Multimoog Musical Instrument Wartungshandbuch

Mutefmoog Multimoog Muitimoog Multimoog OPERATION MANUAL by Tom Rhea

The position of slide switches is always indicated by blacking in the position in use. An asterisk in another position of the same slide switch indica

BASS DOS oanutiM nxn POTTO mot SOUND SOURCE: OSCILLATOR B Advance VOLUME to comfortable listening level. Play the keyboard and bend pitch with the PIT

THE MOOC™ "FAT" SOUND row* PRCH SOUND SOURCE: OSCILLATORS A & B with DOUBLING Advance VOLUME to comfortable listening level. Play the ke

RING MOD EFFECTS wnffliu untua ¥\ ukiuui morioust ocacioic © PQOOQ SOUND SOURCE: FILTER in TONE mode with FILTER MOD BY OSC B Advance VOLUME to comfor

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EXTERNAL AUDIO INPUT i cm a VSSSUrS?"'1 *=" m^S?«> "«• •fes'j^ ^ffiL ^5^ liS^ nF^ SS^^l^i oo OTia /N. BUittA oos ►own 00 a

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J do-it-yourself demo This section shows you a way to explore the Multimoog intelligently and learn by doing. You can learn a lot about the Multimoog

guided synthesizer tour This section has two parts. SOUND AND SYNTHESIS deals with general features of the synthesizer and discusses how it creates an

Synthesizers designed specifically for stage use —like the Multimoog—let you "patch" together sec tions (modules) of the instrument using sw

introduction The Multimoog is for performers who recognize the power of physical control of electronic musical instruments. Before we had electronic m

The path from the audio output of the sound source through the modifiers to the speaker is called the "audio signal path." The audio signal

Now we can route control signals into the con trol input of each module shown above to dynami cally control its function. Think of a control signal fe

SYNTHESIZER BLOCK DIAGRAM (BASIC) SOUND SOURCE vco KEYBOARD CONTROLLER SOUND MODIFIER VCF FILTER CONTOUR CONTROLLER SOUND MODIFIER VCA AUDIO LOUDNESS

GUIDED TOUR In this sub-section we will look at the sound sources, modifiers, controllers, and triggering devices found on the Multimoog. Exercises ar

6. Hold the lowest key on the keyboard. 7. Step the OCTAVE selector through all of its positions and rotate the WIDE FREQ control for each position. N

The INTERVAL control tunes OSCILLATOR A relative to OSCILLATOR B, over a span of ±P5 (like violin strings). For proper tuning of the instrument, tune

The differences that you hear among the various waveshapes are due to their different harmonic structures. A waveshape may bethought of as a collectio

.UNISON, INTERVAL W/WESHAPE OSCILLATOR A MIX WAVESHAPE DOUBLING OSCILLATOR B Each WAVESHAPE control allows continuous selection and mixture of the wav

In the previous exercise, the OSCILLATORS are actually not turned "off," but simply removed from the audio signal path so we don't hear

CLANGOROUS SOUNDS So-called clangorous sounds are often characterized as being metallic or "bell-like." A characteristic feature of a bell s

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EXERCISE 6: LISTENING TO THE NOISE SECTION :J arcu hi' nuaaSma ,u SS err ? CD OBCIU^kTOB * eutotr —> atnuus 4*V esnout KILTKB MWUin oas ocny

EXERCISE 7: MODIFYING LOUDNESS BY CONTROLLING THE VCA OCX Mat uaantoa Q0PDQ0DQ 1. Place BYPASS switch to ON position. You should hear sound continuou

EXERCISE 8: MODIFYING A WAVESHAPE WITH THE FILTER SECTION «m*M onuiets niqwec reramx nttu toaaas umcmb sstw uui cms 1. Hold down any key on the keyboa

EXERCISE 9: MODIFYING NOISE WITH THE FILTER SECTION ij OQOQOOQB ium. nmsurt ma ocurt ^» mm« mmxitt »«iim inn ma /-v. nuta/s. OUONSSB COMTOUfl oas oo

EXERCISE 10: KEYBOARD CONTROL OF OSCILLATOR/FILTER SECTIONS oq ceo qopp^oo ^yy »wmiwi. an Kuit ^ we FnQ wensmn pfrutimc uw cgTOff *~^ nrrmp^ tA gcmtoo

The preceding confirms that GLIDE affects the keyboard signal. The OFF position of the OSCILLATORS switch and the TONE position of the FILTER MODE swi

EXERCISE 11: ARTICULATION—CONTOURING LOUDNESS j 1. Play the keyboard. Notice that the attack and release of the sound are practically immediate. The

an organ-like sustained sound with on-off keying. This is not quite so, as the following shows: 14. Place the RELEASE control to "700." 15.

You might select a sound source and try the above settings to hear the shape of the contour produced. It is important to remember that loudness has pr

1. Hold down any key on the keyboard. The tone sounding is static in timbre; the cutoff frequency of the filter is not being moved. 2. Move the CONTOU

index setting up the multimoog Amplifier connection procedure getting a SOUnd Sound check. Sure way to get a sound tuning U p Tu ning procedure SOUnd

TYPICAL INVERTED CONTOUR SIGNAL KEY DEPRESSED KEY RELEASED MAX ZERO •••• J-TIME * Also, as in the case with positive CONTOUR AMOUNT settings, when th

MODULATION SECTION The MODULATION section routes control sig nals from several sources to several destinations. It lets you hook up a controller to th

EXERCISE 14: EXPLORING THE MODULATION SECTION tlffttf ^tfHIffTOC ninao aoa mam ± «om mom en en kmsim mm rTh ramt 1. Hold down the lowest key on the ke

5. Set SOURCE and ROUTING controlsasshown on preceding page. Set MOD AMOUNT wheel as shown. 6. Depress and hold any key. You should hear a contoured-p

voltage signal and "prints" (holds) a fixed voltage level. When a sample of a moving voltage signal is taken, the voltage sensed at that ins

You learned about this "wheel" modulation path previously. But now, let's relate that to the control panel graphics as shown below: WHE

7. Experiment with the various settings of the DESTINATION and ROUTING controls. There are many useful combinations of touch/wheel control. When the E

12. Bend pitch using keyboard force sensitivity. 13. Control vibrato amount using a foot pedal attached to the MODULATION jack on the rear panel. MOD

The WEAK and STRONG positions of the FILTER MOD BY OSC B switch connect the entire output of OSCILLATOR B (DOUBLING included) to the control input of

The usefulness of being able to bend a single oscillator is fairly apparent, but perhaps you are wondering why there is an OFF position for RIBBON ROU

L

EXERCISE 18: SINGLE/MULTIPLE TRIGGERING KEYBOARD PRIORITY a*Asa XJ OOOQOI0QO wmiuri eousu«c OttCILLATOR oas am_^^^—u ^^"^^L BUT ? OCSItUTtOH (UtO

The S&H KBD position of the SOURCE selector does not produce triggers! In this mode, the contour generators may be triggered by the keyboard, inde

open system An "open system" can communicate with other devices. This section of the manual explains how the inputs and outputs on the rear

AUDIO SIGNALS ^00 nn act Koouunm ntnt oscub no ran «-(W/0fF C0HT8CL-' J-TWS INPUTS->-«»> TOUCH MOD ' EFFECTS o me TURE LO/HI AUDIO OUT

As with any Multimoog sound chart, blank controls should be placed fully counterclockwise (see SOUND CHARTS section). When you try the above sound cha

present (e.g., key depressed), application of another trigger externally will not be discernible, and the converse. The following diagram illustrates

trigger theMultimoog. No power supply or circuitry is required; when the switch is closed a trigger is produced. To show how easily the Multimoog can

CONTROL SIGNALS LOMJDIO BMWO S-TK .; V. OUTPUTS-an an ram 0 ma nmi KEYBOARD OUTPUT The KBD OUTPUT (keyboard output) is a dual function jack. It can fu

lowest key determines the single keyboard control signal. A monophonic instrument may have more than one tone oscillator (the Minimoog has three), and

When the pedal is inserted into the MODULATION jack, it will act in tandem with the MOD AMOUNT wheel to control the amount of modulation. When the MOD

setting up the multimoog A. Before plugging in the Multimoog, check the 115/230 switch on the rear panel. Set this for the appropriate operating volta

MULTIMOOG SELF-MODULATION JUMPER *" STEREO PLUG RING \ JUMPER FROM TIP TO RING TERMINAL It is possible to route modulation signals both to and fr

If zero volts is fed into the FILTER INPUT, no change of the cutoff frequency is caused. A positive voltage applied to the FILTER INPUT raises the cut

OPEN SYSTEM—GETTING IT TOGETHER The open system INPUTS and OUTPUTS can provide powerful ways of expanding your music-making once you realize what audi

Even though you have made the basic connections, further thought is required for a successful interface. First, from reading the OPEN SYSTEM section y

4. Check tuning by playing lowest key on Master keyboard, if OK go on. If not, repeat steps 1-3, 5. Play highest key on Master keyboard and adjust att

r 70

review of functions This section of the manual tells how each knob selector, switch, jack, plug, and socket on the Multimoog functions — what it does.

MULTIMOOG™ CONTROL PANEL OSCILLATOR A&B The oscillator section is the primary source of pitched audio signals. .UNISON. INTERVAL WAVESHAPE OSCILLA

6 WAVESHAPE (B) Provides continuous waveshape control of OSCILLATOR B; calibrated in arbitrary units. The position marked "0" provides a saw

excursion. When the CONTOUR AMOUNT control is moved into the negative region, the contour is inverted; this inverted contour then causes a reverse con

the settings of its ATTACK and RELEASE timing controls allow, regardless of how long a key is depressed. In the sustain mode to the left, the LOUDNESS

SOURCE *•-. ROUTING MODULATION 19 RATE Controls the rate of the modulation oscillator and sample and hold clock, calibrated from .3 Hz to 30 Hz. Norm

pitch until another key is depressed. Operational when GLIDE switch is ON, or when GLIDE jack on rear panel is used properly. 23 VOLUME A final gain c

30 BYPASS SWITCH 33 KBD & TRIG EXT OUTPUT Selects to "bypass", or hold internal voltage controlled amplifier on constantly. The ON posit

35 PITCH RIBBON A resistance element protected with plastic-coated mesh used to bend the pitch of the oscillators. In the center of the ribbon is a de

INPUTS OTHER FEATURES 45 FILTER Allows external voltage control of the cutoff frequency of the filter. Scaling is 0.95 volts/octave. Input impedance i

TECHNICAL DATA MULTIMOOC SPECIFICATIONS lJ TONE OSCILLATORS NUMBER: 2—(designated A and B) FREQUENCY RANGE: .IHz to 20KHz STABILITY: Short term range

AMOUNT CONTROL: Attenuates the signal applied to the DESTINATION switch. DESTINATION SWITCH: Sends the keyboard touch modulation signal to one or more

1. Turn power on and allow heated-chip oscillators to completely sta bilize (5 min.) 2. Fine tune Oscillator B using fine tune control on rear panel.

sound charts Sound charts are the "paint by numbers" approach to the synthesizer. This section shows you how to create sounds easily by dupl