hold down the lowest key on the keyboard. Slowly move the MOD AMOUNT wheel fully away from you and return. You should hear a wide bend of the pitch upward. 2. Notice: the SOURCE selector is in the BEND position. ROUTING is in the OSC A&B position. 3. Place the ROUTING selector to the FILTER position. Hold a key and repeat action with MOD AMOUNT wheel.
5. Set SOURCE and ROUTING controlsasshown on preceding page. Set MOD AMOUNT wheel as shown. In the following exercise steps, it will become apparent that much of the MODULATION section deals with repeating patterns: 6. Depress and hold any key. You should hear a contoured-pitch "siren" effect. 7. Place the ROUTING selector to the OSC A&B FILTER position. Play the same key. Note that tone color is contoured as well as pitch. (The FILTER is also being contoured.) 8. Control amount AMOUNT wheel.
voltage signal and "prints" (holds) a fixed voltage level. When a sample of a moving voltage signal is taken, the voltage sensed at that instant is held until the next sample is taken. The RATE control deter mines how often samples are taken. When the voltage signal sampled is randomlike noise—a series of random voltage steps will be produced. The sample-and-hold of the Multimoog does sample the noise signal internally, and produce a series of random voltage steps.
You learned about this "wheel" modulation path previously. But now, let's relate that to the control panel graphics as shown below: WHEEL MOD PATH 4. Switch the EFFECT switch in the KEYBOARD TOUCH section to the MOD position. 3. Now make sure that the MOD AMOUNT wheel is fully back so the "wheel mod path" is not in 5. Lightly depress a key and slowly exert more force (pressure) on the key to control vibrato amount. Panel graphics indicate this "touch" modulation path: use.
7. Experiment with the various settings of the DESTINATION and ROUTING controls. There are many useful combinations of touch/wheel control. When the EFFECT switch is in the MOD the KEYBOARD TOUCH and position, MODULATION sections are linked. When EFFECT is OFF, the KEYBOARD TOUCH section can't be used, (but the MODULATION section is not affected). When the EFFECT switch is in the BEND position the KEYBOARD TOUCH section works independent of the MODULATION section, as shown below: ma 8. Play.
12. Bend pitch using keyboard force sensitivity. 14. Control brightness and keyboard force sensitivity. 13. Control vibrato amount using a foot pedal attached to the MODULATION jack on the rear panel. MOD AMOUNT wheel may be used to 15. Control modulation AMOUNT wheel. actually set the sensitivity of the pedal. (See the OPEN SYSTEM section of this manual for the MODULATION jack for procedure).
The WEAK and STRONG positions of the FILTER MOD BY OSC B switch connect the entire output of OSCILLATOR B (DOUBLING included) to the control input of the FILTER section. OSCILLATOR B section acts as a controller, rapidly modulating filter cutoff frequency. When OSCILLATOR B is the sound source, its own signal is modulated by itself, creating a more complex sound. You might experiment with use of the FILTER MOD BY OSC B switch with any of the sounds you create.
The usefulness of being able to bend a single oscillator is fairly apparent, but perhaps you are wondering why there is an OFF position for RIBBON ROUTING. Wouldn't the result be the same if you simply didn't use the PITCH ribbon? Not exactly. The Multimoog is an open system synthesizer that can control other synthesizers. Suppose you wished to bend the oscillators of an external synthesizer but not those of the Multimoog? So, we include an OFF position, for internal routing purposes only.
EXERCISE 18: SINGLE/MULTIPLE TRIGGERING KEYBOARD PRIORITY OOOQOI0QO wmiuri eousu«c OttCILLATOR oas a*Asa XJ am_^^^—u OCSItUTtOH ^^"^^L (UtOUKT BUT ? MOOULATION O0 1. Play the keyboard alternately with connected (legato) and detached (staccato) technique. Notice the difference in sound response. Alternate techniques for phrasing and accent effects. Note that the KBD TRIGGERING Switch is to SINGLE. 2. Move the CONTOUR AMOUNT control back to "+2".
The S&H KBD position of the SOURCE selector does not produce triggers! In this mode, the contour generators may be triggered by the keyboard, independent of the rate of sampling. Continue exercise: 2. Place the SOURCE selector to S&H KBD. Sound is not self-triggering. 3. Hold down any key. Release, hold again. The keyboard is triggering the contour generators. The MODULATION section continues to create control signals. You will hear sound only when the contour generators are triggered by the keyboard.
open system An "open system" can communicate with other devices. This section of the manual explains how the inputs and outputs on the rear panel allow two-way communication between the Multimoog and external devices such as other synthesizers and Moog accessories. You will understand "open system" communication with external synthesizer gear better if you know how the audio, control, and trigger signals produced by the Multimoog function internally (see GUIDED SYNTHESIZER TOUR section).
AUDIO SIGNALS ^00 o nn no ran act Koouunm ntnt oscub «-(W/0fF C0HT8CL-' J-TWS >-«»> TOUCH MOD ' INPUTS- me EFFECTS TURE LO/HI AUDIO OUTPUTS AUDIO INPUT The /AUD/O OUTPUTS are used to route the audio (sound) output of the Multimoog to a purpose is to allow feeding the sound of other monitoring system to create sound. LO AUDIO is a low level (-10 dBm) output suitable for connection to a P.A. or guitar amplifier that has its own preamplifier.
As with any Multimoog sound chart, blank controls should be placed fully counterclockwise (see SOUND CHARTS section). When you try the above sound chart, experiment with the CUTOFF and EMPHASIS controls; vary RATE and MOD AMOUNT; select S&H KBD as the MODULATION section SOURCE. These are means of controlling the FILTER section to modify the timbre of the external instrument. In this case, no internal sound sources or trigger signals are being used.
present (e.g., key depressed), application of another trigger externally will not be discernible, and the converse. The following diagram illustrates the dual input/output capacity of the S-TRIG OUTPUT plug: S-TRIG OUTPUT TO S-TRIG OUTPUT TRIGGERING NOrS-STANDARD S-TRIG OUTPUT 1 FEMALE-FEMALE CABLE S-TRIG OUTPUT MULTIMOOG B CABLE DETAIL: NARROW SOCKET CINCH-JONES S3O2-CCT (COVER NOT SHOWN) WIDE SOCKET Each Multimoog will trigger itself normally.
trigger theMultimoog. No power supply or circuitry is required; when the switch is closed a trigger is produced. To show how easily the Multimoog can be triggered, touch a coin to both prongs of the S-TRIG OUTPUT. You're now using this plug as a trigger input and you've triggered the Multimoog by making a switch closure—without use of circuitry. The S-TRIC INPUT functions the same way, but requires insertion of a Cinch-Jones plug.
CONTROL SIGNALS an LOMJDIO V. BMWO S-TK an .; ram OUTPUTS- 0 ma nmi KEYBOARD OUTPUT The KBD OUTPUT (keyboard output) is a dual function jack. It can function as an output only when the KBD & TRIG EXT OUTPUT switch on the front panel is in either the ON, or ON + RIBBON position. The KBD OUTPUT jack can function as an input only when its associated attenuator is in the fully counterclockwise "click" position.
lowest key determines the single keyboard control signal. A monophonic instrument may have more than one tone oscillator (the Minimoog has three), and the oscillators might be tuned to produce a chord. But, if the keyboard is monophonic, all the oscillators may follow the single keyboard control signal and produce parallel chords, but not polyphony (several independent voices).
When the pedal is inserted into the MODULATION jack, it will act in tandem with the MOD AMOUNT wheel to control the amount of modulation. When the MOD AMOUNT wheel is fully forward (toward the control panel), the pedal can be used over the widest span of modulation effects. If the MOD AMOUNT wheel is only slightly forward, the pedal will cover a restricted span of modulation effects.
MULTIMOOG SELF-MODULATION JUMPER RING *" STEREO PLUG \ JUMPER FROM TIP TO RING TERMINAL It is possible to route modulation signals both to and from the Multimoog simultaneously and independently from a modular system or another synthesizer: SIMULTANEOUS INPUT & OUTPUT OF MODULATION SIGNALS STEREO PLUG MULTIMOOG MODULATION OUTPUT TO ANOTHER TO MOD JACK SYNTHESIZER (EXAMPLE: 921 OSCILLATOR) MULTIMOOG MODULATION INPUT FROM ANOTHER SYNTHESIZER (EXAMPLE: 911 ENVELOPE GEN.
If zero volts is fed into the FILTER INPUT, no change of the cutoff frequency is caused. A positive voltage applied to the FILTER INPUT raises the cutoff frequency, like clockwise movement of the CUTOFF knob. A negative voltage applied to the FILTER INPUT lowers the cutoff frequency, like counterclockwise movement of the CUTOFF knob. Nominally, a change of one volt at the FILTER INPUT will cause a change of one octave in the cutoff frequency of the FILTER section. In practice, only about .
OPEN SYSTEM—GETTING IT TOGETHER The open system INPUTS and OUTPUTS can provide powerful ways of expanding your music- making once you realize what audio, control, and trigger signals can do for you. It's important to understand that synthesizers are very dumb—from a point of view of "systems interfacing." They must be told explicitly what you want to happen. You may begin with a general idea like "I want to slave a second Multimoog to mine and play both from my keyboard.
Even though you have made the basic connections, further thought is required for a successful interface. First, from reading the OPEN SYSTEM section you know that the KBD OUTPUT provides an unsealed version of the Master Multimoog keyboard signal. It will have to be scaled to cause the Slave Multimoog to follow the Master keyboard accurately.
4. Check tuning by playing lowest key on Master keyboard, if OK go on. If not, repeat steps 1-3, 5. Play highest key on Master keyboard and adjust attenuator for KBD OUTPUT on Master until Master and Slave agree in pitch. Tune Multimoogs by listening to OSCILLATOR B, which always is near A-440. When you scale, you stretch or shrink the KBD OUTPUT signal from the Master to fit the sensitivity of the OSCA&BINPUToftheSlave,to create the familiar diatonic scale.
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review of functions This section of the manual tells how each knob selector, switch, jack, plug, and socket on the Multimoog functions — what it does. Knowledge of terminology is assumed; don't start here if you can't speak "synthesizerese!" Multimoog functions are numbered and described in the order indicated by the diagrams below. A description of how any individual control or jack functions can be gotten by turning to the appro priate numbers on the following pages.
MULTIMOOG™ CONTROL PANEL OSCILLATOR A&B The oscillator section is the primary source of pitched audio signals. .UNISON. INTERVAL WAVESHAPE OSCILLATOR A 1 MIX OCTAVE ^- WIDEFREQ WAVESHAPE MASTER A&B INTERVAL 4 DOUBLING OSCILLATOR B OCTAVE Provides continuous tuning of OSCILLATOR A (only) relative to OSCILLATOR B. Tuning span is ± Perfect Fifth relative to OSCILLATOR B.
6 WAVESHAPE (B) Provides continuous waveshape control of OSCILLATOR B; calibrated in arbitrary units. The position marked "0" provides a sawtooth waveform; as the control is moved clockwise, this sawtooth is mixed with a narrow rectangular waveform widens and the sawtooth truncates. Between "5" and "6" a FILTER The FILTER section is a lowpass filter with variable-height resonant peak at the cutoff frequency, with a 24dB/octave attenuation slope above the cutoff frequency.
excursion. When the CONTOUR AMOUNT control is which can last no longer than the settings of its moved into the negative region, the contour is inverted; this inverted contour then causes a reverse contour, or a falling-and-rising excursion of the cutoff frequency. The CONTOUR AMOUNT control is internally arranged with the CUTOFF control to minimize the need for adjusting the CUTOFF control when going from normal to reverse contours.
the settings of its ATTACK and RELEASE timing controls allow, regardless of how long a key is depressed. In the sustain mode to the left, the LOUDNESS CONTOUR generates a three-part OSC A&B FILTER—Routes the selected signal to the frequency control inputs of both audio oscillators (A&B), and the cutoff frequency control input of the FILTER section. sustained as long as a key is depressed. I n this case, the release part of the contour becomes operable only when all keys are released.
changes as set by the RATE control. All modulations are attenuated with the MOD AMOUNT wheel. SOURCE ■*•-. ROUTING MODULATION 19 21 ROUTING Determines the destination of the modulation signal that has been selected by the SOURCE selector as follows: RATE Controls the rate of the modulation oscillator and sample and hold clock, calibrated from .3 Hz to 30 Hz.
pitch until another key is depressed. Operational when GLIDE switch is ON, or when GLIDE jack on rear panel is used properly. 23 VOLUME A final gain control (attenuator) which is independent of the voltage controlled amplifier associated with the LOUDNESS CONTOUR. Calibration is arbitrary from "0" to a maximum of "10." 27 FILTER MODE SWITCH Switches to control tracking by filter cutoff frequency of keyboard and OCTAVE selector. Also places the FILTER into the oscillatory (TONE) mode.
30 BYPASS SWITCH Selects to "bypass", or hold internal voltage controlled amplifier on constantly. The ON position holds the VCA fully on, resulting in constant sound output. The OFF position to the left provides for normal use of the LOUDNESS CONTOUR to articu late sound.
35 PITCH RIBBON 39 A resistance element protected with plasticcoated mesh used to bend the pitch of the oscillators. In the center of the ribbon is a dead band, marked with a bump; this causes no bending of pitch, and provides a way to feel the "center" of the pitch. Pitch is bent by depressing the ribbon and moving away from the center bump, deflecting oscillator pitch up or down with a like movement on the ribbon.
INPUTS 45 FILTER Allows external voltage control of the cutoff frequency of the filter. Scaling is 0.95 volts/octave. Input impedance is 100K. 46 OSC Allows external voltage control of the frequency of the audio oscillator. Scaling is 0.95 volts/octave. Input impedance is 100K. 47 S-TRIG OTHER FEATURES 50 Supplies +15 volts regulated D.C. power for all standard Moog accessories. Absolute maximum current = 50 mA. 51 52 Allows external sound source to be processed through the synthesizer.
TECHNICAL DATA MULTIMOOC SPECIFICATIONS TONE OSCILLATORS CONTOUR GENERATORS NUMBER: 2—(designated A and B) FREQUENCY RANGE: .IHz to 20KHz NUMBER: 2 (one for Voltage Controlled Filter (VCF) and for loudness (VCA). RANGE OF ATTACK AND RELEASE TIMES: 1 millisecond to 10 seconds. SUSTAIN LEVEL: Filter and loudness independently selectable for full or zero sustain. BYPASS: Switches to hold VCA fully on indefinitely. STABILITY: Short term range drift after 5 minute warm-up less than .
AMOUNT CONTROL: Attenuates the signal applied to the DESTINATION switch. DESTINATION SWITCH: Sends the keyboard touch modulation signal to one or more of six control inputs. SYNCH A TO B: In this positionof the DESTINATION switch, oscillator A is reset by oscillator B which locks the fundamental frequency of A to B. Modulation routed into oscillator A shifts the harmonic structure of A resulting in dynamic spectrum changes.
