User manual MOOG MINIMOOG

[. . . ] the minimoog synthesizer operation manual moog MUSIC INC. Box 131) Williamsville, NY 14221 A GUIDE TO THE OPERATION OF THE MINI MOOG MODEL D contents introduction basic mini moog features audio, control, and timing signals setting up the instrument output section oscillator bank controllers modulation mix others mixer modifiers filter and filter contour loudness contour accessories options s-trigger plug left-hand controller tuning procedures introduction An electronic music synthesizer is a musical instrument whose circuitry can be interconnected and set up in a large variety of ways to produce a broad spectrum of musical sounds. The component circuit controls and interconnections of the Mini Moog Synthesizer are arranged in a logical and convenient way which is ideal for live performance. The purpose of this manual is to acquaint you with the component circuitry of the Mini Moog and the operation of each of the controls and switches regulating the generators, modifiers, and control devices involved in the synthesizing of a musical sound. [. . . ] These are selected by the Noise Quality switch (H), labelled WHITE/PINK. As an audio signal, the Noise Source may be fed into the mixer by turning on switch (F). As a control signal, it is available through the Modulation Mix, as described in the controllers section. modifiers The Modifiers section of the front panel features controls for the two sound modifiers, the Filter and the Loudness Contour, which respectively shape the overtone content and loudness/time contour of the audio signal as it passes through the modifying circuitry from the mixer. In order to hear the effect of these controls, begin by setting the controls in the oscillator and mixer sections as follows: Control Oscillator MODULATION SWITCH (A) Oscillator 1 RANGE (4) Oscillator 1 WAVEFORM (5) Oscillator 1 VOLUME (12) Oscillator 1 MIXER switch (C) Other mixer switches (D, E, F, G) Switches (J) (K) (L) Setting off 16´ narrow rectangular (extreme right) 7 on off off The controls on the Modifiers section should still be set as shown in Fig. 1 of the section titled setting up the instrument. filter and filter contour The Mini Moog features a wide-range lowpass filter. This filter attenuates, or cuts out, those frequency components of an audio signal which lie above a variable cutoff frequency, while passing those components which lie below it. The CUTOFF FREQUENCY control (17) is used to set the filter's cutoff frequency. Hold down a key and turn this control first clockwise, then counter-clockwise. You will hear the tone become more shrill and then more muted, as the higher overtones are first allowed to pass and then attenuated. If control (17) is moved all the way to the left, the entire signal will be cut out. The AMOUNT OF CONTOUR control (19) determines the amount of filter contour applied to the filter's cutoff frequency. Each time a key is depressed, a contour generator attached to the filter is actuated, and sends a control signal to the filter. The control signal rises at one rate, then falls at a second rate, and finally levels off at a certain level. This results in a corresponding rise, fall, and leveling off of the filter cutoff frequency, which we call the filter contour. Set the CUTOFF FREQUENCY to -2 and repeatedly depress and hold down a key while setting the AMOUNT OF CONTOUR at various levels. The more this control is turned up, the greater will be the increase and decrease in the brightness of each note. Controls (17) and (19) have an additive effect on the cutoff frequency. The ATTACK TIME control (20) determines the duration of the initial segment of the filter contour. The initial rise of the filter cutoff frequency can be as short as 10 milliseconds or as long as 10 seconds. (The frequency at which the contour begins is determined by control (17), while the peak which it reaches is determined by controls (17) and (19) combined. ) Repeatedly depress a key while varying the setting of the ATTACK TIME control from left to right. You will hear the brightness of the note increase sharply at first, and then more gradually as the attack time increases. The DECAY TIME control (21) determines the duration of the second segment of the contour, the fall from the initial peak to the sustain level. [. . . ] When the GLIDE switch is turned on the pitch will glide between notes at a rate set by control (2) (see controllers section, paragraph 12). When the performer connects the external foot switch, he can momentarily engage portamento when the GLIDE switch is off by depressing the switch button. The external control of the DECAY function works in an analogous fashion. To prevent confusion of the external foot switch cords with input and output audio and control voltage cords, the jacks for DECAY and GLIDE are 0. 206" dia. [. . . ]