Arturia Moog Modular V User manual

USER’S MANUAL
Moog Modular V 2

Programming:
Nicolas Bronnec
Pierre-Jean Camilieri
Sylvain Gubian
Xavier Oudin
Gilles Pommereuil
Cedric Rossi
Graphics:
Yannick Bonnefoy
Thomas & Wolfgang Merkle (Bitplant)
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.

I
In nt tr ro od du uc ct ti io on n t to o v ve er rs si io on n 2 2 o of f t th he e M Mo oo og g M Mo od du ul la ar r V V m ma an nu ua al l
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

TABLE OF CONTENTS
1Introduction 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
2Installation 19
2.1 Installation PC ( Win9x, Me, 2000, XP ) 19
2.2 Installation MacOS X 21
2.3 Installation MacOS 9 23
3Quick 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
4The 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

4.4.7 Key follow or sequencer connections 65
5The 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
6The 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
7A 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
8Using 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

8.1.4 Information on the level of processor use 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

ARTURIA – MOOG MODULAR V – USER’S MANUAL 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.

10 ARTURIA – MOOG MODULAR V – USER’S MANUAL
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)

ARTURIA – MOOG MODULAR V – USER’S MANUAL 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)

12 ARTURIA – MOOG MODULAR V – USER’S MANUAL
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)

ARTURIA – MOOG MODULAR V – USER’S MANUAL 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.

14 ARTURIA – MOOG MODULAR V – USER’S MANUAL
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®
A
liasing

ARTURIA – MOOG MODULAR V – USER’S MANUAL 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.

16 ARTURIA – MOOG MODULAR V – USER’S MANUAL
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

ARTURIA – MOOG MODULAR V – USER’S MANUAL 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 filte
r
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

18 ARTURIA – MOOG MODULAR V – USER’S MANUAL

ARTURIA – MOOG MODULAR V – USER’S MANUAL 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

20 ARTURIA – MOOG MODULAR V – USER’S MANUAL
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.