Moog Voyager XL User manual

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Table of Contents
FOREWORD from Cyril Lance .................................. 4
THE BASICS
How to use this Manual ....................................... 6
Setup and Connections ........................................ 7
Overview and Features ........................................ 10
Signal Flow .................................................................... 12
THE COMPONENTS
A. Mixer Section ........................................................ 16
B. Oscillator Section ................................................ 18
C. Filter Section ......................................................... 21
D. Envelopes Section .............................................. 24
E. Output Section ..................................................... 27
F. Modulation Section .......................................... 28
G. Primary LFO/S&H Section .......................... 31
H. Keyboard & LH Controllers ......................... 33
I Ribbon Controller ................................................. 34
J Touch Surface Controller ................................. 35
K. Modular Patch Panel ........................................... 36
L. Back Panel .................................................................. 44
M. Interface Panel ...................................................... 45
THE USER INTERFACE
Panel Mode ............................................................................ 46
Edit Mode ................................................................................ 50
Master Mode ......................................................................... 65
How the Voyager XL handles MIDI ........................ 78
APPENDICES
A – Touch Surface LFO S&H: In Use ....................... 83
B – MIDI Basics .................................................................. 84
C – Initialization Parameters ...................................... 86
D – Synthesis Tutorial ....................................................... 88
E – MIDI Implementation ............................................... 93
F – Service & Support Information .......................... 94
G – Caring for the Voyager XL .................................... 94
H – Specications ................................................................. 95
GLOSSARY ...................................................................................... 96
PRESET LIST .................................................................................. 100
User’s Manual
Minimoog

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Foreword
In early September 2005, Ileana Grams Moog asked me to go out to Bob’s place in the country and see what
the state of his workshop was. That day in North Carolina was impossibly beautiful. As we drove up a long,
windy gravel driveway in Turkey Cove, we came to this idyllic spot surrounded by mountain laurels, oaks and
babbling creeks. Standing there was a steel outbuilding eerily similar to my own workshop. This was the place
Bob called “Big Briar”.
Feeling a bit like Indiana Jones, we gured out which old key opened the building and turned on the
lights. Piles of papers, parts of electronics, old synthesizers, solder, screws, knobs, and tools were scattered
everywhere. Since I never had the chance to know Bob very well, I felt a little bit like I was transformed
back to a time when he must have been busy tinkering in his shop plying his unique blend of intuition and
intelligence.
After about an hour of poking around, my foot hit something hard on the oor – I looked down and there
was a black trash bag at my feet, just lying there like it had been abandoned and forgotten.
I opened it up and it was one of those moments when angels actually sing (of course, this time the voices
sounded very much like something from an old Wendy Carlos track…).
Inside this bag was a Minimoog in pristine condition. On it was a plaque stating it was one of the last 25 made
on the Minimoog line. I just started laughing. How BOB! This is how I was slowly starting to know him better;
this mythic instrument was probably brought in one night, placed on the oor as he headed to his workbench
to nish some circuit, and then forgotten.
The Minimoog has a very special place in the history of electronic instruments. They are loved, played, abused,
coveted, hidden away so as not be touched, talked about, blogged about, and on and on. They were noisy,
unstable, quirky, funky – everything that makes for a great soulmate! Now it’s 40 years later, and the Voyager
XL was born out of the desire to celebrate this history.
When we at Moog discussed this project, we decided that we needed to celebrate more than the Minimoog
per se, but the larger legacy of Bob’s work. To hark back to the original modular approach and to encourage
musicians to really take advantage of what I consider to be the singular most important aspect of our
instruments: the Control Voltage. Something so basic and simple but it is still revolutionizing the world of
sound.
The XL was born out of a lot of evolving ideas both internal and external since I have been here with Moog.
The request for a larger keyboard, the desire for Ribbon Controller, and for more LFO sources with different
ranges to further expand a musician’s ability to modulate – one of the most fundamental aspects of musicality.
We also felt strongly that this needed to be on the front panel. All these features needed to be immediate,
playable, and fully analog – they DEMAND you to craft your sounds and to architect your soundscapes in the
organic way that made the original modulars so magical.
The XL’s larger keyboard allows you to create much longer harmonic ideas but should also encourage you
to use this keyboard as a polyphonic controller and then further blow down the sonic doors by feeding
this polyphonic source back into the Voyager via the External Audio adding a whole other dimension of
possibilities!

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I am extremely excited about this instrument. It, of course, builds upon the Minimoog Voyager–Bob’s
seminal synthesizer–yet adds another option to our family of synths from the small (our new SLIM Phatty)
to the large (the Voyager XL). Each of these instruments have their own personality, their own voice, and
excel in different ways. But they all are direct descendants of that funky little Minimoog sitting on the oor
of Bob’s workshop that I stumbled upon accidentally that day. They are all direct descendents of the passion
that you, the artists, have put into making your voice heard through this incredible legacy.
As with any instrument, we spend many, many hours discussing and debating features with our customers.
I am extremely appreciative of the huge contributions and always-informative conversations with Moog
guru Brian Kehew, as well Drew Newman, Eric Levy and Roger O’Donnell among others. This continual
collaboration with the artists who use our instruments allows us to craft tools that meet the visions and
inspirations of folks like yourself.
HUGE thanks to my incredibly brilliant and dedicated engineering team: Steve Dunnington, Amos Gaynes,
Rich Shaich, and Eric Church. Nothing is possible without them (including my sanity!). Special thanks to Rudi
Linhard, Axel Hartman, David Rankin and Core Design for their expert contributions. To the terric team at
Moog who are involved in building, shipping, and selling instruments around the world – you are a wonderful
bunch! Thanks to the tireless efforts of our marketing team which gets the news out to you and beyond
and also continually strives to keep Bob’s vision alive. Thanks also to Greg Kist for this incredible manual – a
treasure trove of knowledge and help on the instrument.
To all of you who continually give us your ideas, your passions and your music – you are the bedrock of
Moog Music. We appreciate you all and honor what you do with our instruments. We can’t wait to hear
what you do with the XL.
Finally, without Mike Adams, our president, Moog Music would not be here and especially not continue to
maintain the excellence of spirit and intention through these times. His tireless work and fortitude cannot
be understated. The fact that we are here to celebrate the 40th anniversary of the MiniMoog owes a lot to
his vision and skills.
This morning I brought the rst working XL home and plunked it down in my living room. My six-year old
son’s eyes lit up and he jumped up on a little chair, turned it on, and immediately started crafting his own
sounds, plugging cables in and out, listening, adjusting and grooving – for over an hour until I unplugged it so I
could get back to work (he was not happy about that)!
Now it’s your turn!
It brings me great pleasure to present the Minimoog Voyager XL to you. I hope it brings you a lifetime of
pleasure and inspiration.
Sincerely,
Cyril Lance
Senior Engineer and Chief Technical Alchemist

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Voyager XL User’s Manual - The Basics
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Voyager XL User’s Manual - The Basics
This User’s Manual is organized into convenient sections to assist you in setting up, playing and exploring
your new Voyager XL.
The Setup and Connections section explains how to unpack, setup and connect the Voyager XL, and provides
a quick start to get you up and running with your new instrument.
The Components section offers detailed explanations of the Voyager XL components that create and modify
sound.
The Panel Mode, Edit Mode and Master Mode sections provide in-depth descriptions of the Voyager XL
menus, options and operation.
The Appendix provides additional information, such as technical specications, service and support info, and
making connections to optional external equipment. First time users should read Appendix D Synthesis Tuto-
rial, where you will nd an explanation of sound and subtractive synthesis.
For those interested MIDI interface specics, see the section titled How the Voyager XL handles MIDI, as well
as Appendix E, MIDI Implementation. Those who are new to MIDI should rst read MIDI Basics, found in Ap-
pendix B.
At the back of the manual, you’ll nd a Glossary that denes important synthesizer terminology, and a table
listing all of the Voyager XL Presets.
Icons
Throughout the manual you will see icons that offer additional information. Here’s what they mean:
This icon indicates an important note concerning the operation of the Voyager. XL
This icon indicates a useful performance or programming tip.
This icon indicates technical information for the advanced user or the technically curious.
How to Use this Manual

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Voyager XL User’s Manual - The Basics
For those of you who can’t wait to play your new Voyager XL synthesizer (completely understandable!), The
following should get you set up and running quickly.
We encourage you to read the entire manual at some point to learn more about the
instrument and gain a better understanding of what you can do with the Voyager XL.
Check the contents in the shipping carton
The Voyager is shipped with the following items:
1. The Voyager XL Synthesizer
2. Patch Cable Kit
3. Power cord
4. This User’s Manual
5. Warranty registration card
What you will need
In addition to the Voyager and provided accessories, you will need:
1. A stand or table sufcient to support the Voyager XL
2. A ” instrument cable (for mono) or two ” instrument cables (for stereo) and an
amplier, or a pair of headphones
3. A properly wired AC outlet.
4. A few ” patch cords for trying various connections
Set up
Make sure you have an adequate place to set it up. You will need a sturdy keyboard stand or at surface
that will provide the proper support and will not easily topple. Use caution when lifting the Voyager XL out
of the carton, and be sure to save the carton and all packing material in case you need to ship the Voyager
XL for any reason.
Connect to Power and Amplier
Make the connections as shown below. Connect the Voyager XL’s power receptacle (on the back panel) to
a wall outlet using the supplied AC power cord. The Voyager XL universal power supply will operate with a
power source from 90 to 250 Volts AC, 50/60Hz. Do not switch on the power yet. Set the Master Volume
control to minimum before making the connection to an amplier or headphones.
Setup and Connections

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Voyager XL User’s Manual - The Basics
Now Power up
Turn the Voyager XL power ON. The LCD screen will light up and display an “XL” start-up message. After
a few seconds the start-up screen will disappear and the current preset will appear in the display. The name
of the current preset location (bank and preset number) will appear on the top line and the preset name
will be displayed on the middle line of the LCD screen:
Test for Sound and Set Levels
Play a few notes on the Voyager XL keyboard while turning up the volume of your amplication. Set the
volume to a comfortable listening level.
Start Playing
Use the -1/+1 buttons to scroll through the presets. All preset locations are loaded with sounds from the
factory (128 presets each in 8 banks). There are a total of 1024 preset locations in memory – 896 of which
are user programmable. Note that once a preset is called up, you can tweak the parameters to your liking
using the front panel controls. Any changes made to the current preset will cause the display to change as
shown, with asterisks added to the preset name indicating that the preset has been modied:
If you make changes to a preset and want to return to the original sound, simply press ENTER. You can
toggle between the stored preset and the current edited preset by pressing the EDIT button and selecting
the COMPARE TO PRESET function. This function will allow you to toggle back and forth between the
original preset and the edited preset using the CURSOR button (for more on the COMPARE TO PRESET
function, see page 51). If you wish to save your changes, press EDIT and select the SAVE PRESET function
(for more on the SAVE PRESET function, see page 64). Any changes made to a preset will be lost if they
are not saved once you change to a new preset.

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Making Your Own Sounds
To create your own sound from scratch, it’s good to start from the Voyager XL default parameters. This
can be done by the ‘Initializing Parameters’ command. Press the EDIT button, and press the +1 button until
INIT PARAMETERS is highlighted, then press ENTER. Use the CURSOR button to select ‘Yes’ and press
ENTER. This loads the default parameters temporarily into the current preset location. The default sound
is a basic one-oscillator square wave sound–think of it as a blank canvas for your sonic creations. Try the
controls to the right of the Mixer, one at a time, starting with FILTER CUTOFF, and notice how they affect
the sound. Then try combining different tones with the Mixer and Oscillators 2 and 3. Finally experiment
with the Mod Busses to see how different types of Modulation affect the sound.
To operate exclusively from the front panel and not from the presets, the ‘Real Panel Parameters’ must be
loaded. First initialize the parameters as described above. Then press the PANEL button twice. Use the -1
button to highlight ‘REAL PANEL PARAM’. Press ENTER, and you will see the prompt ‘Load actual panel
parameter? Yes/No’. Use the CURSOR to select Yes and press ENTER. The sound produced by the Voyager
is now determined by the settings of the front panel independently of preset memory.
When working with the Voyager XL, keep in mind that many of the controls are interactive, so there is
frequently more than one way to control a single parameter. This may be a source of confusion. For
instance, if the Sustain level of the Volume Envelope is all the way down, and the Attack and Decay times are
at zero, there will be no output. In another example, if you have a sound where the AMOUNT TO FILTER
control for the Filter Envelope is at zero, then changing the Filter Envelope ATTACK control will likely result
in no audible change. To use your Voyager XL to its fullest potential, it is very important to understand the
workings of all the controls and how they interact in order to understand how a sound (or lack thereof) is
produced. Don’t get frustrated, simply work systematically until you know what each control does and how
it interacts with other Voyager XL parameters.
The Voyager XL is recommended for an operating temperature between about 50 and 100 degrees
Fahrenheit. It is safe to operate the synthesizer outside of this range (between 0 and 125 degrees F),
but the Voyager’s voltage controlled oscillators (VCOs) may not remain in tune.
It is recommended that a warm up period of about 15 minutes be allowed before using the Voyager.
This warm-up period is necessary for the proper operation of the VCO’s (the warm up period may be
longer if the Voyager XL has been stored outside the recommended operating temperature range).
Warranty registration
Moog’s on-line warranty registration system is the best way to activate your warranty. Access the Moog
web site at www.moogmusic.com and click on the “Product Register” tab. If you complete all the requested
information, Moog Music will send you a complimentary gift.

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Voyager XL User’s Manual - The Basics
Overview and Features
Front Panel:

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Voyager XL User’s Manual - The Basics
Back Panel:

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To understand the Voyager XL internal signal ow, it’s helpful to consider the three types of signal rout-
ings in the system: the audio path, the control voltage path, and the modulation path.
Audio Path
The Voyager XL audio path includes all of the signal sources and signal modiers that produce an audio
output. These include the oscillators, mixer, lters and ampliers (VCAs).
The Oscillator section includes controls for selecting the octave and waveforms, adjusting the tuning of
the second and third oscillators, for setting the oscillator sync and linear FM functions, and for setting the
frequency range and keyboard control for Oscillator 3.
The Mixer section is where the oscillators and other sound sources (noise and external input) are
selected and mixed together. The output of the Mixer section is routed to the Filter section through a
Mixer Out/Filter In jack on the Voyager’s rear panel. This jack allows you to interrupt the signal routing
between the Mixer and Filter to insert an external effect, or take the output of the Mixer directly.
The Filter section is responsible for altering the harmonic content of the combined sound sources. The
Voyager’s Filter section contains two lters that work together in two different modes: Dual LP and
HP/LP. Dual LP mode features two lowpass lters in parallel, while HP/LP (Highpass-Lowpass) mode
features a lowpass and highpass lter in series, creating a Bandpass lter response. In either mode, the
Filter Cutoff control affects the cutoff frequency of both lters, and the Spacing control is used to adjust
the difference between the cutoff frequencies. The outputs of the lters are routed to the Voltage
Controlled Ampliers (VCAs).
The VCAs shape the volume level of the audio signal using time-varying control signals called Envelopes.
The Envelopes section (part of the control voltage path) contains one Envelope Generator to control
the Filters, and one Envelope Generator to control the VCAs. The Voyager’s audio path is illustrated
below.
Signal Flow
The Voyager XL Audio Path

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Voyager XL User’s Manual - The Basics
Control Voltage Path
When a key is pressed, or a MIDI Note On message is received, a Gate and Pitch Control Voltage (CV) are
produced. The Gate signal is used to trigger both the Filter and Volume Envelope Generators (EGs). The
Pitch CV is used to determine the pitch of the Oscillators and can be applied to a varying degree to the
Filters through the Keyboard Control Amount knob. The basic control voltage path is illustrated below.
Modulation Path
Modulation is performed through the Modulation Busses. There are two separate Mod busses. One is
controlled by the Mod Wheel, while the other is controlled by the MOD1 CV (a CV input on the Patch
Panel). The MOD 1 CV input is normalled to +5V, so with nothing plugged into this jack, the PEDAL/ON
bus is on at the level determined by the PEDAL/ON Amount control. In each Mod Bus, a Modulation
Source, Shaping signal and Destination are selected. An overall maximum modulation amount can be set
with the Amount control. The Modulation Buss routing is illustrated in the gure on the next page.
The Voyager’s Low Frequency Oscillator (LFO) is assigned through the Modulation Busses. The LFO features
a triangle and a square wave, and both waves can be used at the same time. The LFO is also used to trigger
the Sample and Hold circuit, which means the speed of the Sample and Hold is adjusted by the LFO RATE
control.
The Voyager XL Control Voltage Path

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Voyager XL User’s Manual - The Basics
The Modulation Buss Path
Additional Modulation
The Touch Surface controller can control three parameters simultaneously. The position of a nger on the
touch pad generates a control voltage for the horizontal (X) position and a control voltage for the vertical
(Y) position. Pressing on the touch surface generates a control voltage based on the area (A) of the nger-
tip. A light touch causes less of your ngertip to touch the pad, while a heavy touch causes more contact
with the touch surface. Touch Surface Controller parameters (X & Y) are available as Modulation Sources
for both the Mod Wheel and Pedal/On busses through Edit Mode programming (See Edit Mode 2.1 & 2.3 -
‘PGM M-WHL SOURCE’ and ‘PGM PEDAL SOURCE’). The four Touch Surface parameters (X, Y, A & Gate)
can also be programmed as modulation destinations through Edit Mode programming (see Edit Mode 5.1
- ‘T.S DESTINATIONS’).
Many more modulation possibilities are available through the Voyager XL’s Modular Patch Panel. The Patch
Panel offers an endless array of powerful modulation and control possibilities that go far beyond the built-in
features already mentioned - all you need is a few patch cords!
Digital Features
The Voyager has three operation modes: Panel, Edit, and Master. Panel Mode is used for accessing and
performing with the Voyager’s 7 banks of 128 user-writable presets (896 presets total). Panel Mode has
a menu that can be accessed for performance related functions such as “parameter display” which shows
stored and edited values as you edit a preset. Edit Mode contains all Voyager XL functions that can be
stored in a preset that are not set by the front panel controls, such as naming presets, and some advanced
functions like Pot Mapping, or Filter Poles. Master Mode is used for global settings, such as MIDI In and Out
channels.

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Voyager XL User’s Manual - The Basics
A Voyager XL preset is basically a “snapshot” of front panel settings combined with the parameters set in
Edit Mode. The preset that is loaded is referred to as the “Current Panel Preset” and is stored in a memory
buffer separate from the presets. This preset can be edited freely. The parameters are set by the Voyager
XL preset memory until a setting is changed, at which time the current position of that control takes over.
The Voyager has both a ‘Compare’, and ‘Recall Last Edit’ sound function. Changes to a preset can be saved
to any of the 896 preset locations using the Edit Mode function ‘Save Preset’. There are three ways to
change Presets:
1. Use the -1/+1 buttons.
2. When the External Audio On/Off switch is OFF, the EXTERNAL level control can be used
to quickly scroll through the entire current bank. When the desired preset is reached,
pressing the ENTER button will load the new preset. (For more on using this function,
see QUICK MODE, on page 47).
3. The Voyager XL responds to MIDI Bank Select and Program Change messages.
For storage and recall of more than 896 presets, Moog Music recommends purchasing the Voyager Editor/
Librarian, a Mac/PC program designed for creating, organizing and archiving presets for the Voyager family of
products. It can be purchased from the Moog Music website (www.moogmusic.com).
The Voyager XL has a full MIDI implementation. Its front panel rotary controls and switches send MIDI CCs,
and the Voyager XL synth engine receives and responds to these same commands. Presets can be sent as
SysEx data to a computer for storage, and the Voyager XL can receive SysEx data either for single presets,
preset banks, or for operating system updates.
Digital Features (con’t)

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Voyager XL User’s Manual - The Components
Now let’s take a look at the individual module components that make up the Voyager XL, starting with the
Mixer section. Then we’ll move on to the other panel functions (Oscillators, Filters, Envelopes, etc. ), perfor-
mance controls (Keyboard, Ribbon and Left-Hand controls) the Modular Patch Panel, the Back Panel, and
nally the User Interface section.
A. The Mixer Section
The Mixer combines the main sound sources of the Voyager XL. It’s a good place to start when creating
a new sound from scratch, or guring out how a sound is put together. All ve of the Voyager XL sound
sources can be switched ON or OFF, and their levels can be individually adjusted.
The ve sound sources are:
- External Audio Input
- Oscillator 1
- Oscillator 2
- Oscillator 3
- Noise Source
Each sound source in the Mixer has a dedicated ON/OFF switch and a level control.
The audio output of the Mixer is routed to the Filter through an insert jack on the
Voyager’s back panel. If an insert cable is plugged into this jack however, the Mixer
output be routed through an external effect and returned back into the Voyager’s signal
path. This jack can also be used as direct output of the Mixer if desired (see page 17
for more information).
The Components
Mixer Section Controls:
Oscillator 1, 2 & 3:
The OSCILLATOR controls in the Mixer allow each oscillator to be switched ON or OFF , and mixed
in any proportion. When the levels of the oscillators are set high, the output from the Mixer gently
overdrives the Filter section. This was one of the important features in the original minimoog that gave it its
characteristic “fat” sound.
Noise:
The NOISE control is used to mix noise with the other sound sources. In the Voyager, noise is a white/pink
hybrid. It is useful for making ocean wave sounds, explosions, wide sounds, or adding subtle coloration to a
sound.

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Voyager XL User’s Manual - The Components
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Voyager XL User’s Manual - The Components
External:
The EXTERNAL control allows an external monophonic audio source to be routed into the Mixer, where it
can be mixed with the Oscillators and Noise source (an “Ext Audio In” jack on the Voyager XL back panel is
provided for this input). The LED above the EXTERNAL control knob begins to light up as the input signal
overdrives the Mixer input. When the light is faint, a small amount of soft clipping is occurring. When the
LED is bright, the signal is strongly overdriven. Judicious use of overdrive can really fatten up a sound. The
External Audio Input can accept a signal from instrument level to line level.
Mixer Back Panel Connections:
Mix-Out Loop:
The jack on the back labeled “Mix Out/Filter In” is an insert point between the Mixer output and the Filter
input. Using a standard insert cable, an effect such as a moogerfooger® MF-102 Ring Modulator can be
inserted to add effects to the oscillator, noise source, and external audio in prior to the Filter stage. The
Mixer output signal appears at the tip of the insert cable jack as shown below. The return signal is applied
to the ring of the jack. A cable fully plugged into the jack breaks the connection between the Mixer and the
Filter, and unless the Return signal is sent to the ring of the jack, no signal will pass through to the Filter. The
level settings in the Mixer affect the output level, so keep this in mind as you try different devices in this loop.
A secondary function of the EXTERNAL control knob is that it can be used to scroll through a
bank of presets when in PANEL mode when the EXTERNAL switch is set to OFF. For more on
this feature, see ‘Quick Mode’ on page 47.
Got a few guitar stompboxes laying around? The Mix-Out loop allows you to easily insert guitar
pedal effects into the Voyager XL signal path. What to try? Nearly any type of sound effects
device or sound modier is fair game (chorus, phaser, anger, overdrive, distortion, graphic/
parametric EQ, tube preamp, exciter, etc.) and worth checking out. As always, experimentation
is encouraged!
The Mix-Out loop adds tremendous
exibility to the powerful sound
creation abilities of the Voyager XL!
You can use the External Audio Input jack to route the Voyager XL output back into itself. This
classic feedback trick is a great way to produce a thicker, meatier sound when the gain is
properly set with the EXTERNAL control knob.

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Voyager XL User’s Manual - The Components
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Voyager XL User’s Manual - The Components
B. The Oscillator Section
The Oscillators are the main sound source of the Voyager XL. The oscillators are all analog Voltage Con-
trolled Oscillators, or VCOs. They feature a temperature regulation circuit that provides them with excel-
lent tuning stability. The VCOs can produce a total musical range of 8  octaves! In addition, the frequency
of oscillator 3 can be set to the sub-audio range (<20Hz) for use as an auxiliary LFO.
Oscillator 1 performs as a master oscillator to which Oscillator 2
and 3 are tuned. The timbres of the oscillators are adjusted by their
variable Waveform controls. In addition, there are switches for
Oscillator 2 sync to 1; linear frequency modulation of Oscillator 1
by 3; Oscillator 3 keyboard control on/off; and Oscillator 3 Lo or Hi
frequency range. The frequencies of the Oscillators are controlled
by a number of sources. The main source is the pitch CV generated
by keyboard or by MIDI Note ONs. A glide circuit can be switched
in between the Keyboard CV and the oscillators to slow the voltage
changes between notes, resulting in a glissando effect. The Keyboard
CV then is mixed with the Octave switch CV, the Frequency control
(Oscillators 2 and 3), the Pitch Bend Wheel, the Fine Tune control,
and the output of the Mod Busses when the ‘Pitch’ destination is
selected.
Oscillator Section Controls:
Octave:
Each Oscillator has a 6-position OCTAVE switch that selects the relative frequency range. To hear how it
works, turn off Oscillators 2 and 3 in the Mixer. Turn Oscillator 1 on and set its level to 5. Play a note on
the keyboard and rotate the Oscillator 1 octave switch clockwise one click – the note will rise an octave.
You can use this control to change the frequency range that the keyboard controls. The panel markings 32’
up to 1’ are octave standards based on organ stops. On the 16’ setting, MIDI Note number 93 is A440
(equivalent to the “A” key above middle C) .
Frequency:
Oscillators 2 and 3 have a FREQUENCY control. When the control is in the center position, the oscillators
should be in unison with the frequency of Oscillator 1 (when the octave switches for all three oscillators
are in the same position). The Frequency control can change the pitch of Oscillator 2 or 3 a total of +/- 7
semitones relative to Oscillator 1. This allows more than one frequency to be played when a key is pressed.
Adjusting the frequency of Oscillator 2 & 3 to be slightly out of tune with Oscillator 1 results in the classic
“oscillator beating” chorus sound.
NOTE: The Oscillator FREQUENCY controls have no calibration - sometimes unisons are
made with the controls a little left or right of center. Oscillator 1 does not have a Frequency
control because it is designed to serve as a reference oscillator for the other 2 oscillators.

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Wave:
Each oscillator features a continuously variable WAVE (waveform) control. The legend on the front panel
shows the pure waveforms that are available. They are triangle, sawtooth, square, and rectangular. The
waveform is morphed gradually from one to another as the waveform control is rotated. Because the
waveform is voltage controlled, this parameter can be modulated;
this generates some very interesting timbral changes. By limiting the
modulation between the square and skinny pulse waveform, you
can get pulse width modulation. Although the waveforms can be
set from the front panel individually for each oscillator, modulation
through the Mod Busses is applied to all three waveform controls
simultaneously. When using modulation, it is possible to make the
width of the rectangular wave so skinny that it becomes silent.
1-2 Sync:
The 1-2 SYNC switch is one of four switches located at the bottom of the oscillator panel. In the ON
position, the 1-2 SYNC switch synchronizes Oscillator 2 to Oscillator 1. Oscillator sync is an effect caused
by resetting an oscillator waveform’s start point with another
oscillator as shown here (the effect is more noticeable if the synced
oscillator is a higher frequency than the reset oscillator). The main
frequency heard is that of the reset oscillator. As the frequency of
the synced oscillator is swept, it reinforces the harmonics of the
reset oscillator. Depending on how it is applied, the effect can be
aggressive or warm and vocal. This effect is much more dramatic
when Oscillator 2 is set to a higher octave than Oscillator 1.
3-1 FM:
In the ON position, the 3-1 FM switch establishes direct linear Frequency Modulation (FM) of Oscillator
1 by Oscillator 3. When an Oscillator is used as a CV source for another VCO, it is called frequency
modulation. Frequency modulation effects can vary from vibrato or trill effects to clangorous inharmonic
sounds to rich timbres that evoke acoustic sounds. Linear FM is the kind of frequency modulation used in
classic FM synths.
TIP: Several factory presets illustrate the use of extreme modulation to force the rectangular
wave to silence. For examples, check out the “Waveform Dance” and “Relaxation Drone”
presets.
3 KB Cont (Oscillator 3 Keyboard Control):
The 3 KB CONT switch disables keyboard control of Oscillator 3 when in the OFF position. By disabling
the keyboard control, you can use Oscillator 3 as a drone or as a modulation source whose frequency
doesn’t change with the key played. In addition to turning off the keyboard control of Oscillator 3, switching
to OFF increases the amount by which the Oscillator FREQUENCY control changes Oscillator 3’s
frequency.
3 Freq (Oscillator 3 Frequency):
The 3 FREQ switch selects Oscillator 3’s frequency range. When the switch is in the LO position, Oscillator
3 operates as a sub-audio sound source (producing clicks) or as a modulation source (auxiliary LFO). When
the switch is in the HI position, Oscillator 3 operates with the same available frequency range as Oscillator 2.

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Related Oscillator Controls:
Two other panel controls interact with the Voyager XL oscillators: Fine Tune and Glide. These controls are
located to the lower left of the Modulation Busses section
Fine Tune:
The FINE TUNE control is used to tune the oscillators ± 2 semitones for matching an
external reference pitch.
Glide Rate:
Glide enables a glissando effect between notes. The GLIDE RATE control adjusts the
rate of the glissando. The glide rate can vary from a very fast to a very slow glide. It can
be switched on or off using the GLIDE switch in the Voyager XL keyboard left-hand
controller section, or in the PANEL mode menu of the RME. You can also turn glide on
or off by sending a MIDI CC 65 message (0-63 = off, 64-127 = on).
Oscillator CV Inputs on the Patch Panel:
PITCH -
The PITCH jack allows you to connect an external CV or Expression Pedal to control the Voyager XL’ s
pitch. All three oscillators are effected by this connection. The effective input range is -5 to +5 V, where a
positive CV will add to the Oscillator FREQUENCY control knob settings, and a negative CV will subtract
from the settings. If an Expression Pedal is used, the pitch can only be made to increase, since the pedal
connection supplies only a positive voltage.
WAVE -
The WAVE jack allows you to connect an external CV or Expression Pedal to control the oscillator wave-
forms. All three oscillators are effected by this connection. The effective input range is 0 to +5 V; the result
is dependant upon the panel WAVE control knob setting (a positive CV will add to the setting of the WAVE
control knob).

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C – The Filter Section
Filters are used to adjust the tone color of an audio signal. Filters modify sounds by rejecting some
frequencies while allowing others to pass through. To understand the operation of lters and how they
process sound, there are a few important terms to know.
In the original Minimoog, the Resonance control was called ‘Emphasis’. Many of the
current Minimoog emulations (both hardware and software) use the term ‘Emphasis’
instead of ‘Resonance’ in the lter section to preserve the authentic vibe of the
original hardware.
The rst term is ‘Cutoff Frequency’. The cutoff frequency is the point at which an audio
signal’s frequencies begin to be rejected. Then there are the different types of lters;
some of the most common and most musically useful lter types are ‘lowpass’, ‘highpass’,
and ‘bandpass’. A lowpass lter behaves as its name indicates; it passes all frequencies
below the cutoff frequency and rejects frequencies above the cutoff. A highpass lter
does the opposite. It passes all frequencies above the cutoff point and rejects the
frequencies below the cutoff. A bandpass lter does a bit of both, since it is created
by combining lowpass and highpass lters. In the case of a bandpass lter, the lowpass
section denes the maximum frequency that will pass through, while the highpass
section denes the minimum frequency that will pass through. What’s left is a band of
frequencies that will pass through the lters unaffected, hence the name, bandpass.
Another key term is the ‘Cutoff Slope’. The cutoff slope determines the amount of
attenuation that occurs above the cutoff frequency. The cutoff slope is specied in
decibels per octave (commonly written as ‘dB/oct’). The electrical design of a lter
determines the cutoff slope. You may have heard the term ‘pole’ as it refers to lters.
A pole is simply a design aspect of a lter, and each pole in a lter typically adds 6dB
to the cutoff slope. This means that a one-pole lter has a cutoff slope of 6db/oct, a
2-pole lter has a 12dB/oct cutoff slope, etc. The classic Moog lter – the sound that
started it all – is a 4-pole, 24dB/oct lowpass lter.
Another important lter term is ‘Resonance’. Resonance refers to a peak that appears at the cutoff
frequency. In synthesizers, this resonant peak is usually an adjustable parameter (called ‘ Resonance’ ) that
is part of the lter controls. High resonance values emphasize the overtones that fall within the frequency
range of the resonant peak, giving the processed sound a character that
can be described as vocal, quacky or zappy, depending on the source
sound. When the resonance is turned up past about 8 on the dial, the
lter begins to self-oscillate at the cutoff frequency, producing a sine
wave tone. The Keyboard Control Amount control sets how much the
lters’ cutoff frequencies track the keyboard note that is played. As you
play higher on the keyboard, the cutoff frequency goes higher, too.

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Dual Lowpass Mode:
The Voyager XL Dual Lowpass lter mode features
two lowpass lters which are routed to the left
and right audio output, creating a stereo effect. The
CUTOFF knob controls the frequency cutoff of
both lters. The lters can be set to the same cutoff
frequency, or adjusted to different cutoff frequencies
using the SPACING control. When the two lters are
set at different cutoff frequencies and routed to two
different speakers, the resulting sound can vary from
something simple (like a mild phaser effect) to sounding
like two very different synths playing at the same time.
In Dual Lowpass mode, the RESONANCE control
affects both lters identically.
Highpass Lowpass Mode:
In Highpass/Lowpass mode, the Voyager XL lters
are congured as a lowpass and highpass lter in
series, resulting in a bandpass lter. The output of the
bandpass lter is routed to both outputs. As with the
Dual Lowpass mode, the CUTOFF control changes
the cutoff frequency of both lters, and the SPACING
control sets the frequency difference between the
highpass lter and lowpass lter. The spacing between
the two lters creates a variable passband. In this mode,
the RESONANCE control affects only the lowpass lter,
thus making for some distinctive and usual lter sounds.
The Voyager XL has two voltage controlled lters (VCF’s) that can be congured either as dual lowpass
lters or as a combination of highpass & lowpass through a front panel switch. Additionally, the cutoff slope
of each lter can be changed in software, resulting in a wide range of unique and interesting sounds.