Arturia Moog Modular V Operation & User’s Manual

Manual: Jean-Michel Blanchet Frédéric Brun Tomoya Fukuchi Tom Healy Sadahiro Nakano Xavier Oudin Gilles Pommereuil Cedric Rossi Takashi Uesugi Yuji Sano Sound Designers: Wally Badarou Jean-Michel Blanchet Celmar Engel Michel Geiss Christoff Harbonier Mateo Lupo Hideki Matsutake Scot Solida Katsunori Ujiie Very special thanks to: Robert A. Moog and Isao Tomita Thanks to: Michael Adams, Bruno Begani, Ned Bouhalassa, Geoff Downes, Clay Duncan, Pavle Kovacevic, Roger Luther, Sadahiro Nakano, Fabrice Paumier, Ben Turl, Peter Willems, and the numerous beta testers. © ARTURIA SARL – 1999-2004 – All rights reserved. 4, Chemin de Malacher 38240 Meylan FRANCE http://www.arturia.com Information contained in this manual is subject to change without notice and does not represent a commitment on the part of Arturia. The software described in this manual is provided under the terms of a license agree- ment or non-disclosure agreement. The software license agreement specifies the terms and conditions for its lawful use. No part of this manual may be produced or transmitted in any form or by any purpose other than purchaser’s personal use, without the express written permission of ARTURIA S.A. Other products, logos or company names quoted in this manual are trademarks or registered trademarks of their respective owners.

Moooogg M Moodduullaarr VV m maannuuaall The first version of the Moog Modular V was commercialized in March 2003 having been announced at the NAMM show of the same year. It quickly became popular being the first to offer an emulation of a modular synthesizer. The name Moog® was obviously a trigger as for many it remains synonymous with the golden age of vintage synthesizers. But strong interest from well-known musicians such as Isao Tomita, Klaus Schultze, Geof Downes, Stevie Wonder, Herbie Hancock and many others helped create a real buzz around the launch of the Moog Modular V. At Arturia, we have received many messages of congratulations as well as requests for the evolution and modifications for upcoming versions of the synthesizer. Version 2 of the Moog Modular V has taken many of these requests into account and brings many un- expected developments. Firstly, as you will see when you launch the program, is a new means of viewing the synthesizer giv- ing an overview of the entire instrument if your computer can support the resolution. On screens with lower resolutions, by using the “scroll” command, it becomes possible to access all of the mod- ules on the same screen, a feature that will delight many musicians. We have also broadened the configuration possibilities for the synthesizer. Some modules can now be interchanged, which brings the Moog Modular V closer to the original instruments that could be configured by Moog Music upon order. Improvements have also been made to the audio, making use of the evolution of our TAE® technol- ogy which has seen improvements during the year. We have answered a frequent request in relation to Audio-in so that you can now use the Moog Modular V filters or sequencer on an external source. Of course, we have also developed new modules, six to be precise. The 928 (Sample and Hold) and 912 (Envelope Follower) were popular demands and can be found in this new build. Also added are very rare modules such as the 1630 Bode Frequency Shifter – around a dozen models produced - or completely new modules such as the Formants Filter Last but not least is the addition of 200 new presets to this version. They make use of the new op- tions offered by the Moog Modular V, and will be a great starting point for those who wish to dis- cover this new version. Go to the last part of Chapter 7 if you wish to jump into using the new mod- ules offered. Hoping that you enjoy this evolution, we wish you the greatest pleasure in your use of the Moog Modular V 2. The Arturia Team

1 Introduction 9 1.1 The birth of modular moog systems 9 1.2 A modular synthesizer, why? 13 1.3 A better emulation thanks to TAE® 14 1.3.1 Aliasing-free oscillators: 14 1.3.2 Better reproduction of analog wave forms: 15 1.3.3 Better reproduction of analog filters 16 1.3.4 Implementation of the soft clipping 17 2 Installation 19 2.1 Installation PC ( Win9x, Me, 2000, XP ) 19 2.2 Installation MacOS X 21 2.3 Installation MacOS 9 23 3 Quick Start 25 3.1 The 4 sections of the Moog Modular V 25 3.1.1 The synthesis section 25 3.1.2 The other three sections 26 3.1.3 Reduced view of the keyboard and the real time controllers 27 3.2 Using presets 27 3.3 Modular synthesizer 29 3.3.1 First connections 29 3.3.2 Description of the synthesis section modules 35 3.4 The other sections 39 3.4.1 The sequencer 39 3.4.2 The effects 42 3.5 the virtual keyboard and its real time controllers 47 3.5.1 The keyboard 47 3.5.2 The keyboard controllers 47 3.5.3 The play modes 49 3.5.4 The sound design controllers 49 4 The interface 53 4.1 Using the presets 53 4.1.1 Choice of bank, sub-bank, preset 53 4.1.2 Creation of a bank, sub-bank, preset 54 4.1.3 Saving a user preset 55 4.1.4 Importation / Exportation of a preset bank 55 4.2 Work pages 57 4.2.1 The complete view: 57 4.2.2 The reduced usage page 58 4.3 Using controllers 58 4.3.1 Potentiometers 58 4.3.2 Joysticks 59 4.3.3 Changeovers 59 4.3.4 Keyboard 60 4.3.5 MIDI Control 60 4.4 Using cables 61 4.4.1 Audio and modulation connections 61 4.4.2 Modifying a connection 62 4.4.3 Modulation level setting 63 4.4.4 Cable display options 63 4.4.5 Trigger connections 64 4.4.6 Synchronization connections 65

65 5 The modules 67 5.1 Programming section 67 5.1.1 Description 67 5.1.2 Oscillators 68 5.1.3 Filters 72 5.1.4 Modulation envelopes 78 5.1.5 Output amplifiers (VCA) 80 5.1.6 Low frequency oscillators (LFO) 82 5.1.7 Controlled amplifiers / Mixers 83 5.1.8 Trigger delay 84 5.1.9 Noise generator 86 5.1.10 Sample and hold 87 5.1.11 Envelope follower 88 5.1.12 Ring modulator 89 5.1.13 Formant Filter 90 5.1.14 Bode Frequency Shifter 90 5.2 Second section 91 5.2.1 Description 91 5.2.2 Resonant filter bank 92 5.2.3 Chorus 93 5.2.4 Phaser 94 5.2.5 Stereo Delay 95 5.2.6 Sequence generator 96 5.3 Third Section 99 5.4 Fourth section 100 5.4.1 Keyboard follow management 100 5.4.2 General settings 101 6 The basics of subtractive synthesis 103 6.1 The three main modules 103 6.1.1 The oscillator or VCO 103 6.1.2 The filter or VCF 106 6.1.3 The amplifier or VCA 110 6.2 Complimentary modules 110 6.2.1 The keyboard 110 6.2.2 The envelope generator. 110 6.2.3 The low frequency oscillator. 111 7 A few elements of sound design 113 7.1 Modular sound synthesis 113 7.1.1 Simple patch n°1 113 7.1.2 Simple patch n°2 114 7.1.3 Complex patch n°1 118 7.1.4 Complex patch n°2 121 7.2 The sequencer 124 7.2.1 Sequence n°1 124 7.2.2 Sequence n°2 126 7.2.3 Sequence n°3 129 7.3 Bonus features 130 7.3.1 Creative use of key follows 130 7.3.2 Creative use of triggers and trigger delays 132 7.3.3 Stereo without the effects 134 7.4 using the new Moog Modular V 2.0 modules 136 7.4.1 The Bode Frequency Shifter 136 7.4.2 The Envelope Follower 138 7.4.3 The sample and hold 141 8 Using the Moog Modular V in different modes 145 8.1 Stand-alone 145 8.1.1 Launching the application 145 8.1.2 Setting preferences 145 8.1.3 The control bar 146

147 8.1.5 Panic 147 8.1.6 Saving an instrument 147 8.2 VST™ 147 8.2.1 Installation 147 8.2.2 Using the instrument in VST mode 148 8.2.3 Connection to a MIDI track 148 8.2.4 Saving presets 148 8.2.5 Automation 149 8.3 Pro Tools™ 149 8.3.1 Installation 149 8.3.2 The RTAS and HTDM standards 149 8.3.3 Opening the instrument 150 8.3.4 Connection to a MIDI node 150 8.3.5 Saving presets 150 8.3.6 Automation under Pro Tools 151 8.4 DXi™ 151 8.4.1 Installation 151 8.4.2 Opening the instrument (SONAR™ 2.0) 151 8.4.3 Connection to a MIDI track 151 8.4.4 Saving presets 152 8.4.5 Automation 152 8.5 Digital Performer™ 152 8.5.1 Installation 152 8.5.2 Opening the instrument 152 8.5.3 Connection to a MIDI node 153 8.5.4 Saving presets 153 8.5.5 Automation 154

9 1 Introduction 1.1 THE BIRTH OF MODULAR MOOG SYSTEMS Robert A. Moog was born in May 1934 in New York. A passionate for music (he took piano lessons for 12 years), he was introduced to electronics by his father, an engineer in this domain. During his adolescence, he discovered the Thereminvox plan, invented during the 30’s by a Russian engineer, Leon Theremin (or more exactly Lev Sergeivitch Termen). Seduced by this instrument with its never before heard sounds, he began to produce his own models and founded his own company in 1954. Frequenting musical professionals, and in particular electronic and concrete music, R. Moog realized that there was a real demand for electronic instruments of a higher quality. One of the first clients to come to Robert Moog, the professor of music Herbert A. Deutsch, asks him to listen to a song he had composed. Moog is immediately convinced and they decide to associate their work. Their co-operation produced the first VCO. In 1964, the first prototype of a Moog synthesizer was produced. It was a modular system with a vol- tage controlled filter (VCF), an envelope generator, a white noise generator, a trigger and two key- boards each with a generator module (sawtooth, triangle and impulsion) as well as a voltage con- trolled amplifier module (VCA). The first modular Moog system (1964) (Courtesy of Roger Luther, MoogArchives.com) Then other musicians helped Robert Moog in creating different modules: • Walter Carlos (who later became Wendy) helped for elaboration of a sequencer. He also pushed Bob Moog to lend his name to his machines. • Vladimir Ussachevsky, who was one of the professors of de W. Carlos, specified the 4 parts of the envelope generator (ADSR), allowing the accomplishment of the VCA and gave him the idea for the envelope follower. • Gustave Ciamaga helped with the creation of the first tension controlled low-pass filter.

A second prototype, regrouping the all of the new modules, was built during the summer of 1964 and was presented during the AES show (Audio Engineering Society), where Moog worked from an unused stand. This new product generated a huge amount of interest, but Moog did not yet realize the commercial punch of his machines. Two or three orders were obtained at AES and kept Moog busy for several months. In 1965, after the success at the show, Moog decided to release the 900 series for commercial sale. The R.A. Moog Company at Trumansburg, NY (Courtesy of Roger Luther, MoogArchives.com) The first client to buy the full Moog system was choreographer Alwin Nikolais. Also among the first users were composers Eric Siday and Chris Swansen. The first commercial uses of the Moog synthe- sizers were done in advertising. They were also used for jingles and in recording studios. In 1967, Bob decided to release different machines each with a certain number of modules. This marked the birth of modular systems I, II and III. This same year, Paul Beaver for the first time used a modular Moog system on a record. The modular system III (1967) (Courtesy of Roger Luther, MoogArchives.com)

11 In 1968, worldwide recognition came with the success of “Switched-On Bach” by W. Carlos. This al- bum, where classical music is played on a Moog, sold over one million copies as it was bought both by classical music fans (it was in the American “Classical” charts for 94 weeks) and fans of pop. It won three Grammy awards. “Switched-On Bach” by W. Carlos A little later, Keith Emerson, keyboard player for the groups Nice and ELP (Emerson, Lake and Pal- mer), was he himself to become an ambassador for Moog synths. He was one of the first to play a Moog modular on stage during a tour (A 3C system). Jan Hammer was also one of the first users of Moog systems. Big groups like Tangerine Dream, the Beatles or the Rolling Stones, would also be- come modular Moog owners. The 3C modular system (1969) (Courtesy of Roger Luther, MoogArchives.com)

In 1969-70, the company which now has around forty employees was building up to three modulars per week and the order book was always full. The modular had 5 years of high sales, and sold around 200 models in the United States. Construction and testing of a modular Moog (Courtesy of Roger Luther, MoogArchives.com) In 1969, Bob Moog received demands for a more compact instrument that could be transported more easily, directed more to stage than studio. With the help of an engineer from Berkley, Jim Scott, and the advice from numerous musicians he was about to create another mythic synth: the Minimoog… System 55, the last version of the Moog modular (1974) (Courtesy of Roger Luther, MoogArchives.com)

13 1.2 A MODULAR SYNTHESIZER, WHY? Why create a modular synthesizer, that is to say comprised of independent modules that we must connect ourselves, sometimes with difficulty, before obtaining a sound? The answer, as you can imagine, is very simple: the modularity brings immense possibilities for the creation of sound. To convince you, lets look at some basic concepts. Sound synthesis is essentially based on the use of generators and filters. From these components, the sound designer must create sounds that can be used by musicians. To succeed, the different pa- rameters that we have access to (height of note, filter cut-off frequency, output volume, wave form…) must evolve in time. And for this, we must link different modules between each other. Let’s take an example: an oscillator, which has inputs to modulate each of its parameters. Let’s connect the output of an envelope generator to the oscillator frequency modulation input, and there we get a signal depending on the use of a keyboard. Now we’ll connect a low frequency gen- erator to the impulse width modulation input and here we have the waveform, which will evolve in time. But why not have internal cables, fixed from the start? Here again, another example will help. Let’s take an envelope and two oscillators. The latter pos- sess three modulation inputs: a frequency modulation, an impulse width modulation and a volume modulation. Effecting every combination with fixed connections would oblige us to have six independent buttons for the modulation of the parameters. If we now take 9 oscillators, 6 envelopes, a modulation wheel and a velocity setting, we would need… 216 setting buttons! What can we therefore say for the Moog Modular V, which on top of this has three filters, a noise generator, a sequencer and two control pads! Connections in a modular synthesizer can sometimes seem difficult, but the often-unexpected re- sults, are always a source of great musical inspiration. Either way, don’t worry, the presets created by experienced musicians will allow you, if necessary, a gentle introduction to the art of sound creation. This new version presents new modules and a notable improvement to the sound quality and synthe- sis possibilities. As was the case with the previous versions, it remains faithful to the original Moog Modulars and offers the possibility to organize the arrangement of certain modules. Ergonomically this version remains very close to the previous so as not to loose time learning the different func- tions again.

1.3 A BETTER EMULATION THANKS TO TAE® TAE® - standing for True Analog Emulation - is a new technology dedicated to the digital reproduc- tion of analog circuits. When implemented in software code, TAE’s algorithms guaranty the respect of hardware specifica- tions. This is why your Moog Modular V offers an unparalleled quality of sound. In detail, TAE means: 1.3.1 Aliasing-free oscillators: Standard digital synthesizers produce aliasing in high frequencies, and when using Pulse Width Modulation or FM. TAE® allows the production of totally aliasing-free oscillators in all contexts (PWM, FM…), and at no extra CPU cost. Linear frequency spectrum of an existing well-known software synthesizer Linear frequency spectrum of the Moog Modular V oscillator made with TAE® Aliasing

15 1.3.2 Better reproduction of analog wave forms: Original analog oscillators used condensers’ unloading to produce common wave shapes (saw tooth, triangle, square). This means that waveforms were slightly curved. TAE® allows the reproduction of Condenser’s Unload. Temporal representation of a waveform on a Modular Moog 55 Temporal representation of the waveform of an existing Moog-like software synthesizer Temporal representation of the Moog Modular V waveform thanks to TAE In addition, original analog oscillators were unstable. Actually, their wave shape was always slightly different from one period to another. In addition, due to analog hardware sensitivities, new period trigger times varied with the temperature and other environmental conditions. TAE simulates the instability of oscillators, helping to create warmer and fatter sounds.

1.3.3 Better reproduction of analog filters TAE allows the emulation of analog-designed filters in a much more precise way than any existing digital filter. In particular, TAE has managed to reproduce the legendary Moog 24dB low-pass reso- nant filter with great respect towards the original. Standard 24 dB digital low pass resonance filter for a typical software synthesizer Very selective 24 dB resonance filter of the MiniMoog TAE made Moog Modular V resonance filter: First 24 dB resonance filter to be that selective Comparative response filters

17 1.3.4 Implementation of the soft clipping In analog synthesizers, the resonant filter uses a current limiting function, preventing the signal from being too loud (soft clipping). TAE reproduces this current limiting function, making the sound more natural. It also allows filters to enter self-oscillation like original hardware synthesizers do. Low-pass resonant filter Input Output Current limiting emulation -1,5 -1 -0,5 0 0,5 1 1,5 -1 -0,8 -0,6 -0,4 -0,2 0 0,2 0,4 0,6 0,8 1 Soft-clipping transfer function

19 2 Installation 2.1 INSTALLATION PC ( WIN9X, ME, 2000, XP ) Insert the CD-ROM in the drive. Explore the CD-ROM content; double-click on the “Moog Modular V 2 Setup PC.exe” icon At the first step in the installation, choose the folder to install the Moog Modular V. It will be in- stalled by default in C:\Program Files\Arturia\Moog Modular V 2. You can change the destination with the Browse button. Choice of installation folder Next, enter your license number, first name and name in the user information window. User information window

The Moog Modular V will be installed as a standalone application. The following step allows you to install the Moog Modular V as a plugin. To do this, choose the protocol(s) that you use (VST, RTAS, DXI). For more information on these protocols, look at chapter 8. Choosing the protocols For the VST and RTAS protocols, you need to choose the installation folder to allow the host appli- cation to use the Moog Modular V as a plugin. If you do not know how to make this choice, go to chapter 8. Installation folder choice for the VST plugin The installation program now has enough information to complete the installation. You will be able to use the Moog Modular V in a few seconds. Remark: Take care to keep your CD-ROM as the program will periodically ask you for it. You will also need your license number when you are reinstalling the program.

21 2.2 INSTALLATION MACOS X Insert the CD-ROM in the drive. Explore the CD-ROM content; double-click on the “Moog Modular V 2 setup Mac” icon Enter your administrator name and password in the authentication window. Authentication window The Moog Modular V will be installed as a standalone application. The following step allows you to install the Moog Modular V as a plugin. To do this, choose the protocol(s) that you use (VST, RTAS/HTDM). For more information on these protocols, look at chapter 8. By default, the Moog Modular V will be installed in your Applications folder. However, you can choose the drive and the installation folder for the Moog Modular V. Choice of protocols, disk and installation folder

Next, enter your license number, first name and name in the user information window. User information window The installation program now has enough information to complete the installation. You will be able to use the Moog Modular V in a few seconds. Remark: Take care to keep your CD-ROM as the program will periodically ask you for it. You will also need your license number when you are reinstalling the program.

23 2.3 INSTALLATION MACOS 9 Insert the CD-ROM in the drive. Explore the CD-ROM content; double-click on the “Moog Modular V 2 setup Mac” icon. The Moog Modular V will be installed as a standalone application. The following step allows you to install the Moog Modular V as a plugin. To do this, choose the protocol(s) that you use. (VST(Steinberg), RTAS/HTDM (Digidesign), MAS (MOTU)). For more information on these protocols, look at chapter 8. By default the Moog Modular V will be installed in your Applications folder. However, you can choose the drive and the installation folder for the Moog Modular V. Choice of protocols, disk and installation folder Next, enter your license number, first name and name in the user information window. User information window The installation program can automatically detect the folders containing VST on your computer.

Automatic detection of VST folders Choose the applications that are to use the Moog Modular V as a VST plugin. Choice of VST applications For each of the selected applications, if several versions are installed on the computer, select the version that will use the Moog Modular V as a VST plugin. Choice of Logic Audio version The installation program now has enough information to complete the installation. You will be able to use the Moog Modular V in a few seconds. Remark: Take care to keep your CD-ROM as the program will periodically ask you for it. You will also need your license number when you are reinstalling the program.

25 3 Quick Start This section of the manual will allow you to learn the general principles of how the Moog Modular V works. This will be a presentation of the different views available, the modules and signals used while using the program for the first time. You will find a detailed and precise description of all of the modules and controllers visible on the screen in the following chapters. The Sound Design chapter located in the second half of this manual is also recommended for users who have never used a modular system before, and who wish to learn the fundamentals of this do- main. 3.1 THE 4 SECTIONS OF THE MOOG MODULAR V The Moog Modular V is made up of four distinct sections: - The first at the top holds a sequencer and a certain number of effects. - The second, underneath, is for working on the sound synthesis with the different inter- connectable modules. - The third is an extension allowing us to regroup the different external input-outputs and some in- ternal cables. - The fourth holds the virtual keyboard, as well as a section dedicated to the key follows and essen- tial controllers. It is possible to keep only the fourth section on the screen, by clicking on the Keyb icon on the tool- bar. When the whole synthesizer is displayed, we can move it vertically by using the icons that represent the different views or by clicking and dragging the background. 3.1.1 The synthesis section Visible as soon as the synthesizer is opened, it is made up of two parts (cabinets). It inte- grates the 33 modules necessary for the creation of sounds. The modules in the upper part can be exchanged via the menu that appears when their name has been clicked. It is thus possible to re- place an envelope with a ring modulator, a filter with a frequency translator.

The first section composed of 2 cabinets 3.1.2 The other three sections The first, situated at the top of the synthesizer, contains the step sequencer and 4 effects (the right hand effect can be either a chorus or phaser). The two others are found under the synthesis section. One is a small extension containing the internal cables, while the other holds the virtual keyboard and its assignable controllers. The second section composed of a sequencer and effects

27 The virtual keyboard and extensions section 3.1.3 Reduced view of the keyboard and the real time controllers You also have the possibility to only keep the keyboard and its assignable controllers visible on the screen. The goal is to have quick access to all of the important real time controllers and sound pre- sets all while having a smaller work surface. Reduced view of the keyboard 3.2 USING PRESETS Using presets is one of the main areas of evolution of the Moog Modular V when compared to its predecessor, which did not save sound! A preset contains all of the inter module connection information and the different controller set- tings needed to reproduce an identical sound. ► To make you familiar with the different sounds contained in the Moog Modular V, we will select the preset Bass1. For this, click on the button above the LCD screen indicating “C.Engel” (this screen presents the name of the bank currently being used). By clicking, you will see a scrolling menu appear which will indicate a list of the available banks. Choose the bank named “JM.Blanchet”. Now click on the button above the second LCD screen presenting the word “Leads” (this screen indi- cates the name of the sub-bank currently being used). Choose “Basses”. Do the same thing on the 3rd LCD screen and select “Bass1”.

Select the preset bass1 The presets, located on the Moog Modular V toolbar, are classed in “banks” and “sub-banks”. Each bank contains a certain number of sub-banks, which determine in general a type of sound: sub-bank “basses”, sub-bank “sound effects”, etc. Each sub-bank contains a certain number of presets. The Moog Modular V is supplied with more 400 “factory” sound banks, which allow you to get used to the sounds and se- quences of the synthesizer. A bank called “user” offers a selection of presets allowing you to begin from a base configura- tion to start the programming of a sound (for example the sound “1 oscillator” comes with an oscillator pre-connected to the first filter – a low pass-, the signal then goes to VCA1). ► Now lets modify this preset To do this, we will start with a simple manipulation. Modify the cut-off frequency of filter1, the first module on the top left of the synthesizer (a low-pass resonant filter). Turn the “frequency” button in the direction of the hands of a watch. The sound becomes increasingly “brilliant”. Set this potentiometer as it pleases you. The setting of filter1 cut-off frequency By performing this first setting, you have already modified the preset “Bass1”. We will now save the sound that you have created. ► Saving the new sound created among the user presets To save a user preset, click on the save icon in the toolbar: The sound setting being used will be saved in the currently selected preset. If the current preset is a “factory” preset, the factory preset will not be replaced (the “save” icon will not be available). To choose another destination for this sound, click on the “Save as” icon and choose the location. Select, for example, “new” in the choice of banks (“bank”). 2 new bank and sub bank (“Sub bank”) locations and a new preset are created the names “default0”, “default0” and “default0” will appear in their respective displays (if other default names exist, then the num- ber is incremented). Click on each one to modify the name of the 3.

29 Saving a preset 3.3 MODULAR SYNTHESIZER The modular synthesizer cabinet contains 28 modules, which will help you to create an infinite vari- ety of sounds. These 28 modules can be broken down into different categories and will be con- nected by cables. 3.3.1 First connections Lets see how to quickly create an evolving polyphonic sound: ► To correctly understand the programming of the Moog Modular V, select the “Blank_ synth” pre- set in the “User” / “Blank” bank. It holds no connections and thus produces no sound! ► Take the “saw” output of oscillator2 and connect it to the audio input of filter1 (low-pass 24 dB). To do this click on the output jack of the waveform (a cable will appear) and drag it to the filter1 input “in”. Once the cable has been released in the input jack, the connection has been made. Connection between oscillator 1 and filter1 You can also create a connection by choosing the cable destination with a menu with a right click (or shift click) on the out- put jack. To delete a cable, click on it, it will then appear in a clearer color to show that it is selected. Press the “DEL” key on the keyboard to remove the connection. ► Now connect the audio output of this filter to the VCA1 (voltage controlled amplifier) audio in- put. Once the connection has been made, you can “play the sound” on your MIDI keyboard or the virtual keyboard offered by the Moog Modular V.

Connection of the filter1 audio output to the VCA1 audio input Once you have obtained a basic sound, you can add elements to enrich the sound. ► Take the “saw” output of oscillator2 and connect it to the audio input of filter2.

31 Connection between oscillator 2 and filter2 ► Next connect the audio output of this filter to the VCA2 audio input. Connection of the VCA2 audio input ► Slightly detune the pitch of the second oscillator by turning the “frequency” button. You will ob- tain a sound that is more “alive” and “thick”.

Detune the pitch of the second oscillator ► Continue to complete it with modifications acting on the 2 filters for example. For this, connect the “sin” output of LFO1 (placed next to the 3 filter modules) to one of the modulation inputs of filter1. The LFO1 module ► Turn the jack ring (transformed to a potentiometer after the cable connection) to dose the level of modulation. If you turn to the right, the modulation will be positive, and if you turn to the left negative. Turn the jack ring On the original Moog Modular, it was not possible to directly set the value of the modulation input signal! To do this we needed to go through controllable VCAs or dampening modules of which there were not very many. On the virtual synthe- sizer, it is possible to control the input modulation level (once the connections have been made) by turning the ring of the connected jack – this ring will “transform” virtually into a potentiometer. ► You can repeat these operations with filter2 (you can use the audio outputs as many times as you like, one of the miracles of computers!)

33 To obtain a different modulation to the one applied on filter1 (all while remaining synchronous!), turn the jack ring of filter2 in the opposite direction of what you had previously done with filter1. ► Set the attack of the output VCA envelopes to 10h so that the sound will arrive progressively when you press keys on your MIDI keyboard. The Attack (A) settings for the output VCS envelopes ► To finish, turn the panoramic potentiometers on the 2 output VCAs, the first to the left and the second to the right. You will obtain a very natural stereo without the use of external effects! ► Don’t forget to save your preset in a bank to your name and a sub-bank with the name “Pads”. Then, enter the preset name “Stereo_Pad”.

The final patch It would be good to insert arrows to distinguish the diverse parts of this section in the above image (the oscillators, the filters, the VCA…)

35 3.3.2 Description of the synthesis section modules • The oscillators 9 in total, they are regrouped in threes like the original Moog: 1 “Driver” oscillators: allow the management of the frequency and impulse width of the 3 “slave” oscillators. These 3 “slave” oscillators can be tuned and modulated separately. They deliver 4 waveforms that can be simultaneously used. An oscillator bank (1 “driver” and 3 “slave oscillators”) • 1 white and pink noise generator To the oscillators previously described we add a white or pink noise generator. It is accessible in the form of 4 outputs. This mode also has two 6 dB/oct. filters: a low-pass (LPF) and a high-pass (HPF). With these, you can, for example, change the nature of the noise to make it more or less brilliant White and pink noise generator • The filters The Moog Modular V possesses 3 filters. Each of these filters can be chosen between 4 types: - Low pass 24 dB/octave (type 904A) - High pass 24 dB/octave (type 904B) - Band pass and band reject 24 dB/octave (type 904C)

- Multi-mode 12 dB/octave (low-pass, high-pass, band pass, band reject, bell, shelf. The type change is done by clicking on the title of the filter type and by selecting the desired filter in the proposed menu. The 4 filter types • The auxiliary ADSR modulation envelopes 6 in total, they allow the evolution of the sound in time. The auxiliary envelope

37 • Dual trigger delay A module with two trigger delays allows the management of the signals used to trigger envelops and sequencer. The trigger delays • The LFOs Two low frequency oscillator modules (“Low Frequency Oscillator”) are used to create a cyclic modulation on one (or several) sound setting. (Note: the “slave” oscillators can also be used as LFOs when they are brought to low frequency positions when they are switched in low frequencies (“low freq”). This gives a total availability of 11 LFO modules! The LFO module

• The VCAs There are two output amplifiers (VCA), each with an individual envelope. We can imagine placing a VCA on the right and one on the left to create a stereo effect. An output VCA • Mixers and amplifiers 16 independent amplifiers are at your disposition. Each has its own volume setting with the rotating “level” button and amplitude modulation input. These amplifiers can be regrouped to create mixers. To regroup two amplifiers simply click on the “link” button that separates them. When two amplifiers are regrouped, the output signal of the first corresponds to the sum of the output signals of the two amplifiers, while the second remains as it was before the regrouping. The mixer VCAs

39 3.4 THE OTHER SECTIONS The second screen of the Moog Modular V contains all of the modules for sequences, effects and control. 3.4.1 The sequencer This module conforms to the original Moog while simplifying the programming with internal connec- tions. It is with this module that you can create melodic sequences or sequences applied to a parameter (a sequence line applied to the opening of the frequency can, for example, be very efficient). The sequencer has 3 sections: Low frequency oscillator allows the cadence of the passage from one sequence to another. Its speed can be set statically with the “frequency” button and dynamically with the modulation input on the first page. Two buttons, “on” and “off” respectively start and stop this generator. Eight step sequence manager. Each step defines 3 levels of output modulations, with 3 rotating buttons. The manager moves from one step to another on every impulse from the low frequency generator. The 3 lines of sequence can also be chained to create a longer sequence (up to 24 steps) The output controller. It allows the management of the 4 modulation outputs in function with the current step. The first 3 outputs take their values from the rotating buttons of the current step (on the corresponding line), eventually with a con- figurable soothing through the “smooth” buttons. The fourth output, for which the smoothing can also be set through the “smooth” button, is managed in the following manner. It takes the value from one of the 3 outputs in function with the current step and the type of progression specified with the “Chain” selector: This allows the linking sequences to create variations. For example to link lines 1,2 and 3 to obtain a 24 step on the same controller. The sequencer sections To create an 8-step note sequence from the sound you have previously edited (“bass1”): ► Assign “Driver” oscillators to one of the 4 sequence lines. For this, on the sequencer screen click a few times on the corresponding LCD display on the bottom of the “Driver”, (on the right) to select the sequence line. “L1, 2, 3 or 4”

Validation of a sequence line on the “Driver” oscillator ► On the 2 VCAs, click on the “trigg out” plug to apply a “trigg”, corresponding to the sequencer output (“Sequencer trigger”), so that it can be taken into account and freely react, without the help of a keyboard trigger. The sequencer will work on its own when you start it. Apply a sequencer output to the VCA (here VCA2) ► Now go to the second screen and click on the “On” button situated in the “Oscillator” of the se- quencer. This will play the sequence in a loop. Click on “on” to start the sequencer

41 ► Set the pitch of each note in turning the potentiometers of the sequence row applied to the Driver oscillator. Setting of the values corresponding to the pitch of the oscillators ► Also set the length of the notes with the “length” potentiometer Set the length of each note ► You can add a little portamento by turning the “smooth” potentiometer on the right of the line corresponding to your sequence. turning the “smooth” potentiometer ► It is also very easy to rhythmically enrich the sequence by linking (“link” button) or repeating cer- tain notes (select the number of repetitions by clicking several times in the LCD display beside the “repeat” button and click on the latter to confirm the repetition of the notes)

Click on the “repeat” button ► If you wish to add more steps to your sequence, 16 for example, select “L4” in the LCD display below the oscillator “Driver” of the sequencer. Now select “L12” in the LCD display on the right of the sequencer (“chain”). To have 24 steps, select “L123”. To have 24 steps, select “L123” 3.4.2 The effects The second section also has three effects, which will allow you to bring more color and space to your sound or sequence. These are on the right of the sequencer; the chorus can be replaced by a phaser. The 3 effect modules

43 Resonant filter bank (Fixed Filter bank) affects equalization to the outgoing signal coming from the 2 output amplifiers in function with the state of the interrupters “VCA1” and “VCA2”. This equalization is done with the help of resonant filters with 12 band pass filters,- each of the bands has a level (positive or negative) and bandwidth setting. This module also pos- sesses a low-pass filter (80Hz) and a fixed high-pass (12KHz). Chorus. The chorus module allows a frequency modulation where the rapidity can be set with the rotating “rate” button, the amplitude with the rotating “amount” button, and the width by the rotating “delay” button. Stereo delay. (Dual Delay) allows the repetition of the incoming signal independently for the left and right, which explains the presence of 2 control columns, one for each side. 3.4.2.1 The fixed filter bank The fixed filter bank ► To add a complex filtering with the fixed filter bank, start by activating the 2 switches “VCA1” and “VCA2”. This will commute the effect to the 2 sequencers outputs. ► Modify the filter frequency bands by turning the gain potentiometers. This will increase (to the right) or reduce (to the left) the gain corresponding to these frequencies. Increase the gain of the chosen frequency ► You can refine the equalization with the bandwidth potentiometer corresponding to the frequency you have chosen. If you turn the potentiometer (underneath the frequency gain setting) to the right, you will reduce the bandwidth around the central frequency to make the equalization setting increasingly precise. On the other hand, by turning it to the right, you will increase the bandwidth, making the equalization less precise.

Set the frequency band width ► If you have applied several strong equalizations, (with very pronounced band reductions for ex- ample) you run the risk of having a consequential decrease in volume! To regain a normal volume level, turn the “gain” potentiometer (on the bottom right of the filter bank) towards the right. Watch out for saturation! Filter bank output gain Thanks to MIDI, it is possible to record frequency gain and band width potentiometer movement (with the MIDI sequencer). This will make the sound “speak” or evolve in a manner that synthesizer filters cannot, try !… 3.4.2.2 The “Dual delay” You can also enrich your sound and give it more stereo space; for this, add stereo delay. The delay effect As is the case for all of the Moog Modular V effects, the Dual Delay works in “real” stereo in the sense that it possesses an independent input and output for both sides. ► To activate the delay effect, begin by triggering the 2 “VCA1” and “VCA2” switches. This will commute the action of the effect to the 2 audio outputs of the sequencer. It is also possible to keep a part of the sound effect free by deactivating one of the two VCA switches. This can be very in- teresting when using the synthesizer for multiple tones (for example, a bass sound played on the keyboard coming out to the VCA1 which is set without effect and an arpeggio sound played by the sequencer which will be directed to the VCA2 where the effects will be activated)

45 ► On the delay, set the time between repetitions (“time” buttons) for each side of the stereo (“L” left and “R” Right) If you wish to get a stereo echo, apply a different setting for the repetition of the left and right. So that the delay is synchronous, activate the “Sync” switch at the top of the module. Set the time between repetitions ► To dose the repetitions reinsertion intensity, increase or decrease the value on the 2 “feed- backs”. Do the same thing for the “crossed” repetitions (one on the left and one on the right “Cross feedback” buttons). The “feedback” settings ► Now, set the balance between the sound without effect (“dry” potentiometer) and the delay re- turn (“wet” potentiometer). The “dry” and “wet” settings 3.4.2.3 The chorus Chorus is used to create a doubling effect on a sound; this will give it more width and “thickness”. If you accentuate the effect intensity, you will obtain a very discordant sound.

The chorus effect ► Like the other effects, activate the VCA1 and VCA2 switches to commute the action of the effect to the 2 audio outputs of the synthesizer. ► To correctly hear the different modulation depths, simply increase the value of the “amount” po- tentiometer. The higher the value, the more discordant the sound! The “amount” parameter ► Set the modulation rate by turning the “rate” potentiometer. The faster the speed, the quicker the detuning. ► You can also widen the stereo action field by increasing the value of the “stereo width” potenti- ometer. The stereo settings With chorus, it is also possible to obtain the stereo sweeping of the sound by decreasing the “amount” potentiometer and working only on the value of the “stereo width” (depth) and “stereo rate” (oscillation speed) potentiometers. Thus will get an “auto pan” pan effect. The effect will be even more present if you lower the level of the signal without effect (“Dry”), leaving only the effect return (“wet”).

47 3.5 THE VIRTUAL KEYBOARD AND ITS REAL TIME CONTROLLERS A virtual keyboard is used to control the synthesizer notes and add supplementary real time modu- lation settings. It can either be coupled with the sequencer section and the effects or used alone to save space. The keyboard and its controllers 3.5.1 The keyboard The virtual keyboard situated on the bottom of the second screen, allows the quick testing of the sounds of the presets, or the sound that you are editing, and this without the need for an external MIDI keyboard. The pitch bend and modulation dials are also available for height (affected to the oscillator or fil- ters) and modulation settings (affected to any of the synthesizers modulation sources). The connec- tions are made by cables on the first screen. 3.5.2 The keyboard controllers The different settings concerning the real time controllers affected to the keyboard can be found on the left, above the virtual keyboard. Here you will find all of the settings applied to the 4 key follows, the pitch bend and modulation wheels, to the velocity as well as the after touch. ► Before using them, go back to modular synthesizer section to define the parameters, which will be modulated by these controllers. The connection jacks are found underneath the modular synthe- sizer section. The controller connection jacks ► For this example, lets take the “stereo_pad” sound created earlier. Connect the output of the modulation dial “mod” (at the bottom of this section) to the filter1 cut-off frequency modulation

input. Set the amount parameter of this modulation to your liking so that it can be taken into ac- count by the wheel. Now test by turning the dial on your MIDI keyboard or the virtual keyboard. Connections for modulation and velocity outputs on the frequency modulation of filters 1 and 2 ► Now do the same thing, connecting the velocity output (“vel”) to the filter2 cut-off frequency modulation input. To test velocity settings, use your MIDI keyboard, the virtual keyboard naturally is not sensitive to velocity. 4 independent key follows. These key follows apply a continuous change of a modulation parameter in relation to the scale of the keyboard (tune the oscillators for example). The “pitch bend” and “modulation” dials. These add a modulation to the parameter(s) connected to its source. The portamento (“Glide”) adds a frequency smoothing (portamento) between 2 notes. The velocity adds a modulation to the parameters, which are affected by the force with which the key is played on the MIDI keyboard. The After Touch adds a modulation to the parameters connected to its source by a variation in the force used on the keys of the MIDI keyboard. You can continue the experience with one of the four key follow outputs. There are two means of connecting a key follow modulation: - the simplest and fastest is the automatic connection through the LCD displays situated on the “drivers” oscillators and on the 3 filters. This method produces a perfect pitch for all the scale of the keyboard.. - a cable connection gives you the possibility to have finer but more complex settings. We recommend this type of modula- tion for non “tuned” parameters, like an impulse width modulation (“PWM”) on the “driver” oscillators, or simply the vol- ume of a VCA. The key follow settings

49 3.5.3 The play modes The play modes provide a choice between the different manners of playing the MIDI keyboard. These different settings are situated underneath the pitch bend settings. The play mode parameters ► The “mono/unison/poly” switch lets you choose: a monophonic playing mode (a single note played at a time, chords can not be produced in this mode. This mode corresponds to the mode used in the original Moog Modular), a polyphonic mode (several notes can be played at the same time to form a chord). The maximum number of voices is displayed in the corresponding window. The unison mode is identical to the monophonic, but there are as many voices played at the same time as the polyphonic voices. ► The “legato” button, active when the synthesizer is in monophonic mode, allows the activation of the portamento – or “glide” in English – freely on all of the notes when it is active. If you wish to only use portamento on notes that are linked, deactivate the legato mode. ► The “retrig” button, also active when the synthesizer is in monophonic mode, allows the system- atic re-triggering of the envelopes, even if you link the notes in your playing sequence. If, on the other hand, you don’t wish to re-trigger the envelopes when 2 notes are linked, leave the button raised. ► When the synthesizer is in polyphonic mode, 1 LCD display on the right of the switch allow the setting of the maximum number of notes that can be played simultaneously (“poly” screen. This setting can limit the CPU load provoked by each simultaneous note played on your MIDI keyboard or sequencer. ► To activate the portamento mode, click on the “ON” button under the portamento intensity po- tentiometer (“glide”), situated next to the 2 dials, on the right of the virtual keyboard. The portamento settings 3.5.4 The sound design controllers Three control surfaces allow the modulation of the sound parameters in a fast and intuitive manner: Eight sliders that constitute rappel of the envelopes of the output VCA 1 and 2 Two 2D controllers that can be assigned to the parameters of your choice Three potentiometers for the setting of cut-off frequency off the 3 filters.

• The envelope control sliders The two envelopes are directly linked to those of the VCAs: if you modify one of the parameters (At- tack, Decay, Sustain or Release – the 2 slope parameters are not represented here for simplicity), the modification will automatically and identically be taken to the synthesizer. The opposite is also true! • The 2D Pads Now try to use one of the 2D controllers to modulate the cut-off frequency (to X) and the resonance of filter1 (to Y). ► For this, go back to the first screen to assign the 2 parameters to the 2D controller n°1 outputs. The output connections can be found at the bottom of the synthesizer section (2D pad X /Y) The connection of modulation inputs of filter1 to the 2D controller ► Return to the second screen and manipulate the 2D controller handle vertically (X) or horizontally (Y) to hear the result of the modulation. using the 2D controller To have access to these 2 modulation inputs on a low-pass resonant, it is essential to change the filter type! (the low-pass 24dB Moog does not possess a modulation input in the resonance!) Take the multimode filter and set it to low-pass mode, if it isn’t already the case.

51 • The filter cutoff frequency controller On the right of the 2D Pads you will find rappel of the cutoff of the 3 filters modules These will only be active if the filters are used in the current sound (a diode above each potenti- ometer indicates if it is active) In our (“Stereo pad”) example the first two filters are used, you will notice that the first 2 potenti- ometers are active. Simply try to change the settings and you will immediately hear the result on your sound! The three filter cutoff frequency controllers This chapter has given you a look at some of the many aspects of the Moog Modular V. Now try to go a little deeper using the rest of the documentation. You will find all of the details concerning the modules, the sequencer and the many different modes of use of the Moog Modular V.

53 4 The interface 4.1 USING THE PRESETS The presets memorize the Moog Modular V sounds. A preset contains all of the inter module connec- tions and the different controller information necessary for the recreation of an identical sound. In the Moog Modular V, presets are classed in “banks” and “sub-banks”. Each bank contains a certain number of sub-banks, which determine a type of sound: sub-bank “basses”, sub-bank “sound ef- fects”, etc. Each sub-bank contains a certain number of presets. The Moog Modular V comes with several “factory” sound banks. It is possible to cerate new “user” sound banks, each containing an unfixed number of sub-banks and presets. For security, the “fac- tory” settings are not directly modifiable. It is, however, possible to modify a sound on the base of a factory preset and to record it to a “user” bank. 4.1.1 Choice of bank, sub-bank, preset The banks, sub-banks and presets being currently used are always displayed in the synthesizer tool- bar. Display of bank, sub-bank, and preset being used To choose a preset in the current sub-bank, click on the button on the left of the current preset, a drop-down menu appears with a list of presets from the same sub-bank. You can choose another preset in the menu by selecting the corresponding line. Once the preset has been chosen, you can play the new sound from your MIDI keyboard or sequencer. Choice of preset in the same sub-bank To choose a preset in the same main bank, but in a different sub-bank, click on the button on the left of the current sub-bank, a drop-down menu will appear with the list of sub-banks contained in the same main bank. Each sub-bank in the menu allows you to open a sub-menu containing its pre- sets. A click on a preset lets you directly choose a preset in the new sub-bank.

Choice of preset in another sub-bank To choose a preset in another main bank, click on the button on the left of the name of the current bank. A drop-down menu appears with the choice of the main banks that are available, and the sub- lists corresponding to the sub-banks defined in each main bank and the presets contained in each sub-bank. You can now freely choose a preset by clicking on its name. Choice of a preset in another main bank Once a preset has been changed (modification of a controller or connection), an asterisk appears next to its name in the tool bar. 4.1.2 Creation of a bank, sub-bank, preset To create a new bank of sounds, click on the button on the left of the current bank. In the drop- down menu, select “New bank...” to create a new bank of sounds. You can then change the name of this bank by clicking on its name in the toolbar and typing the new name. To create a new sub-bank, again just click on the button on the left of the current sub-bank, and select “New sub bank...”. You can also change the name of the new sub-bank. Finally, to create a new preset, click on the button on the left of the name of the current preset and select “New preset...”. The new preset is created using the current Moog Modular V settings (controllers and connections). You can then work on the settings of the sound, and save it by click- ing on the save button (see the next paragraph). You can also change the new preset name by click- ing on its name.

55 4.1.3 Saving a user preset To save your current settings under the current preset, click on the “Save” button on the Moog Mo- dular V toolbar. “Save” button on the toolbar If you want to save your preset under a different preset name, click on the “Save As” button in the toolbar. A drop-down menu will appear allowing the choice of either an existing preset (in this case, the preset contents will be replaced by the current setting), or to save your preset as a new preset (in this case, click on “New Preset…” in the sub-bank of your choice). “Save As” menu on the toolbar When you are working on a factory preset, which cannot be erased, clicking on the “Save” button will not replace the current factory setting, but will automatically open the “Save As” function to save the current setting as a user preset. 4.1.4 Importation / Exportation of a preset bank It is possible to import new preset banks created for the Moog Modular V. To import a new bank of presets, click on the preset bank import button in the toolbar: Preset bank import button on the toolbar

When you click on this button, a dialog appears allowing the choice of Moog Modular V preset bank files (.AMB file type on PC, AMpB file type on Mac). Choose the file that you want to import, and click on “Open”. The new preset bank will automatically appear in the available banks. The Moog Modular V also offers the option to export your own sound banks to save them, use them on another machine, or share them with other users. It is possible to export a preset, a sub-bank, or a complete bank. To export a bank, sub-bank, or current preset, click on the export preset bank button on the toolbar: Current preset bank export button in the toolbar Select the type of export that you wish to perform (bank, sub-bank or preset) from the list and a window will appear prompting you to choose a destination folder and a name for the file you are about to export.

57 4.2 WORK PAGES The Moog Modular V offers 2 work pages. The first contains the 4 Moog Modular V sections, and the second holds the keyboard and shortcuts to the main controls. 4.2.1 The complete view: Complete view The complete view contains all of the Moog Modular V sections. The full interface being too big to be displayed on a single screen, a scroll function allows you to move to the desired section. Simply click on the background of the synthesizer and drag the mouse up and down to move it. Work page selection buttons

The ‘+’ and ‘-‘ buttons in the toolbar let you make the plug-in window bigger or smaller so as to adapt to your screen and resolution. The size will automatically be saved as a plug-in preference, and will be reused upon next launch. 4.2.2 The reduced usage page The last shortcut button on the toolbar will take you to the reduced view. The reduced usage page contains the keyboard and the main controls. In this mode, the Moog Modu- lar V is ready for immediate use of the presets of recorded sounds, with quick access to all of the major real-time controllers. The Moog Modular V window is smaller, but the sequencer and effects cannot be directly accessed. Reduced usage page of the Moog Modular V 4.3 USING CONTROLLERS 4.3.1 Potentiometers The potentiometers are the most numerous controllers of your Moog Modular V! They can be con- trolled in different manners, which are explained in detail underneath: 4.3.1.1 Mouse control (linear) Certain sequencers allow the potentiometer mode of functioning to be changed with the mouse by moving to linear mode. In linear mode, the potentiometer can be set only by moving the mouse ver- tically, without going around it. The linear mode can sometimes be simpler to use than the rotation mode. It can, at the same time, be less precise (the precision is limited by the number of vertical pixels contained in the screen on which the mouse movements are being evaluated). The linear mode can be accessed in the sequencer options. In Cubase™, for example, the choice can be ac- cessed through the “Edit/Preferences” menu, and can be found in the “General” tab in the dialog window. 4.3.1.2 Mouse control (higher linear precision) The Moog Modular V allows access to a higher level of precision when adjusting the potentiometers with the mouse, with the use of the right click (or shift + click). In this mode, the precision of mo- vement is multiplied by 4 in relation to the normal linear mode. This mode can be accessed no mat- ter which mode has been chosen on the sequencer (circular or linear). 4.3.1.3 Mouse control (circular) Click on the potentiometer and turn in a circle around it to change the value of the controller. The rotation mode gives a higher level of precision in the manipulation of controls: the farther the mouse goes from the potentiometer, the higher the precision of the setting.

59 4.3.2 Joysticks The usage page of the Moog Modular V offers two 2 dimensional control joysticks. The outputs can be used as a source of modulation for all of the synthesizers modules. The utility of these joysticks is that they simultaneously give control of two parameters to the mouse, with great ease. The 2 joystick outputs are visible in the conception page: The control joystick outputs are available in the conception page When the joysticks are connected, the names of the concerned modulation inputs appear in the digital displays above the joysticks. The names of the connected modulation inputs appear above the joysticks 4.3.3 Changeovers The Moog Modular V presents changeovers of several types: • The “switch” type changeovers: simply click on these changeovers to change their state. “Switch” type changeovers • Rotating selectors: used like potentiometers (by click and drag with the mouse) Rotating selectors

• The digital displays: They are notably used in the sequencer. We can manipulate by click and drag (like the potentiometers), or by a simple click: a left click increments the value, while a right click (Shift + click for Mac) decrements the value. Digital displays 4.3.4 Keyboard The keyboard lets us listen to the synthesizer sounds without having to use an external master MIDI keyboard, and without programming a melody in the sequencer. Simply click on a key to hear the corresponding sound. The keyboard also has a modulation wheel and a pitch-bend wheel, which can be moved with the mouse. 4.3.5 MIDI Control All of the potentiometers, cursors, joysticks, and modulation inputs of the Moog Modular V can be directed with external MIDI controllers. Before anything, make sure that the MIDI device that you wish to use is connected to the computer, and that the sequencer or Moog Modular V application is correctly configured to receive MIDI events coming from the device. Each instance of the Moog Modular V receives MIDI events transmitted on a certain channel. This reception channel is defined in a global manner for the synthesizer, either in your sequencer, or the independent Moog Modular V application (see the corresponding chapters). On the reception chan- nel, the Moog Modular V can receive up to 120 different MIDI controls. It is possible to choose a re- ception control for each potentiometer. For this, click hold down the Control button on the key- board and click on the potentiometer that you wish to control. A configuration window will appear, allowing you to choose a MIDI control number. You can also click on the “Learn” button and manipu- late one of your physical MIDI controllers. In this case, the control number will automatically be de- tected and configured. To deactivate the MIDI control of a potentiometer, just uncheck the “Ac- tive” checkbox in the MIDI control window. Potentiometer MIDI configuration control window

61 4.4 USING CABLES The connection of different modules is the base work of creating a new patch. The Moog Modular V owes its creative possibilities in no small part to the innumerable connections possible between mo- dules. On the original system, all of the connections were made with cables of two types: Audio and modulation cables (which allow for example the connection of an oscillator sawtooth sig- nal to a filter input). The trigger cables (which allow for example the connection of the keyboard to auxiliary envelopes). The trigger cables transport trigger information for envelopes or the sequencer for example. In the Moog Modular V, for ergonomics and graphical readability, only part of the connections is dis- played on the screen in cable form. The other connections are made either by menus, or with digi- tal displays on which we can click. The different types of connections we can use on the Moog Modular V are as follows: Audio connections / modulation connections: these connections are made with cables that are visi- ble on the screen. Trigger connections: these connections are only done through menus. Synchronization connections: these connections are only done through menus. Key follow or sequencer connections: these connections are available and can be modified through visible digital displays on the filters and drivers modules. 4.4.1 Audio and modulation connections The audio connections allow, for example, the routing of a sound to the VCA/mixers or to the inputs of different filters. The modulation connections allow, for example, routing of an LFO output or an envelope generator to an oscillator PWM or VCA modulation input. These audio and modulation sig- nals are totally compatible, the only difference being that the audio signals are “audible” if you connect them directly to an output VCA, while the modulation signals are generally not audible (as the frequency is too low for the human ear). Modulation signals are thus generally used to program “slow” variations on certain synthesis parameters, like the cut-off frequency of a filter for example. The audio output and input connectors, and the modulation output connectors are identical in the graphical interface: Audio input or output connectors, or modulation output connectors The modulation input connectors are graphically distinguished from the other connectors as they include an extra function: a modulation level setting, described later in this paragraph: Modulation input connectors To connect a modules output to the input of another module, click on the output and drag it to the target input while holding down the mouse button. When you are above the input, the connector lights. In this case, you just need to release the mouse button to link a cable between the selected output and input.

Creating a new cable and finding an appropriate input, by click and drag Another means is to right click (for Macintosh: click while holding shift on the keyboard) on the in- put or output of a module. In this case, a menu appears with a list of possible connection points for this output/input. It can happen that the input/output is already connected to certain modules, and in this case, the already selected connection points appear in the menu. Simply select one of the connection points in the “Connect to” menu to create a connection. It is also possible to delete all of the connections by choosing the “Remove connections” option or delete one of the connections by clicking on it in the menu. Input/output connection menu appears after a right click (or Shift + click) Remark: The module inputs can only be connected to one output connector. On the other hand, each output connector can be connected to any number of input connectors, which allows, for example, the use of the same modulation signal to mod- ify several synthesis settings. 4.4.2 Modifying a connection To disconnect the extremity of a cable at input connector level, and reconnect it to another input, click on the extremity of the cable concerned and hold down the mouse button. You can now drag the extremity of the cable to another input with the mouse and release the button.

63 To delete a connection, you can use the menu available with a right click (or Shift + click). Another method is to click on the cable to select it, upon which the cable will appear in a lighter color to show that it is selected, and press the “DEL” button on the keyboard to delete the connection. Remark: You will have a lot of trouble clicking on a cable if the “Move away cables” option is active! In this mode, the ca- bles will automatically flee the mouse pointer. To avoid this, deactivate this option before trying to select a cable (see 1.4.4.3) 4.4.3 Modulation level setting As explained above, the modulation input connectors have an interesting particularity: they allow the setting of a modulation level (from –100% to +100%) directly at connector level, and so without passing by a VCA which is normally needed to set the amplitude of the modulation signal. When the modulation input connector is connected, click on one of the edges of the nut and drag the mouse up or down to change the quantity of modulation: Setting the modulation quantity By using a right click (or Shift + click) instead of the left click, you will obtain a higher precision. Attention: If you click on the center of a connector, you will select the cable extremity to change the connection. To access the modulation setting, make sure you click on the connector device (the nut). In the same manner, if you right click (or Shift + click) on the center of the connector, you will open the connection menu instead of accessing the modulation quan- tity setting. 4.4.4 Cable display options 4.4.4.1 Cable display filter The Moog Modular V displays the cables in several colors depending on their type. The cable type is determined in relation to the input to which it is connected. Here is the list or colors and the corre- sponding cable type: • Red cable: audio cable coming from an oscillator. • Yellow cable: audio cable coming from a filter. • Green cable: modulation cable coming from an LFO or auxiliary envelope. • Blue cable: cable coming from a VCA / Mixer. • White cable: other cables. The cable display filter allows the display of a section of existing cables in a given patch, depending on their type. The cable display filter is controlled by the buttons on the Moog Modular V toolbar: The cable display filter control buttons

When a button is selected (pressed), the cables of the corresponding color are displayed. If the “ALL” option is selected, all of the cables are visible despite the state of the color filters. 4.4.4.2 Cable tension It is possible to set the Moog Modular V cable “tension” by using the potentiometer in the toolbar of the synthesizer. Modifying the cable tension can help you to discover a region on the synthesizer that had previously been hidden by cables, without using the cable display filter. Setting cable tension 4.4.4.3 Spreading the cables Visualizing the different cables existing between modules is very useful for the creation of a patch on the Moog Modular V. At the same time, cables can sometimes hide access to useful settings on different modules. So that you are not bothered by this, it can be useful to activate the “Move away cables” mode. In this mode, the cables will automatically move when the mouse comes across them, leaving a clear path for the modification or visualization of a potentiometer. Don’t forget to deactivate this mode when you want to select a cable with the mouse to delete it ! 4.4.5 Trigger connections The trigger signals transport trigger information to the envelopes of the sequencer etc. Connecting the keyboard trigger output to an envelope, for example, allows the triggering of the envelope sig- nal each time a key is pressed on the keyboard. The only trigger connections visible on the screen are trigger inputs. The output connectors are not displayed, their presence is implicit. When we click on a trigger input, the following menu appears: Trigger type input connection menu This menu tells us to which module a trigger input is connected, and allows us to create a new con- nection or delete an existing one. When a trigger input is connected, its graphical aspect changes, and this tells us if a module is connected without checking the menu: Trigger input disconnected – Trigger input connected

65 4.4.6 Synchronization connections Synchronization connections are used to activate the synchronization of one of the nine oscillators available to another oscillator: Synchronization input The same as for the trigger connectors, here, only the input connectors are visible, the existence of outputs is implicit, and the connections can only be made through the menus: Synchronization input connection 4.4.7 Key follow or sequencer connections The Moog Modular V oscillators generate periodic signals in which the frequency varies in function with the note played on the keyboard. It is this difference in frequency, which allows us to recog- nize two different notes. To determine the ideal frequency related to a note played on the key- board, the oscillator refers to a key follow. The function of the key follow is to convert a key on the keyboard to a Hertz frequency value that can be used by the oscillator. The Moog Modular V has four different key follows. The default setting for each key follow is that of the Western tempered (scale of twelve equal semi-tones). It is possible to set the key follows differently to create other types of scales (scale of quarter tones, tones, etc.). The key follows can be edited in the keyboard page of the synthesizer. At the level of each driver module and each filter, a digital display allows the selection of one of the four available key follows, by a simple click, as well as one of the 4 se- quencer follows: Key follow digital display on a driver module or filter module The sequencer follow allows the easy creation of melodies with the sequencer, staying in the tem- pered intervals (semi-tones), which is more practical than using a sequencer output as a continuous oscillator pitch modulation, often difficult to tune. The following table explains the signification of the different values displayed:

Key follow Driver Oscillator Filter K1 Key follow No 1 K1 Key follow No 1 K2 Key follow No 2 K2 Key follow No 2 K3 Key follow No 3 K3 Key follow No 3 K4 Key follow No 4 K4 Key follow No 4 No No key follow LFO No key follow Or trigger from the keyboard; The oscillator works permanently on a polyphonic track (LFO mode) No No key follow Sequencer follow Driver Oscillator Filter S1 Follow of line 1 of the sequencer S1 Follow of line 1 of the sequencer S2 Follow of line 2 of the sequencer S2 Follow of line 2 of the sequencer S3 Follow of line 3 of the sequencer S3 Follow of line 3 of the sequencer S4 Follow of line 4 of the sequencer S4 Follow of line 4 of the sequencer No No sequencer follow No No sequencer follow

67 5 The modules The Moog Modular V can be broken down into 4 parts, from top to bottom, a section containing se- quencer and effects, a section dedicated to the sound programming, a small extension where the external cables are regrouped (velocity, after-touch, external signals...) and finally a section con- taining the keyboard and different play settings. 5.1 PROGRAMMING SECTION 5.1.1 Description The programming section gathers all of the modules, which need to be connected by cables. It is on this screen that the different connections (Patch) needed for the programming of the sound will be made. It is sometimes necessary to connect a module in the programming section to a module in the se- quencer section. To simplify connections between the 2 screens, the inputs and outputs of the se- quencer section are grouped on a small extension under the sound programming section. • The sound programming section contains: • Nine oscillators, grouped in threes, which can also be used as modulation source. • Two low frequency oscillators dedicated to modulations. • Three filters. • Six envelopes dedicated to modulations. • Two envelopes dedicated to output amplifiers. • A dual trigger delay. • A noise generator and the associated filters. • 1 ring modulator • 4 envelope followers • 2 sample and holds • 1 frequency translators • 1 formant filter • A set of amplifiers, which can be grouped to form mixers. The number of spaces at the upper part of the section being inferior to the number of modules, the choice is made through a menu. It is thus possible to organize them at your convenience.

5.1.2 Oscillators The oscillators, nine in total are regrouped in threes. Each group has a 921a type controller and three 921b type slave oscillators. A group of oscillators The controller is for the management of the impulse frequency and width of the 3 slave oscillators. It can be used either statically with the potentiometers or thanks to the modulation inputs, which can be connected to the output of any module (envelope, oscillator, modulation dial…). The slave oscillators can equally be tuned and modulated separately with a potentiometer and a range selector. These oscillators provide four waveforms that can be used simultaneously. This method of organizing the oscillators, typical of Moog modular synthesizers, helps to rapidly ob- tain a very rich tone. The tree oscillators tuned separately and waveforms mixed give very dense tones. This tone can then easily be modulated with the controller. Adding a vibrato effect on this sonority is immediate using a modulation input of the controller. This would not be the case if each of the modulation inputs of the slave oscillators had to be set. 5.1.2.1 Controller Type 921a: Oscillator 921a Frequency State Impulse width PWM Inputs FM Inputs Sequencer choice Keyboard follow Controller Oscillators

69 Frequency : General tuning of the 3 slave oscillators State : General tuning mode choice (by 1/2 tone, by octave) Impulse width : Signal impulse width “Sawtooth”, “Square”, “Triangle” FM Inputs : Frequency modulation input connection jacks WPM Inputs : Pulse width modulation connection jacks Keyboard follow : Keyboard follows choice tuning the master oscillator (off, no, follow 1,2,3 or 4). Sequencer Choice : Choice of the sequencer output tuning the master oscillator (no sequencer, sequencer 1,2,3 or 4). The general tuning of the 3 slave oscillators is done with the “Frequency” potentiometer. Depend- ing on the position of the “State” interrupter, the range of the knob is +/- an octave by semitone or +/- six octaves par fifth and quarter. The impulse width affected to the “sawtooth”, “triangle” and “square” signals of the 3 slave oscil- lators is modified with the “Width” potentiometer. Three frequency modulation inputs and 2 impulse width modulation inputs allow the control of these parameters thanks to the outputs of the other modules. When one of these inputs is connected, a click on the Jack will modify the amplitude of the modula- tion. The Jack knob functions like a rotating dial where the position for inactivity (no modulation) is at the center. The modulation can thus be positive (button turned to the right) or negative (button turned to the left). Attention! The first two frequency modulation inputs work in an exponential mode, while the third, “Lin” works in a linear mode. Connected directly to a generator (envelope, oscillator, sequencer…), the maximum amplitude of the modulation is of +/- 4 octaves. When it is necessary to have a stronger modulation, an amplifier module must amplify the signal of the generator. A certain number of internal connections simplify the use of the keyboard follow, sequencer, por- tamento and pitch bend. To avoid having to manage the tuning of the keyboard follow with the amplitude of the modulation input, with a visualiser we can choose which keyboard follow (from 1 to 4) is to be used. This key- board follow is directly configured to tune the oscillator in function to the note played. The functioning is the same for the sequencer outputs (1 to 4) controlling the tuning of this group of oscillators. In the “no” follow position, the oscillator is set to the note C3, irrespective of the key- board notes. In the same manner, when set to the “no” sequencer position, this group of oscillators is disconnected from the sequencer output. A keyboard follow can of course be connected to modulation input. In that way, the pitch of each notes can be adjust very fine. We can then simulate the non-linearity of analog keyboard. The, “LFO” position of the display indicates that the oscillator group is no longer dependant of the keyboard. That is to say, it permanently functions on a monophonic voice. This function is especially useful when we want to use this oscillator group as source of low frequency modulation. Furthermore, each of the keyboard follows can activate the response of oscillators and filters to portamento and pitch bend.

5.1.2.2 Slave oscillator 921b: Oscillator 921b Frequency : Sets the frequency of the oscillator. By left click, setting by semi-tone, by right click fine setting. Range : Setting of the oscillator range. (low, 32, 16, 8, 4, 2) Synchronization : Synchronization interrupter Soft/Hard Synchro input : Menu to select the synchronization oscillator FM Inputs : Frequency modulation input connection jacks Outputs : Connection jacks for the four oscillator outputs The 921b type slave oscillators possess four outputs that can be used simultaneously: Sawtooth, si- nusoid, triangle, square. There is also an output generating a trigger signal synchronous with the square signal and with an identical width, which lets us trigger envelopes and sequencer in a cyclic manner. This output is visible only visible at trigger input menu level. Sawtooth Frequency Range Synchronization Synchro input FM Inputs Audio outputs of the 4 wave forms

71 Square Triangle Sinusoid These oscillators are independently tuned with the “frequency” potentiometer. This button pos- sesses a coarse +/- an octave per semi-tone setting with a left click and a fine tune setting +/- a semi-tone with a right click. The “range” selector allows the setting of oscillator range on 6 positions: Low, 32, 16, 8, 4 and 2. With the Low position the oscillator can be used at a very low frequency (on a cycle of more than 6 minutes). The other positions set the oscillator to octaves 1,2,3,4 and 5. That is to say the note C3 is played respectively on C1, C2, C3, C4 and C5. Remark: at the Low position the oscillators perform modulations using lower calculation power than the other positions. Two modulation inputs allow the separate setting of each of the oscillators in the group. They are very useful for modifying the tuning between oscillators thanks to a low frequency oscillator, a key- board follow or other modulation source. Like the controller modulation inputs, they can be connected to the output of another module. Connected to an oscillator functioning in the same audible spectrum, they can obtain sonorities with FM characteristics. A synchronization input and the associated interrupter allow the synchronization of the slave oscil- lator on one of the other oscillators. In this case, the synchronizing oscillator will be heard while the synchronized oscillator will improve the tone.

In the low position, the synchronization is said to be “hard”, which is to say that the synchronized oscillator will restart a cycle for every cycle on the synchronizing oscillator. In the high position, the synchronization is said to be “soft”, and in this case, the synchronized os- cillator will only restart its cycle if it is coming to the end of the cycle when the synchronizing oscil- lator begins its cycle. Remark: a connected oscillator is active and consumes calculation power. It is therefore necessary to verify that the con- nected oscillators are in use. Similarly, a group of oscillators disconnected from the keyboard by the “keyb” interrupter is permanently active. 5.1.3 Filters The Moog Modular V possesses 3 filter modules. It is possible to choose one of four types of filter for each of the modules: a low-pass 24 dB/octave (type 904A), a high-pass 24dB/octave (type 904B), a band cut and band pass 24 dB/octave (type 904C) and finally a multi-mode 12 dB/octave filter. Clicking on the name of the module and selecting the filter from the menu proposed does the type change. All of these filters possess internal connections to simplify the use of keyboard follows, portamento, pitch bend and sequencer. To avoid having to manage the tuning of the keyboard follow with the amplitude of the modulation input, with a display we can choose if a keyboard follow is to be used and which one. This keyboard follow is done to get a correct pitch from the keyboard. Depending on the configuration of the cho- sen keyboard follow, the portamento and the pitch bend will be applied or not to this filter. The functioning is the same for the sequencer outputs (1 to 4) controlling the tuning of the cut-off frequency of this filter. In the “no” follow position, the filter is independent of the notes played on the keyboard. In the same manner, set to the “no” sequencer position, the filter is disconnected from the sequencer output. It is still possible to connect a keyboard follow or a sequencer output to a modulation input obtain- ing a tuning as fine as necessary. 5.1.3.1 Low pass 24dB Filter (904A) Low pass 24dB Filter Frequency Resonance Audio Output Audio Input Modulation inputs Sequencer choice Keyboard follow

73 Frequency : Sets the filter cut-off frequency Resonance : Sets the filter resonance Audio Output : Filter output connection jack Audio Input : Filter input connection jack Modulation inputs : Frequency modulation input connection jacks Keyboard follow : Keyboard follow choice tuning the filter (no follow, follow 1,2,3 or 4). Sequencer choice : Choice of the sequencer output tuning the filter (no sequencer, sequencer 1,2,3 or 4). The low-pass 24dB filter is typical of Moog synthesizers. It has a setting for the cut—off frequency and a setting for the resonance. Only connecting the output of any module to one of the 3 modula- tion inputs can dynamically modulate the cut-off frequency. Like all of the modulation inputs, once connected, turning the dial of the jack with a right click sets its amplitude. Receiving a modulation directly from the output of a generator (envelope, oscillator, and sequencer), the maximum modulation amplitude is of +/- 9 octaves. When it is necessary to have a stronger modulation, an amplifier module must amplify the signal of the generator. The following image represents the spectrum of a low-pass resonant filter with a cut-off resonance of 500 Hz. Low Pass 24 dB/Octave Filter

5.1.3.2 High-pass 24dB Filter (904B) High-pass filter 24dB Frequency : Sets the filter cut-off frequency Audio Output : Filter output connection jack Audio Input :Filter input connection jack Modulation inputs : Frequency modulation input connection jacks Keyboard Follow : Keyboard follow choice tuning the filter (no follow, follow 1,2,3 or 4). Sequencer Choice : Choice of the sequencer output tuning the filter (no sequencer, sequencer 1,2,3 or 4). Unlike the low-pass 904A filter, the high-pass 24dB filter does not possess resonance. The cut-off frequency can be set with the rotating “frequency” dial or by the 3 modulation inputs which func- tion in the same manner as the inputs of the low-pass. The following image represents the spectrum of a high-pass filter with a cut-off frequency of 500 Hz. High Pass 24 dB/Octave Frequency Audio Output Audio Input Modulation inputs

75 5.1.3.3 Band-pass 24 dB (904C) Band Pass Filter Frequency : Sets the filter cut-off frequency Resonance : Sets the bandwidth of the filter Type : Choice of filter type (band reject or band pass) Audio Output : Filter output connection jack Audio Input : Filter input connection jack FM Inputs : Frequency modulation input jacks Mod. Width input : Bandwidth modulation input connection jack Keyboard follow : Keyboard follows choice tuning the filter (no follow, follow 1,2,3 or 4). Sequencer Choice : Choice of the sequencer output tuning the filter (no sequencer, sequencer 1,2,3 or 4). The 24dB band pass filter resembles the Moog 904C filter, but the difference from it is that while the Moog 904C is a pairing of the 2 associated low-pass and high-pass filters, this one is independent of the 2 other filters. The central frequency can be set with the rotating “Frequency” button, the bandwidth, of 1/3 octave to 3 octaves with the “Resonance” potentiometer. The first modulation input allows the dynamic modification of the bandwidth, the 2 others, the central frequency. A “type” selector provides a choice of filtering, band pass or band reject. The following images represent the spectrum of the band pass and band reject filters where the central frequency is 500 Hz. Band Pass 24 dB/Octave Frequency Resonance Type Audio Output Audio Input FM Inputs Mod. Width input

Band reject 24 dB/Octave 5.1.3.4 Multi-mode 12dB Filter Multimode 12 dB Filter Type : Choice of filter type Frequency : Sets the filter cut-off frequency Resonance : Sets the resonance of the filter Gain : Sets the gain for bell, shelf High and Low. Audio Output : Filter output connection jack Audio Input : Filter input connection jack FM Inputs : Frequency modulation input jacks ModRes Input : Resonance modulation input connection jack Keyboard follow : Keyboard follow choice tuning the filter (no follow, follow 1,2,3 or 4). Sequencer Choice : Choice of the sequencer output tuning the filter (no sequencer, sequencer 1,2,3 or 4). The multi-mode 12dB filter, has different types of filtering that the original Moog modular synthe- sizers could not offer. The selector holds six types if filtering: Low pass, Band pass, Notch, High pass, low shelf, high shelf, bell. The 3 potentiometers “Frequency”, “resonance”, and “gain” respectively set the cut-off frequency, the resonance, and the gain (used only for the shelf and bell) Three modulation inputs allow the dynamic modification of the cut-off frequency. Type Frequency Resonance Gain Audio Output FM Inputs Audio Input ModRes Input

77 The following images represent the different spectrum of the different filters, the cut-off frequency is constant at 500 Hz. Low Pass 12 dB/Octave High Pass 12 dB/Octave Notch 12 dB/Octave Bell 12 dB/Octave

Low shelf 12 dB/Octave High shelf 12 dB/Octave 5.1.4 Modulation envelopes Envelope Attack : Sets the attack time (Attack) Decay : Sets the decay time Release : Sets the release time Sustain : Sets the sustain level Input Trigg : Trigger signal input connection Output : Envelope output signal Attack (A) Decay (D) Release (R ) Sustain (S) Input Trigg Output

79 Six in total, the modulation envelopes make the sonority evolve in function with time. An envelope possesses four sequentially following temporal periods: attack, decay, sustain and release. When the input trigger goes from an inactive to an active state, the envelope launches its sequences “at- tack” followed by “decay” and remains in the “sustain” state as long as the input trigger remains active. When it goes to an inactive state, the envelope begins the “release” sequence. If the input trigger becomes inactive before the first 2 sequences have finished, the envelope goes directly to the “release” phase. The input trigger can be connected to the output trigger coming from the keyboard, the trigger de- lay module, the oscillators trigger output, or from the sequencer. The time of the different periods are controlled by the “Attack”, “Decay” and “Release” potenti- ometers. The “Sustain” potentiometer is to set the level of the envelope output during the sustain period. t D S A R Trigg On Representation of the envelope

5.1.5 Output amplifiers (VCA) Output envelope Attack : Sets the attack time Decay : Sets the decay time Release : Sets the release time (release) Sustain : Sets the sustain level Slope Time : Sets the intermediate decay time Slope Level : Sets the intermediate decay level Input Trigg : Input trigger signal connection jack Envelope out : Envelope out connection jack Audio Input : VCA input connection jack Panoramic : Sets the position in stereo space Soft Clip : Use of gentle saturation AM Input : Audio modulation Input jack There are 2 output amplifiers, each possessing its own envelope. These amplifiers are internally linked to a panoramic manager, which allows, through the “panoramic” potentiometer, to position the output in stereo space. These amplifiers are the last step in the generation of a sound. The associated envelope sculpts the temporal form of the signal at the end of the sequence after the application of all of the other modulations. Unlike the modulation envelopes, it has an extra period between the “attack” and “decay” sequences, called “slope”. The time and level can be set for this period and allows the en- velope to move from the high point after attack to slope before moving to the decay: Attack Decay Release Sustain Slope Level Slope Time Audio Input AM Input Gain Input Trigg Panoramic Mod Output Soft Clip

81 t D S A R Sn St t On Trigg Representation of the output VCA envelope The output amplifier internally connected to this envelope has volume “gain” and amplitude input modulation settings. The input trigger can be connected to the output trigger coming from the keyboard, the trigger de- lay module, the oscillators or LFO trigger output, or from the sequencer. Each of the two amplifiers possesses a trigger output, which is activated when the signal level is cancelled. This output can be very useful for stopping the sequencer for example. A jack allows the connection of the output of the associated envelope to other modulation inputs. A button applies the simulation of the current regulation present in the original Moog amplifiers (soft clipping). Attention, soft saturation is heavy on CPU calculation

5.1.6 Low frequency oscillators (LFO) Low frequency oscillator Frequency : Sets the oscillation frequency Delay : Delay time setting after a keyboard trigger Mode : Choice of frequency setting: low, mid, synchronized on the MIDI tempo Fade in : Sets the time constant for the increase of modulation Width : Sets the impulse width PWM Input : Input connection for the impulse width modulation FM Input : Frequency modulation input connection Outputs : Connection jacks for the different outputs The use of a low frequency generator as a modulation source is typical. It allows the gentle evolu- tion of the tone of a sound or to simulate vibrato and tremolo. Even though the oscillators can be used at very low frequencies, there are 2 modules specifically for this purpose, which allow the oscillators to be kept for use in the audible domain. These oscillators possess five outputs that can be used simultaneously: sawtooth, sinusoid, triangle, square, random. The oscillation frequency can be statically set with the rotating “frequency” button dynamically with the associated modulation input. The impulse width can also be statically set with the “width” button and by its modulation input. The “mode” interrupter synchronizes the oscillation frequency with the tempo of the host se- quencer. In this mode, the rotating button chooses a frequency depending on the application’s tem- po (multiple or sub multiple). Two other buttons are affecting a delay and a fade in at the output of this generator. Initialized on a keyboard trigger, the generator output will only begin to oscillate when the internal counter reaches a time value set with the “delay” potentiometer. This oscillation wills gently increase fol- lowing the time constant set with the rotating “fade in”. There is also an output generating a trigger signal synchronous with the square signal and with an identical width, which lets us trigger envelopes and sequencer in a cyclic manner. This output is visible only visible at trigger input menu level. Frequency Delay Fade in Width PWM Input FM Input Outputs Mode

83 5.1.7 Controlled amplifiers / Mixers Controlled amplifier (VCA) Audio Input : Amplifier input connection jack Audio Output : Amplifier output connection jack AM Input : Amplitude modulation input connection jack Volume : Input gain setting Soft Clip : use of soft clipping Inverse : request inversion of the input signal Link : next amplifier mixing There are 16 independent amplifiers. Each has its own volume setting with the rotating “level” but- ton and its amplitude modulation input. These amplifiers can be regrouped to form mixers. To group 2 amplifiers, just click on the “Link” button separating them. When 2 amplifiers form a group, the output signal of the first corresponds to the sum of their col- lective outputs, whereas the output of the second remains identical to the signal before grouping. To restore their independence, just click on the “Link” button. It is possible to add as many amplifiers as necessary. In this case it is still the output of the first amplifier, which will have the signal corresponding to the sum of all of the amplifiers of the group, the others retaining their independence. Thanks to this method, with 16 amplifiers to begin with, it is possible to create a large range of mixing while keeping a few amplifiers available for modulation. We can, for example, form a group of the first six amplifiers to mix the first six oscillators, then a group with the next 3 to mix the 3 last oscillators, and finally a group with the next 2 to mix the outputs of 2 filters which will respectively treat the output of the first amplifier and the output of the seventh. There are 5 remaining amplifiers for modulation or other mixes. Each amplifier possesses a current limiting function allowing a soft clipping. This function is acti- vated with the “clip” button. The “inv” button lets you invert the signal, as input to the corre- sponding amplifier.. The four right VCA are modulated with a linear function, on the contrary, the other are modulated with a exponential function. Link Volume Audio Output AM Input Audio Input Soft Clip Inverse

5.1.8 Trigger delay Trigger delay Time 1 : Sets the time for the first delay Trigg 1 Input : Choice of trigger input for the first delay Mode : Choice of mode (independent, parallel, series) Time 2 : Sets the time for the second delay Trigg 2 Input : Choice of trigger input for the second delay A trigger delay module manages the signals used for triggering envelopes and sequencer. There are 2 delays, which can function independently, in series or parallel following the setting on the “mode” selector. Set to the “off” position, the 2 delays are independent. When their trigger input moves to an active state, their internal counter is initialized. The output will move to an active state when their inter- nal counter reaches the value specified by the rotating “time” button. When the trigger input re- turns to an inactive state, the output immediately goes not an inactive state. Set to the “parallel” position, the 2 internal counters start at the same time when the trigger input of the first delay goes to an active state. Each manages its output in function with its time setting. In the series position, the second counter only begins when the output of the first delay moves to an active state. Time1 Time2 Mode Trigg 1 Input Trigg2 Input

5.1.9 Noise generator Noise generator Low Pass Frequency : Sets the low-pass filter cut-off frequency Low Pass input : Low Pass filter input connection jack Low Pass Output : Low Pass filter output connection jack Low Pass Frequency : Sets the Low Pass filter cut-off frequency High Pass Output : High Pass filter output connection jack High Pass Input : High Pass filter input connection jack White Noise : White noise output connection jack Pink Noise : Pink noise output connection jack The noise generator allows the simultaneous management of a white and pink noise. It also pos- sesses a low-pass and a high-pass of the first order (6 dB/octave) in which the cut-off frequency can be statically set with the “frequency” potentiometers. White noise spectrum Low Pass Frequency High Pass Frequency Low Pass Output High Pass Output White Noise Pink Noise Low Pass Input High Pass Input

87 Pink noise spectrum Whether it is for white or pink noise, the two output jacks correspond to two independent noise ge- nerators. 5.1.10 Sample and hold Sample and hold Clock Rate : Sets the internal clock frequency Trigg input : Menu selecting the choice of external input used to trigger the sampling Trigg selection : Choice source of external trigger for sampling Glide : Sets output glide Output : Output connection jack Input : Input connection jack This module lets you sample the signal connected as input. The values are taken for every trigger where the source can be external (trigger source connected to the Trigg input) or internal, clock where the frequency is set with the “Clock Rate” dial. The choice is made with the “Trig selection” interrupter. The values sampled are presented as output, with more or less glide, set with the “Glide” dial. It is this module, when sampling noise, which is used to product random modulations. Clock Rate Trigg selection Trigg input Glide Output Input

5.1.11 Envelope follower Envelope follower Time choice : Selection of follow mode Time : Sets the constant time of the level mesurment Threshold : Sets the threshold of comparator Follower out : Envelope follow output connection jack Follower in : Envelope follow input connection jack Comparator in : Comparator input connection jack This module possesses two functions. The first generates an envelope from the audio signal con- nected to “Follower in”. The “Time” setting determines the detail for the envelope follower. The lower the value, the more the input signal variations will be respected. This setting relies on the “Time Choice” which can be “short” or “long”. In the first case, the analysis of the input signal will be very precise, generating a signal with fast variation. The calculation power required is thus heav- ier than the second position, where the output signal will have slow variation. This module also allows you to generate a trigger signal. The triggering is calculated in relation to a certain threshold set with the “Threshold” dial and the signal connected to the “Comparator in”. If no signal is connected to this input, an internal connection will link the follow output to the com- parator. This module generates two types of trigger, a positive trigger, and a negative. When the comparator input signal exceeds the threshold, the positive trigger is activated, while the negative trigger is cancelled. When the input signal goes below the threshold, the opposite happens. A lighting indica- tor allows the observation of the positive trigger signal. Time choice Threshold Time Follow out Follow in Comparator in

89 5.1.12 Ring modulator Ring modulator Frequency : Sets the frequency of the multiplicative sinusoid Depth : Sets the amplitude for the multiplication of signals HiQ Selection : High quality selection Freq. Mod. Input : Frequency modulation connection jack Depth Mod. Input : Depth modulation connection jack Mul Signal Input : Multiplicative signal connection jack Signal Input : Input jack for signal to be treated Signal output : Output jack for treated signal The ring modulator multiplies two signals to create non-harmonics frequency. It is then easy to pro- duce metallic sounds. When “Mul Signal Input” is not connected, the input signal is multiplied by an internally generated sinusoid signal for which the frequency can be set with the “Frequency” button. The modulation amplitude and subsequently the effect amplitude obtained can be set with the “Depth” button. Once connected, “Mul Signal Input” becomes the source of the multiplicative signal. The depth and the frequency of the internal sinusoid can be modulated with the corresponding mo- dulation inputs. The “HiQ” interrupter, at the cost of an increase in calculation load, increases the quality of the sound. Frequency Depth Freq. Mod. Input Depth Mod. input Mul Signal Input HiQ Selection Signal Out Signal In

5.1.13 Formant Filter Formant filter Frequency : Sets the frequency Resonance : Sets the resonance Gain : Sets the gain FM Input : Frequency modulation connection jack RM Input : Resonance modulation connection jack GM Input : Gain modulation connection jack Vowel : setting of o pre-selected vowel VM Input : Connection jack for the modulation of the vowel pre-selections This module regroups four bell filters connected in a series. Each filter can be set and modulated, independently of the others, in frequency, gain and resonance (or bandwidth). It is possible to preset these four filters to reproduce the formation of a particular vowel with the “vowel” selection window. This preselection can also be modulated with the associated modulation input. The preselection is done before the filter settings. It is thus possible, during a modulation, to make the vowel evolve, and to gently change the settings. 5.1.14 Bode Frequency Shifter Bode frequency shifter Frequency Resonance Gain FM Input RM Input Gain Mod Input Vowel Mod. input Input Output Scale Amount of Shift Mixed out Negative output Positive output Audio Input FM Inputs Vowel

91 Scale : Sets the scale frequency Amount of Shift : Sets the frequency transition Mix : Mix between the positive and negative translations Mixed output : Mix of negative and positive translations output connection jack Positive output : Positive translation output jack Negative output : Negative translation output jack FM Input : Frequency modulation connection jack Audio Input : Input signal connection jack This module is used for a linear translation of the frequencies contained in the input signal. Because of this linearity, the initial harmonic relations are totally modified. It is easy with this module, to produce metallic sounds. There are three available outputs: two for each of the translations possible (negative and positive), the other for a mix of the two, the mix is set with the “Mix” button. The translation rate, which is to say the difference in frequencies, is set with the “frequency” but- ton. Following the selected scale (“scale” selector), the button will give a different gap. The scale also influences the amplitude and type of modulation. In the exponential position, the translation goes from 2 Hz to 1024 Hz, the modulation being expo- nential. In the other positions (5,50,500,5k), the translation will be of a maximum of 5 Hz, 50 Hz, 500 Hz or 5000 Hz, in positive or negative. 5.2 SECOND SECTION 5.2.1 Description The second section of the Moog Modular V regroups all of the effect modules and the sequencer. The outputs and inputs of this page needing connections with the modules of the first section are moved to the latter, in a small extension. This section contains a module for equalization through a bank of resonant filters, a chorus module, a phaser, a stereo delay module, and a type 960 sequencer. The 3 effect modules, filter bank, chorus and stereo delay are applied to the signal of the output amplifiers in function with the interrupters “vca1” and “vca2”. They are applied in the predefined order. The choice between the chorus and the phaser is done through a menu displayed by clicking on the name of the module.

5.2.2 Resonant filter bank Filter bank Gain : Sets the band level to positive or negative Resonance : Sets the bandwidth Connection VCA1-VCA2 : Connection of the filter bank to the VCA1 or VCA2 output Output Gain : Sets the output gain Reset : Resets the filter bank This module allows the equalization of the signal coming from the 2 output amplifiers in function with the state of the interrupters “vca1” and “vca2”. This equalization is done with the help of the resonant filters and has 14 bands. Each has a level (amplification and alleviation) and bandwidth setting, excepting the first and last bands, which are respectively, the low-pass and high-pass filters. The cut-off frequency of these filters are fixed at the following values: 80 Hz, 125 Hz, 175 Hz, 250 Hz, 350 Hz, 500 Hz, 700 Hz, 1000 Hz, 1400 Hz, 2000 Hz, 2800 Hz, 4000 Hz, 5600 Hz, 6400 Hz. A button allows the resetting of the default values and a rotating button sets the output level after filtering. Gain Resonance Reset Connection VCA1-VCA2 Output gain

93 5.2.3 Chorus Chorus Types : Sets the 3 chorus Types Rate : Sets the chorus rate Depth : Sets the depth of the chorus action Time : Sets the delay applied to the input signal Stereo Rate : Sets the speed of the stereophonic evolution Stereo Width : Sets the width of the stereophonic space Dry : Sets the gain applied to the input signal Wet : Sets the gain applied to the treated signal VCA1-VCA2 : Connection of the chorus to the output of VCA1 or VCA2 A Chorus module allows the treatment of the signal coming from the 2 output amplifiers, eventually treated by the equalizer, in function with the state of the interrupters “vca1” and “vca2”. The chorus module allows a frequential blurring where the speed is set by the “speed” potentiome- ter, the amplitude by the “depth” and the width with the “Delay”. This frequency blurring is differ- ent for the left and right tracks. This allows us to get a stereophonic signal from a monophonic sig- nal. The difference between the 2 tracks can be set with the “stereo width” and the speed of the left right rotation with the “stereo rate” potentiometer. A selector presents the choice of chorus type: simple, medium, complex. The input signal level and treated signal can be respectively set with the “gain direct” and “gain effect” potentiometers. Rate Depth Time Stereo Rate Stereo Width Wet Dry VCA1-VCA2 Types

5.2.4 Phaser Phaser Amount : Sets the depth of the phaser action Rate : Sets the speed of the phaser Sweep : Sets the phaser resonance Stereo width : Sets the width of the stereo space Dry : Sets the gain applied to the input signal Stages : Sets the phaser type (6 or 12 stages) Wet : Sets the gain applied to the treated signal VCA1-VCA2 : Connects the phaser to the VCA1 or VCA2 output The phaser module treats the signal coming from the 2 output amplifiers, eventually treated by an equalizer, in function with the state of the 2 “VCA1” and “VCA2” interrupters. The action consists of dephasing the input signal and combining it with the original signal. Thus we can have a filter that combs (with notches) the frequency spectrum to the rhythm of an oscillator which follows the frequency set with the “rate” button. The “depth” button sets the amplitude for the action of the filtering, while “Resonance” amplifies certain harmonica. The rotating “stereo width” button sets the amplitude of the stereophonic aspect of the phaser. When the “stereo width” is set to 0, the left and the right channel are in phase. When it is set to 0.5, the sound seems to rotate, and when it is set to 1, the sound seem to go from one side to another. There are two types of phaser, one has 6 levels, the other has 12, set with the “type” selector. A 6 stages phaser has 3 notches, and a 12 stages has 6. The rotating “dry” and “wet” buttons are respectively used to set the amplitude of the original sig- nal and the treated signal. Sweep Resonance Amount Stereo width wet dry VCA1-VCA2 Stages Rate

95 5.2.5 Stereo Delay Stereo Delay module Midi sync : Synchronizes delay with the tempo of the host application Time left : Sets the time of the right track Time right : Sets the time of the left track Feedback left : Sets the feedback gain for the right track Feedback right : Sets the feedback gain for the left track Feedback to left : Sets the feedback gain of the right track towards the left track Feedback to right : Sets the feedback gain of the left track towards the right track Dry : Sets the gain applied to the input signal Wet : Sets the gain applied to the treated signal VCA1-VCA2 : Connection of the delay to the output of VCA1 or VCA2 A stereo delay module treats the signal coming from the 2 output amplifiers, eventually treated by the equalizer and chorus, in function with the state of the interrupters “vca1” and “vca2”. This module allows the repetition of the input signal independently on the left and right tracks, which explains the presence of 2 columns of controls. The repetition speed can be set with the “time” potentiometer, while the level of the repetitions, and eventually the number of audible repetitions is set with the “feedback” potentiometer. The third potentiometer sends a part of the treated signal to the other track. The repetition speed can be synchronized with the tempo of the host application, and in this case, the “time” potentiometer selects the multiples and sub-multiples of this tempo. The levels of the input and treated signals can be respectively set with the rotating “gain direct” and “gain effect” buttons. Midi sync Time right Time left Feedback right Feedback left Feedback to left Feedback to right Wet Dry VCA1-VCA2

5.2.6 Sequence generator Sequencer Also called sequencer, this module is similar to the original Moog 960 sequencer while simplifying the programming with internal connections. This module has 3 parts, low frequency oscillator, the 8-step sequence manager and the output con- troller. Sequencer clock Frequency : Sets the sequencer clock speed On : Starts the sequencer Off : Stops the sequencer On Input Trigger : Connection of a trigger signal to start the sequencer Off Input Trigger : Connection of a trigger signal to stop the sequencer Length : Length of the trigger signal generated by the sequencer Frequency Off Fw / Rw Length On On / Off Input Triggers Midi Synchronization Next Trigger

97 Midi Synchronization : Synchronization of delay with host application tempo Next Trigger : Connection of a trigger signal for the passage to the next step Fw - Fw/Bw : select the sequencer mode (forward, or forward/backward) The low frequency oscillator gives rhythm to the passage from one sequence to another. The speed can be statically set with the “frequency” potentiometer and dynamically with the modulation in- put situated on the first section. The “synchronization” interrupter synchronizes this generator on the tempo of the host application. In this case, the “frequency” potentiometer selects multiples and sub-multiples of this tempo. The passage from one step to the next can also be done by the means of a trigger signal (from the keyboard for example) connected to the “next trigger” input. The two “On” and “Off” button start and stop this generator. When it starts, it resets the sequence manager on the first step. The starting and stopping can be done dynamically with the associated trigger inputs. The “length” potentiometer sets the trigger signal width coming from the sequencer. The “backward” interrupter allows a round-trip progression, instead of a progression indicated by the next step indicators Sequencer column Level Output1 : Sets the level of modulation or tuning for output1 Level Output2 : Sets the level of modulation or tuning for output2 Level Output3 : Sets the level of modulation or tuning for output3 Link : Link to the previous step (no trigger) Hold : Number of clock beats of hold on this step Repetition : Request for output trigger for each held clock beat Next Step : Selects the next step On : Forcing step Forcing trigger input : Forcing input or not Level Output1 Level Output2 Level Output3 Link Repetition Hold Next Step On Forcing trigger input

The sequencer has 8 steps. Each step defines 3 output levels with the help of 3 rotating buttons. The manager moves from one step to another at each impulse of the sequencer clock or upon the reception of a signal on the trigger input “next trigger”. The led above each of the steps lights up when active. It is possible to force the sequencer to initialize itself on a particular step, either by clicking on the “Forcing” button of the desired step, or through a signal in the associated input trigger. Every time the sequencer comes to a step, the corresponding trigger output is activated, allowing the start-up of certain envelopes. It is possible to remain on a particular step by modifying the “Hold” display. In this case, we need a certain number of clock impulses from the sequencer (or from the trigger input) equal to the num- ber indicated to go to the next step. The rotating selector indicates the next step. It possesses 10 positions, the first 8 represent the next steps, the ninth is a random selection, and the last is the generator stop. When this last position is chosen on a step, the sequencer clock is stopped, the manager is reset on the first step and the outputs set to zero. At every change of step, a general trigger signal from the sequencer is activated. This output will be activated at every clock impulse if the “repetition” interrupter is active. In the same manner, there is no activity from this signal if the “link” interrupter is inactive. Sequencer outputs Smooth 1 : Sets smooth for output 1 Smooth 2 : Sets smooth for output 2 Smooth 3 : Sets smooth for output 3 Smooth 4 : Sets smooth for output 4 On Line1 : Forcing of the selection from output 4 to output 1 Forcing Trigger Input 1 : Forcing trigger input of the selection from output 4 to output 1 On Line2 : Forcing of the selection from output 4 to output 2 Forcing Trigger Input2 : Forcing trigger input of the selection from output 4 to output 2 On Line3 : Forcing of the selection from output 4 to output 3 Forcing Trigger Input3 : Forcing trigger input of the selection from output 4 to output 3 Mode Output4 : Choice of progression mode of output 4 Smooth1 Smooth2 Smooth3 Smooth4 On Line 1 Forcing Trigger Input 1 On Line 2 Forcing Trigger Input 2 On Line 3 Forcing Trigger Input 3 Mode Output 4

99 The control section of the sequencer outputs allows the management of four outputs in function with the current step. The first outputs take their values from the values specified by the rotating buttons of the current step, eventually with a smooth that can be set with the “smooth”. The fourth output, for which the smooth can also be set with a “smooth” potentiometer, is man- aged in the following manner. It take the value of one of the 3 outputs in function with the current step and the type of progression specified by the “Mode output 4” selector. When placed in the “none” position, the fourth output takes the output value selected by the “Forcing Line” button and its corresponding trigger input. It is therefore possible to have 3 different sequences, activated either manually by a click or dynamically by a trigger. When the “Mode Output 4” selector is placed on the “L123” position, the fourth output will auto- matically cross outputs 1,2 and 3 each time the current step arrives on the eighth step. In this man- ner, it is possible to have a 24-step sequence. Placed at the “L321” position, the lines will be done in the inverse order. In the same manner, on the “L12” “L13” or “L23” positions, the fourth output will cover lines 1 and 2, or 1 and 3, or finally 2 and 3, thus obtaining 16 step sequences. When the “Mode Output 4” selector is placed on the “C123” position, the fourth output covers lines 123, but the change takes place at every sequencer clock impulse. We just need to wait for 3 im- pulses at every step, to alternatively have lines 1,2 and 3 of each of the steps. The functioning is the same on positions “C321”, “C12”, “C13” and “C23”. On the “Rand” position, the choice of fourth output is random. 5.3 THIRD SECTION A small section has been added bellow the connection section. It regroups all of the external input- outputs on the sequencer, and the key follow outputs. You will also find an interrupter which acti- vates A440. The output jacks “External audio” are used to treat the external signals and use the Moog Modular V as an effect. The “Out” jacks correspond to the two left and right output jacks on the Moog Modular V. It is thus possible to loop it to itself and obtain special effects. Internal connections

5.4 FOURTH SECTION The fourth section contains a virtual keyboard, control for the 4 key follows, 2 modulation surfaces, and a few shortcuts to the most frequently used settings (Envelope for the 2 output VCA and cut-off frequency settings for the 3 filters). You will also find general settings like choice of Mono- phonic/polyphonic, the “retrigg” mode or “legato”. It is also in this mode that we find the volume control and general tuning. 5.4.1 Keyboard follow management Keyboard Follows Slope : Sets the slope of the keyboard follow Pivot : Selects the pivot note of the keyboard follow Threshold : Selects the threshold note of the keyboard follow Low/High : Selects the low (high) note of the generator for the trigger of the keyboard follow High : Selects the high note of the generator for the trigger of the keyboard follow which can also be inverted Bend/Portamento : Request for affectation of a pitch bend (portamento) or glissando to the key- board follow There are four independent keyboard follows. Each possessing a slope setting with the “Slope” po- tentiometer, a pivot note chosen in the “pivot” display and a threshold note chosen with the “threshold” display begin from which the slope is null. Keyboard follow management Each of the keyboard follows can generate a trigger signal. Two displays allow the choice of a low and high note. When the keyboard detects a note between the 2 limits, the trigger signal is active Slope Pivot Threshold Low/High Bend/Portamento