Technical data
6
WAVESHAPE
(B)
Provides
continuous
waveshape
control
of
OSCILLATOR
B;
calibrated
in
arbitrary
units.
The
position
marked
"0"
provides
a
sawtooth
waveform;
as
the
control
is
moved
clockwise,
this
sawtooth
is
mixed
with
a
narrow
rectangular
waveform
widens
and
the
sawtooth
truncates.
Between
"5"
and
"6"
a
square
waveform
is
produced;
as
the
control
is
moved
on
toward
"10,"
the
square
waveform
narrows
to a
narrow
rectangular
wave.
The
narrowness
of
this
rectangular
waveform
is
limited,
making
it
impossible
to
"lose"
the
sound
at
any
WAVESHAPE
setting.
Sawtooth,
square,
variable
rectangular,
and
a
mixture
of
sawtooth
and
variable
rectangular
waveforms
are
available.
This
continuously
variable
WAVESHAPE
control
allows
a
change
of
the
harmonic
spectrum
of
the
output
of
the
instrument
that
is
independent
of
the
FILTER
control
settings.
7
DOUBLING
Provides
a
continuous
mix
of
a
square
waveform
either
one
or
two
octaves
lower
than
the
primary
OSCILLATOR
B
pitch
for
doubling
effects.
The
"0"
center
position
provides
a
dead band
with
no
doubling;
from
that
point
clockwise
to
"+5"
provides
doubling
at
the
two-octave
interval;
from
"0"
to
"-5"
provides
doubling
at
the
octave.
NOISE
The
NOISE
section
provides
a
pink
noise
(pseu
dorandom)
signal
used
for
both
audio
and
control
purposes.
8
LEVEL
Introduces
noise
as
an
audio
source
as
the
control
is
turned
clockwise
to
a
maximum
of
10;
calibration
is
arbitrary.
The
noise
generator
is
a
pseudo-random
generator
which
outputs
essentially
pink
noise;
this
is
also
filtered
internally
and
made
available
for
sample
and
hold
purposes.
The
LEVEL
control
has
no
effect
on
the
noise
source
when
noise
is
used
as
a
sample
and
hold
signal.
The
LEVEL
control
mixes
noise
as
an audio
signal
relative
to
the
fixed
audio
output
of
the
oscillators.
The
oscillators
may
be
removed
from
the
sound
chain
by
selecting
"OFF"
on
the
OSCILLATORS
switch.
FILTER
The
FILTER
section
is
a
lowpass
filter
with
variable-height
resonant
peak
at
the
cutoff
frequency,
with
a
24dB/octave
attenuation
slope
above
the
cutoff
frequency.
CUTOFF
EMPHASIS
-r'N
FILTER
CONTOUR
AMOUNT
9
CUTOFF
Provides
manual
control
of
the
nominal
setting
of
the
cutoff
frequency
of
the
lowpass
filter.
When
the
FILTER
is
placed
in
the
oscillatory
mode
by
switching
the
FILTER
MODE
switch
to
TONE,
the
CUTOFF
control
becomes
a
wide-range
frequency
control.
The
calibration
indicates
octave
increments
of
the
cutoff
frequency,
with
"0"
a
point
very
near
the
fundamental
frequency
set
by
OSCILLATOR
B
in
the
8'
OCTAVE
selector.
The
FILTER
in
the
oscillatory
mode
may
be
synchronized
with
the
oscillators
at
the
oscillators'
fundamental
frequency
or
at
a
harmonic.
10
EMPHASIS
"Emphasizes"
the
area
around
the
cutoff
frequency
of
the
filter
by
increasing
the
height
of
a
resonant
peak
at
that
frequency.
Maximum
emphasis
is
reached
at
position
"10";
calibration
is
arbitrary.
The
EMPHASIS
control
is
restricted
so
that
the
filter
will
not
be
placed
into
oscillation
accidentally
during
performance.
Maximum
emphasis
("Q")
at
the
"10"
position
may
be
adjusted
by
the
user
through
a
port
on
the
rear
of
the
instrument.
The
Multimoog
has
a
separate
FILTER
MODE
switch
which
may
be
switched
to
the
TONE
position
to
unequivocally
place
the
filter
into
the
oscillatory
mode
regardless
of
the
EMPHASIS
setting.
11
CONTOUR
AMOUNT
A
reversible
attenuator
that
controls
the
amount
and
polarity
of
a
control
voltage
routed
from
the
FILTER
CONTOUR
to
the
control
input
of
the
FILTER
section;
calibration
is
in
octaves.
Each
tick
mark
=
one
octave
of
sweep
of
the
cutoff
frequency
of
the
filter.
The
"0"
center
position
provides
a
dead
band
where
no
contouring
can
occur.
As
CONTOUR
AMOUNT
is
moved
clockwise
toward
"+5,"
a
"positive"
contour
is
allowed
to
control
the
cutoff
frequency
of
the
filter,
producing
a
rising-and-falling