Moog Satellite User manual

Controls

GLIDE

CONTROL

VOLUME

CONTROL

PANEL

MODULATION

CONTROLS

QUICK—SET

VOICING

TABS

MODULATION

TASS

FILTER

CONTROLS

OCTAVE

GLIDE,

SUSTAIN

TABS

LEVELS

TUNE

CONTROLS

(LOCATED

ON

REAR

PANEL)

ACCESSORY

&

OUTPUT

CONNECTIONS

(LOCATED

ON

REAR

PANEL)

SLIDE

CONTROLS

POWER

ON-OFF

SWITCH

1

A

L:

INDICATOR

LIGHT

SOLO

KEYBOARD

I

Before

proceeding

with

Operation

and

Adjustment

of

your

unit,refer

to

page

14

for

Connection

Instructions.

LEVEL

ADJUST

This

rotary

control

(located

on

the

back

of

the

unit)sets

the

overall

output

level,

or

volume,

of

the

unit.

Smaller

changes

in

volume

may

be

made

with

the

VOLUME

control

on

the

Slide

Control

Panel.

TUNE

This

rotary

control

(located

on

the

back

of

the

unit)

provides

a

range

of

tuning

which

extends

more

than

one-half

octave.

This

flexibility

can

be

used

to

tune

your

MOOG

SATELLITE

to

other

instruments,

transpose

to

different

keys,

or

even

provide

a

glissando

effect.

POWER

AND

INDICATOR

LIGHT

An

ON-OFF

power

switch

is

conveniently

located

on

the

front

panel,

with

a

red

light

which

indicates

when

the

power

is

ON.

OCTAVES

With

neither

tab

depressed,

your

MOOG

SATELLITE

will

play

in

its

highest

pitch

level.

Depress

tab

"1”,

and

whatever

you

play

on

the

keyboard

will

be

one

octave

lower.

Raise

tab

"1"

and

depress

tab

"2”,

and

the

keyboard

pitch

level

is

lowered

another

octave.

Depress

both

tabs

and

the

pitch

level

is

lowered

still

a

third

octave.

Because

of

the

electronic

tailoring

of

the

sounds

to

the

requirements

of

each

pitch

level,

you

will

find

that

the

effectiveness

of

every

sound

seems

to

change

magically

as

you

change

from

octave

to

octave.

Try

all

sound

effects

in

all

four

pitch

levels.

SUSTAIN

This

"Quick-Set”

tab

allows

the

sound

of

a

note

to

"linger"

after

the

key

is

released.

It

pro¬

vides

interesting

variations

to

the

special

voice

settings

described

in

this

Manual.

Quick-Set

Voice

Tabs

•

HOLLOW

■

FULL

•BRIGHT

•PLUCK

•STRIKE

•

PICK

LUNAR

With

the

unit

connected

and

power

ON,

a

sound

can

be

heard

when

a

note

on

the

keyboard

is

struck,

even

though

no

voices

are

selected

and

all

slide

controls

are

set

at

"0”

(except

for

the

VOLUME

control).

The

controls

described

herein

will

add

and

subtract

from

that

sound

in

a

multitude

of

combinations

available

for

your

exploration

-

shape

it.

change

its

attack

and

release,

raise

it,

or

lower

it.

We

suggest

that

you

play

a

phrase

or

two

with

each

of

the

twelve

"QUICK-SET

-

'

VOICE

TABS

conveniently

located

on

the

front

of

the

unit.

Try

each

with

all

the

slide

controls

set

at

"0"

(except

for

VOLUME).

Exact

setting

of

slide

controls

for

any

particular

effect

will

depend,

not

only

on

your

musical

taste,

but

also

on

your

complete

electronic

reproduction

system

including

amplifiers,

speakers

and

other

components.

NOTE:

If

more

than

one

"QUICK-SET"

Voice

Tabs

are

depressed

at

the

same

time

the

sound

will

be

that

controlled

by

the

Voice

tab

farthest

to

the

left.

MUTE

BRASS

This

voice

is

a

new

version

of

the

wah-wah

effect.

The

sound

approximates

a

double-acting

wah-wah,

or

"ooo-wah-ooo."

It

starts

with

an

emphasis

on

the

"lows'',

moves

to

the

"highs"

and

returns.

Each

time

a

key

is

depressed

the

"ooo-wah-ooo"

sound

is

pro¬

duced.

Try

it

in

each

octave.

OPEN

BRASS

The

sounds

of

a

trumpet,

trombone,

or

tuba

can

be

approximated

by

selecting

this

tab,

and

varying

it

with

other

controls.

Characteristic

of

this

voice

(and

some

of

the

other

"Quick-Set"

voices)

is

a

built-in

timbre

change

which

is

faster

in

the

upper

octaves

and

is

automatically

slower

in

the

lower

octaves

—

much

as

the

attack

of

a

tuba

differs

from

that

of

a

trumpet.

This

attention

to

the

authentic

details

of

the

attack

in

different

octaves

is

a

unique

feature

of

the

Satellite.

Try

it

in

each

octave

setting.

THIN

REED

This

voice

provides

a

sound

similar

to

that

of

a

double

reed.

In

the

top

octave

the

sound

is

oboe-like.

In

the

lower

octaves,

the

sound

of

a

bassoon

is

approximated.

You

will

note

a

slight

timbre

change

in

the

onset

of

the

tone

and

a

slow

attack.

HOLLOW

REED

The

hollow

reed

sound

and

the

soft

attack

of

the

traditional

clarinet

and

bass

clarinet

are

character¬

istic

of

this

voice

-

an

excellent

voice

in

all

octave

registers.

FULL

REED

This

full

bodied

reed

sound

is

unique

to

the

Satellite.

It

combines

some

of

the

qualities

of

a

double

reed

wind

instrument

with

those

of

a

pipe

organ

with

a

little

saxophone

added.

In

the

lowest

registers,

it

is

an

excellent

reproduction

of

the

sound

of

the

sarrusophone,

a

wind

instrument

popular

in

bands

of

the

early

1900's.

BRIGHT

REED

This

voice

approximates

that

of

a

saxophone.

With

adjustment

of

other

controls

you

will

be

able

to

vary

the

sound

through

the

characteristics

of

alto

and

tenor,

baritone,

and

even

bass

saxophone.

BOW

STRING

This

gentle

voice

with

its

slow

attack

can

be

made

to

simulate

violin,

viola,

cello,

and

even

some

of

the

sounds

of

the

Pass

violin.

PLUCK

STRING

This

sqund

is

quite

percussive

with

a

lingering

decay.

It

is

most

useful

for

creating

guitar-like

or

harpsichord-type

effects,

including

that

of

a

folk

guitar.

STRIKE

STRING

In

the

upper

registers

this

voice

is

that

of

an

electronic

piano.

In

the

lower

registers

it

provides

an

interesting

sound

similar

to

that

of

an

electric

bass

guitar.

PICK

STRING

Banjo

type

sounds

are

provided

with

the

hollow

sound

characteristic

of

this

voice.

In

the

lower

registers

it

can

simulate

the

plucked

sound

of

the

string

bass,

or

bass

violin.

BELL

In

the

upper

octaves

a

fine

bell

sound

is

provided

by

this

voice.

In

the

lower

octaves,

the

huge

sound

of

a

large

carillon

can

be

reproduced.

LUNAR

This

versatile

voice

perhaps

is

most

characteris¬

tic

of

the

Moog

sounds.

It

provides,

in

its

various

adjustments,

a

wide

variety

of

timbre

changes

with

which

you

can

produce

many

popular

electronic

"Moog"

sound

effects.

It

is

most

effective

when

used

with

SUSTAIN,

4

Modulation

The

four

function

tabs

labeled

MODULATION

on

the

front

of

the

unit

provide

a

selection

of

modulation

types.

The

two

MODULATION

slide

controls

on

the

slide

control

panel

adjust

the

RATE

and

DEPTH

of

modulation.

VIB

(VIBRATO)

This

tab

provides

a

frequency-modulation

vibrato

similar

to

the

type

used

in

electronic

organs.

However,

the

wide

range

of

effects

offered

by

the

two

slide

controls

extends

the

capability

of

this

effect

far

beyond

vibrato

and

into

the

realm

of

the

synthesizer.

When

the

VIB

tab

is

depressed,

the

basic

frequency

of

a

note

is

varied

(or

''wiggled'')

to

a

degree

deter¬

mined

by

the

DEPTH

control

and

at

a

rate

determined

by

the

RATE

control.

RATE

The

rate

of

modulation

may

be

varied

from

approx¬

imately

one

second

at

"0"

to

a

rate

so

fast

that

at

"10”

the

sound

becomes

a

buzz.

However,

even

at

extreme

settings,

the

basic

character

of

the

"QUICK-

SET"

voices

is

still

apparent.

For

instance,

MUTE

BRASS,

with

VIB

plus

RATE

at

10

becomes

a

BUZZ-WAH

type

of

effect.

With

slower

settings

it

is

easy

to

obtain

the

effect

of

trills

between

notes,

regardless

of

the

voice

selected.

DEPTH

This

control

adjusts

the

degree

or

intensity

of

modulation.

For

vibrato

(VIB),

increasing

DEPTH

corresponds

to

greater

frequency

variation.

This

frequency

variation

may

be

adjusted

from

less

than

one-half

step

(on

the

scale)

to

more

than

one

octave.

For

tremulant

(TREM),

increasing

DEPTH

corresponds

to

greater

timbre

variation.

This

flexibility,

combined

with

the

RATE

control,

makes

possible

synthesis

of

such

effects

as

"out

of

tune"

strings,

huge

bells

whose

clanging

sounds

interfere

with

each

other,

quarter

tone

scales,

trumpet

"shake"

effects,

and

a

myriad

of

others.

TREM

(TREMULANT)

This

tab

provides

modulation

of

the

harmonic

content

of

the

tone.

The

harmonic

content,

or

timbre,

is

varied

at

a

rate

determined

by

the

RATE

control

and

with

an

intensity

determined

by

the

DEPTH

control.

NOTE:

VIB

and

TREM

can

be

used

together.

REP

(REPEAT)

The

repeat

lab

affects

only

those

"QUICK-

SET"

voices

which

have

built-in

timbre

changes.

The

timbre

change

associated

with

a

specific

voice

will

be

repeated

over

and

over

again

at

a

speed

controlled

by

the

RATE

slide

control.

This

is

easily

demonstrated

by

depressing

MUTE

BRASS,

REP,

OCTAVE

1

and

2,

and

setting

RATE

at

0.

Play

a

sustained

tone,

then

slowly

move

the

slide

control

to

10

and

return,

while

sustaining

the

tone.

NOTE:

The

DEPTH

slide

control

has

no

effect

on

the

REP

function.

+unrut

This

control

provides

a

most

versatile

tool

in

achieving

the

distinctive

sounds

associated

with

the

MOOG

synthesizer.

It

affects

the

type

of

modu¬

lation

obtained

by

two

of

the

other

MODULATION

functions,

VIBRATO

and

TREMULANT.

When

this

tab

is

in

the

up

position,

•HXirut

VIB

and

TREM

are

with

a

square-wave

pattern.

The

variation

of

frequency

(VIB),

or

variation

of

timbres

(TREM),

will

be

very

abrupt

and

choppy,

with

discon¬

tinuities.

With

VIB,

for

instance,

a

definitive

variation

in

frequency

can

be

obtained,

like

a

trill.

When

rut

is

depressed,

a

sine

wave

type

of

modulation

is

obtained

which

provides

a

smooth

variation

of

timbre

or

frequency

-

almost

a

glissando.

The

difference

between

the

two

effects

is

easily

discernible

in

the

following

characteristically

MOOG-

type

settings.

Depress

+torut

,

MUTE

BRASS,

OCTAVE

2,

VIB,

set

RATE

at

3,

and

DEPTH

at

6.

Depress

any

key

on

the

keyboard

and

listen

to

the

smooth

variation

in

frequency

as

you

keep

your

finger

on

the

key.

Then

raise

the

tab

marked

+LOrut

and

observe

the

abrupt

variation

in

frequency.

Repeat

the

above

steps

with

TREM

instead

of

VIB,

and

then

combine

the

two.

Slide

Control

Panel

H

HI

iipiii

CONTOUR

COLOR

EMPHASIS

'»*•!;

■

**>«*

if

WITffl!!

VOLUME

GLIDE

FILTER

CONTROLS

Once

a

"Quick-Set"

tab

voice

selection

is

made,

further

refinement

and

adjustment

of

that

voice

may

be

made

by

using

the

three

slide

controls

labeled

FILTER.

CONTOUR

This

controls

the

speed

of

the

timbre

change

associated

with

the

onset

of

the

voice,

and/or

the

timbre

change

associated

with

the

release

of

that

voice.

The

wide

range

of

this

control

can

provide

both

slow

settings

(useful

for

simulation

of

bass

violin

or

tuba

effects)

and

fast

timbre

change

settings

(which

can

provide

wild

chirping

effects).

COLOR

This

acts

as

a

brightness

control,

but

it

has

such

a

wide

range

that

it

can

have

major

effect

on

the

basic

sound

itself.

Your

choice

may

lie

anyvyhere

between

adding

in

all

of

the

high

harmonics

you

wish,

or

eliminating

them.

EMPHASIS

This

control

adds

a

resonance

frequency

area

to

the

spectrum

of

the

tone.

At

"0",

spectrum

of

the

"Quick-Set"

sound

is

unchanged.

As

the

control

is

pushed

forward,

the

intensity

of

the

sound

within

a

pre-selected

resonance

area

is

increased.

At

maxi¬

mum,

there

is

a

well

defined

narrow

sharp

peak

in

the

spectrum

of

the

tone.

FILTER

CONTROLS

SUMMARY

Remember,

the

"Quick-Set”

tabs

establish

an

overall

range

of

sound

and

the

three

Filter

slide

controls

give

you

a

wide

selection

and

control

within

the

limitations

of

that

range.

Try

this:

1.

Depress

OPEN

BRASS

tab,

and

set

the

slide

controls

at

"0".

2.

Play

a

few

notes

on

the

keyboard.

3.

Play

again

with

various

settings

of

the

COLOR

slide

pot.

The

range

of

sound

will

be

from

that

of

a

very

dull

trumpet

to

a

very

brassy

one.-

4.

Now

do

the

same’with

the

EMPHASIS

control.

The

sound

will

range

through

cornet,

trumpet,

and

flugelhorn

characteristics.

5.

Repeat

with

various

settings

of

the

CONTOUR

control.

It

will

show

the

wide

range

of

contoured

timbres

in

the

onset

of

the

tones.

ADDITIONAL

CONTROLS

MODULATION

CONTROLS

See

discussion

under

MODULATION

on

page

5.

GLIDE

This

is

one

of

the

most

interesting

of

the

Moog

effects.

Depress

the

GLIDE

tab

and

set

the

GLIDE

slide

control

at

6.

Play

any

note

on

the

keyboard.

Release

this

note

and

quickly

play

a

second

note

some

distance

away.

The

sound

automatically

glissandos

from

the

first

note

to

the

second.

The

setting

of

the

slide

control

determines

the

speed

of

the

glissando,

(10

is

slow

-

1

is

fast).

Try

a

melody

of

detached

notes

and

notice

the

succession

of

glide

attacks.

VOLUME

The

VOLUME

slide

control

provides

finger-tip

adjustment

of

fine

gradations

of

the

Satellite

output.

Major

changes

in

sound

level

are

obtained

by

means

of

the

rotary

knob

on

the

back

of

the

unit.

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2

3

4

5

6

7

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How

to

Order

Service

Parts

Service

parts

are

stocked

only

at

our

Customer

Service

Department

in

Sepulveda,

California.

Please

order

all

your

requirements

from:

THOMAS

ORGAN

COMPANY

CUSTOMER

SERVICE

DEPARTMENT

8345

HAYVENHURST

AVENUE

SEPULVEDA,

CALIFORNIA

91343

A.

Use

your

own

order

form,

letter,

or

postcard.

B.

Place

your

order

on

our

Customer

Service

Department

Electronic

Secretary

in

the

evening

(dial

Area

Code

213,

telephone

number

893-4416)

or

-

C.

In

case

of

extreme

rush,

call

the

Customer

Service

Department

during

the

day

at

Area

Code

213,

telephone

number

894-7161

and

ask

for

extension

356

or

357.

Parts

List

SATELLITE

P.C.

BOARD

ASSEMBLY

SATELLITE

CONTROL

P.C.

BOARD

ASSEMBLY

SCHEMATIC

PART

SCHEMATIC

PART

LOCATION

NUMBER

DESCRIPTION

LOCATION

NUMBER

DESCRIPTION

C2,C3

18-5217-3

220uF,

25V

(Electro)

Cl

,C2

18-5217-3

220uF,

25V.

(Electro)

C4

18-5214-3

1,5uF,

20V

(Tantalum)

D1.D2.D3.D4

86-5045-3

Diode,

Silicon

(Power

C15-.C25

18-5215-3

2,2uF,

50V

(Electro)

IN4004)

C31

18-5216-3

220uF,

6,4V

(Electrol

D5

86-5044-3

Diode,

Silicon(Signal

D1

thru

D12

86-5044-3

Diode,

Silicon(Signal

1N

4148)

IN4148)

R7.R8.R9

24-5350-0

100K,

Pot

Slide,

(Linear)

R1.R47.R98,

1

R10.R12

24-5352-0

500K,

Pot

Slide,

(Log)

R103.R139.R174.)

•

24-5340-3

100K

Ohm.

Trim

Pot

R11.R13

24-5351-0

100K,

Pot

Slide,

(Log)

R190

J

T1

80-5008-0

Transformer,

Power

R4

24-5335-3

500

Ohm,

Trim

Pot

IC1.IC2

13-5018-6

Intergrated

Circuit,

R10

24-5338-3

2

OK

Ohm,

Trim

Pot

(OP-Amp.

741)

R16.R21

24-5337-3

10K

Ohm.

Trim

Pot

01

86-5148-2

Transistor.

NPN

(2N3904)

R17.R79

24-5342-3

100

Ohm.

Trim

Pot

35-36000-0

Satellite

Control,

P.C.

R25

24-5341

-3

2

Meg.

Ohm,

Trim

Pot

Bd.

Assy.

R130.R132

24-5339-3

2K

Ohm,

Trim

Pot

R160

24-5336-3

1

K

Ohm,

Trim

Pot

MISCELLANEOUS

CABINET

PARTS

LIST

R6.R7

61-100201-2

10K

Ohm.

1/4W,

1%

Film

11-5837-0

Panel,

Rear

Controls

R9

R13.R19.R48

R18

R20

R80

R81.R82

61-442301-2

61-150301-2

61-681001-2

61-475201-2

61-174101-2

61-511201-2

442K

Ohm,

1/4W.

1%

Film

150K

Ohm.

1/4W,

1%

Film

681

Ohm,

1/4W.

1%

Film

47.5K

Ohm.

1/4W,

1%

Film

1.74K

Ohm.

1/4W,

1%

Film

51.IK

Ohm.

1/4W,

1%

Film

R114

61-5000-1

1

K

Ohm,

3%

Temp.

Comp.

J2

IC1

13-5020-6

Intergrated

Circuit,

J3

(Voltage

Reg.

723)

J4

IC2,IC3,IC4,

*

1

R238

IC5.IC6.IC7.

IC8.IC13.IC21,

IC22

7

13-5018-6

Intergrated

Circuit,

(OP-Amp.

741)

R237

IC9.IC10.IC12,

IC14,IC15,IC16,

113-5019-6

Intergrated

Circuit,

1

Cl

7,1

Cl

8

(OP-Amp.

CA-3080)

1

Cl

1,1

C19.IC20

13-5015-6

Intergrated

Circuit.

(Transistor

Array

SG-3821)

IC23

13-5074-3

Resistor

Matrix

Q1

Q2.Q4.Q6.Q7,

Q9.Q10.Q11,

012,013.014,

86-5150-2

Transistor,

(PNP

TIS93)

Q15,Q17,Q25,

Q26.Q27.Q31,

•86-5149-2

Transistor,

(PNP

2N3906)

034,035,036,

Q43.Q44.Q46,

Q47,Q48.Q50

.

03,05,08,016,

'

Q18,Q19,Q21.

Q24.Q28.

Q29,

030,033,037,

Q38,Q39.Q40.

Q49

■

86-5148-2

Transistor,

(NPN

2N3904)

Q20,Q32,Q41,

Q42.Q51

J

f

86-5147-2

Transistor,

(FET,

N-CHAN.

E203)

Q22.Q23

86-5146-2

Transistor,

(FET.

N-CHAN.

El

12)

45-5049-0

Connector,

12-Pin

Male

Polar

45-5043-5

Terminal.

1C,

4-Pin

Socket

45-5044-5

Terminal,

1C,

7-Pin

Socket

45-5022-2

Socket,

1C,8-Pin

Circular

77-5129-0

Spacer,

1C,

Socket,

7-Line

35-35990-0

Satellite,

P.C.

Bd.

Assy.

SW1

thru

SW21

J1

40-5133-0

40-5134-0

69-5367-0

89-5083-0

21-

5355-1

45-5022-1

45-5023-1

45-5076-3

45-5024-1

24-5353-0

24-5354-0

52-5220-0

52-5221-0

77-5130-0

49-5330-0

49-5331-0

23-5017-0

22-

5023-0

23-

5051-1

23-5053-1

62-8268-1

62-8269-1

62-8270-1

62-8271-1

62-8272-1

62-8273-1

62-8274-1

62-8275-1

62-8276-1

62-8277-1

62-8278-1

62-8279-1

62-8280-1

62-8281-1

62-8282-1

1

1-5847-0

11-5848-0

26-5004-0

70-5201-0

97-5351-0

70-5202-0

Overlay.

Slider

Panel

Overlay,

Front

Controls

Switch,

with

Quick-Tab

Lamp.

Pilot

with

Clip

Housing,

24-Pin

Female

Socket.

6-Pin

(Accessory!

Jack,

Phone

Jack,

RCA-Phono

Jack.

Phone

(Shorting

Type)

5OK

Ohm,

Pot

Rotary

(Level)

100K

Ohm,

Pot

Rotary

(Tune)

Knob,

Rotary

(Push-on)

Knob,

Slide

Pot

Standoff,

P.C.

Bd.

Mounting

Foot,

Rubber

Foot,

Adjustable

Cord.

A.C.

Power

Strain

Relief

Cable.

Output

Accessory

Adapter.

"Y"

"A"

Key

Natural

(Ivory)

"B"

Key

Natural

(Ivory)

"C"

Key

Natural

(Ivory)

"D"

Key

Natural

(Ivoryj

"E"

Key

Natural

(Ivory)

“F"

Key

Natural

(Ivory)

"G"

Key

Natural

(Ivory)

"C"

End

Key

Natural

(Ivory)

"A"

Key

Natural

(Black)

"B"

Key

Natural

(Black)

"C"

Key

Natural

(Black)

”D"

Key

Natural

(Black)

"E"

Key

Natural

(Black)

"F"

Key

Natural

(Black)

"G"

Key

Natural

(Black)

62-8283-1

Sharp

Black

Channel,

Natural

Channel.

Sharp

Bushing,

Guide

Spring,

Key

Return

Screw,

Key

Spring,

Contact

Accessory

and

Connections

For

operation

the

Satellite

Synthesizer

unit

should

be

placed

on

a

horizontal

surface

in

a

location

which

will

not

interfere

with

its

operation.

NOTE;

Avoid

placement

in

close

proximity

to

electronic

circuitry,

as

on

the

top

of

some

electronic

organs,

because

excessive

hum

may

result.

LO-LEVEL

OUTPUT

(30

millivolts

RMS),

Phone

Jack

.

HI-LEVEL

OUTPUT

(1

volt

RMS),

RCA

Phono

Jack

designed

for

use

with

Guitar

Amplifier,

P.A.

Systems,

designed

for

use

with

Electronic

Organs.

("Y"

Adapter

etc

-

and

Accessory

extension

cable

are

included

with

your

unit).

satellite;

rear

panel

Connection

Instructions

SINGLE

CHANNEL

ORGANS

(MONAURAL)

Disconnect

the

RCA

Phono

plug

from

Amplifier

Input

Jack

and

insert

the

"Y”

Adapter

plug

into

the

Amplifier

Input

Jack.

Connect

Accessory

extension

cable

plug

into

"Y”

Adapter

socket

and

insert

the

plug

on

the

other

end

of

the

extension

cable

into

the

HI-LEVEL

OUTPUT

jack

on

your

Satellite

unit.

Connect

the

organ

plug

(pre¬

viously

removed)

into

the

other

"Y"

Adapter

socket.

DUAL

CHANNEL

ORGANS

(STEREO)

Disconnect

the

RCA

Phono

plug

from

the

Right

or

Main

Channel

Amplifier

Input

Jack

and

insert

"Y"

Adapter

plug

into

Right

or

Main

Channel

Input

Jack.

Connect

the

Accessory

extension

cable

plug

into

the

"Y”

Adapter

socket

and

insert

the

plug

on

the

other

end

of

the

extension

cable

into

HI-LEVEL

OUTPUT

jack

on

your

Satellite

unit.

Connect

the

Right

or

Main

Channel

plug

(previously

removed)

into

the

other

"Y”

Adapter

socket.

NOTE:

Do

not

connect

the

Satellite

Synthesizer

into

Leslie

or

Left

Channel

Input.

FILTER

CONTROL

INPUT

This

jack

is

provided

for

the

control

of

the

Timbre

with

a

Moog

Pedal

controller.

ACCESSORY

SOCKET

Permits

the

attachment

of

a

Foot

Pedal

to

control

several

Synthesizer

features.

(Consult

your

dealer

for

avail¬

ability

of

Moog

Accessories).

Care

of

Your

Moog

Satellite

Your

new

MOOG

SATELLITE

Synthesizer

is

carefully

designed

to

give

you

maximum

pleasure

and

satisfaction

with

a

minimum

of

care.

Following

these

tips

on

the

care

of

your

Synthesizer

will

help

keep

it

"showroom

new".

•

LOCATION

As

with

any

electronic

instrument,

avoid

placement

in

direct

or

prolonged

sunlight.

Normal

variation

of

temperature

will

not

affect

the

tuning

or

electronic

circuitry

of

the

synthesizer.

Storage

location

should

be

chosen

to

avoid

placement

in

front

of

hot

air

registers,

or

beside

an

outside

doorway

in

winter,

as

these

elements

may

affect

the

finish

of

the

cabinet.

•

CABINET

Quality

hardwoods

are

used

in

your

MOOG

SATELLITE.

Therefore,

a

minimum

amount

of

care

will

insure

you

of

having

a

piece

of

furniture

that

will

retain

its

beauty.

An

occasional

dusting

with

a

soft,

dry

cloth

should

remove

both

fingerprints

and

dulling

film.

To

clean

the

keys

a

soft

cloth

dampened

in

a

mild

soap

solution

should

remove

even

the

most

persistent

stains.

Under

no

circumstances

should

solvents

or

cleaning

fluids

be

used

to

clean

keys

or

cabinet.

•

POWER

REQUIREMENTS

This

instrument

must

be

operated

from

a

standard

120

V.A.C.

60

Hz

power

outlet.

Normal

line

voltage

variation

will

not

affect

its

operation.

Power

requirements

of

this

unit

are

very

low.

All

Solid

State

circuits

are

operated

at

a

very

low

voltage

and

component

life

is

therefore

extended.

•

SAFETY

Your

MOOG

SATELLITE

Synthesizer

has

been

designed

for

maximum

safety

in

its

operation

and

trouble

free

performance.

However,

repair

or

service

of

electronic

products

should

be

done

by

qualified

personnel

familiar

with

the

hazards

relating

to

electricity

and

electronic

circuitry.

The

risk

of

repair

or

service

must

not

be

assumed

by

the

customer.

Your

dealer

will

provide

a

competent,

experienced

service

technician

for

that

purpose.

Please

contact

your

dealer,

if

your

unit

needs

repair

or

service.

•

CONCLUSION

And

now

as

you

play

....

Let

us

offer

you

our

best

wishes

for

a

happy

and

rewarding

experience

with

your

new

MOOG

SATELLITE

Synthesizer.

We

know

it

will

bring

you

great

pleasure

and

creative

satisfaction.

ALL

COMPONENTS

-

ONE

YEAR

FROM

DATE

OF

ORIGINAL

SALE.

CABINETRY

-

90

DAYS

FROM

DATE

OF

ORIGINAL

SALE.

We

warrant

your

Moog

Satellite

Synthesizer

to

be

free

of

defects

in

material

or

workmanship.

We

agree

to

remedy

any

such

defect

by

repairing

or

replacing

at

our

option

with

a

new

or

equal

part

in

exchange

through

an

authorized

dealer

or

service

technician.

This

does

not

apply

to

any

instrument

subjected

to

misuse,

neglect,

accident

or

acts

of

God

or

improper

servicing

performed

by

other

than

an

authorized

dealer

or

service

technician

which

in

any

way

affects

the

reliability

of

or

detracts

from

the

performance

of

this

product.

This

warranty

does

not

cover

labor

or

transportation

costs

for

the

instrument

or

any

part

thereof.

For

your

protection

and

future

reference,

please

keep

this

warranty

along

with

your

bill

of

sale.

MUSIC

INC.tr^

Academy

Street

(P.0

Box

131)

Witliamsville.

N

Y.

14221

•

phone

(716)

633

22lU)

September

20,

1972

SATELLITE

SYNTHESIZER

CIRCUIT.

DESCRIPTION

&

GENERAL

TEST

PROCEDURE

CIRCUIT

FEATURES

.

■

■■■■

-1

-

■

i

■

—

-

■

—

B

%

The

sound

producing

chain

of

the

Satellite

Synthesizer

.

consists

of

an

oscillator

that

produces

both

sawtooth

and

rectangular

waveforms,

a

band'pass

filter,

a

lev;

pass

filter,

•'

anci

a

variable

gaih

amplifier.

All

four

of

these

circuits

in

the

sound

producing

chain

are

voltage

controlled.

The

remainder

of-.the

circuitry-is

devoted

to

producing

appropriate

control

vo.tages.

The

.keyboard

circuit

produces

one

pitch

control

vo;tage

whose

magnitude

depends

on

which

key

is

depressed,

and

a

t

rigger

voltage

which

is

on

whenever

any

of

the

keys

is

de¬

pressed.

The

modulating

oscillator

produces

triangular

and

square

waveforms

for

modulating

the

oscillator

and

the

filters.

Two

contour

generators

produce

voltages

that

rise

and

then

fall

each

time

a

key

is

depressed.

One

of

thpse

sweeps

one

of

the

filters,

while

the

other

sv/eeps

the

amplifier.

A

resistor

matrix

determines

the

average

values

of

the

voltage-controlled

para¬

meters.

The

power

supply

delivers

+

13

volts

unregulated,

and

+

9

volts

regulated.

The

resistor

matrix

has

fifteen

input

columns

and

twelve

output

rows.

A

column

is

on

when

+

9

volts

is

applied

to

it,

and

it

is

grounded

when

it

is

off.

The

two

left-most

columns

are

connected

to

the

"two

octave"

and

"one

octave"

switches

respectively.

They

shorten

the

contour

times

and

raise

the

.filter

frequencies

when

they

are

on.

The

remaining

columns

u

are

the

quickset

voices.

Only

one

of

these

is

on

at

a

time.

,

The

rows

are

fed

to

low

impedance

points

in

the

circuitry.

Of

’the

twelve

matrix

output

rows,

eight

supply

control

currents

.for

continuously

variable

parameters,

while

the

remaining

four

supply

switching

current

to

determine

circuit

states.

/

7

DESCRIPTION

OF

CIRCUITRY

ON

LARGE

BOARD

•

[

The

large

circuit

board

which

mounts

underneath

the

key¬

board

contains

most-of

the

Satellite

circuitry.

All

connections

to

this

board

are

made

through

two

Molex

connectors.

Looking

at

the

board

from

the

component

side

with

the

connectors

along

the

top

edge,

_the

left

hand

connector

is

designated

"A"

and

the

right

hand

connector

is

designated

"B".

The

pins

are

numbered

from

1

to

24

starting

with

the

left

hand

on

each

connector.

Drawing

08-005

is

a

schematic

diagram

of

this

boar*l.

The

designations

used

in

the

discussion

of

the

circuitry

are

yhose

shown

on

drawing

08-005.

,

_.

.

..

.

••

'

.

•'

7

t'f.

"

TJ»

e

positive

‘power

supply

regulator

consists

..

a3S

ociated

components.

This

circuitry

is

completely

.

^

Vl2

ntional.

It

will

deliver

55

or

60

mi

Hi

amperes

before

the

/ojtdge

developed

across

current

sense

resistor

R2

limits

the

Cl

,rrent.

.

/

T

he

negative

regulated

supply

circuit

consists

of

IC2,

Ql,

and

associated

components.

This

circuit

simply

adjusts

its

output

to

be

the

negative

of

the

regulated

+9.

No

current

limiting,

other

than

that

supplied

by

R8,

is

provided.

The

keyboard

circuit

consists

of

IC3,

IC4,

IC5,

IC6,

IC7,

IC9,

IC10,

and

The

keyboard

itself

contains

a

string

of

thirty-six

100

ohm

resistors.

The

string

is

connected

between

A5

and

AS.

The

current

through

the

resistor

string

is

regulated

by

IC7

so

that

the

drop

across

R79

and

R80

’

is

excictly

4.5

volts.

R79

is

set

so

that

the

voltage

at

A6

is

exactly

-4.5

volts.

The

voltage

at

the

keyboard

buss

is

fed

to

voltage

follovrer

IC4.

,

Because

of

resistor

R53,

the

keyboard

buss

voltage

rises

to

7

volts

or

so

when

no

key

is

depressed.

The

output

of

voltage

follower

IC4

i|HJien

fed

to

comparator

IC5.

The

output

of

IC5

swings

from

+7

to

-16

volts

whenever

the

input

goes

above

+4.8

volts.

Q5

and

Q6

comprise

a

monostable

multivibrator

that

produces

a.pulse

of

approximately

30

milliseconds

duration

(Fig.

1).

When

the

output

of

IC5

swings

positive,

a

positive

spike

is

fed

through

C7

and

CR7

to

the

base

of

Q6,

initiating

a

2,0

millisecond

pulse.

R63,

R73,

and

R72

are

proportioned

so

that

Q7

conducts

only

when

the

output

of

IC5

is

positive

and

the

output

of

the

rocnostable

(the

collector

of

Q5)

is

negative.

That

is,

Q7

begins

to

conduct

approximately

30

milliseconds

after

a

key

is

depressed,

and

stops

conducting

as

soon

as

all

keys

are

released.

When

Q7

conducts,

Q8

is

turned

on,

and

the

voltage

at

its

collector

goes

from

0

to

+9.

When

this

happens,

C13

discharges

through

R61,

producing

a

ramp

voltage

at

the

base

of

Q4

that

decreases

from

+9.

to

-0.6

in

approximately

20

milliseconds

(Fig.

2)

.

’

Q4

is

an

emitter

follower

that

supplies

a

current

through

R62

and

Q3

to

turn

on

IC10.

IC10

and

Q51

and

associated

circuitry

comprise

a

sample-hold

circuit.

VThen

the

current

ramp

is

fed

to

5

of

IC10,

the

voltage

at

the

source

of

Q51

rapidly

approaches

that

at

the

output

of

IC4.

As

soon

as

the

base

of

Q4

drops

below

0.8

volts,

the

bias

current

being

fed

to

IC10

through

Q3

drops

.

to

zero,

and

the

voltage

at

the

source

of

Q51

remains

constant.

As

long

as

the

output

of

IC5

remains

positive

(that

is,

as

long

’as

any

key

is

depressed,)

a

very

small

trickle

bias

current

of

approximately

.50

nanoamperes

flows

through

R59

so

that

IC10

is

capable

of

supplying

a

small

current

to

C5

to

keep

its

voltage

constant.

As

soon

as

all

keys

are

released,

the

output

of

IC5

goes

negative

and

IC10

is

virtually

completely

shut

off.

Thus,

when

only

one

key

at

a

time

is

depressed,

the

voltage

at

the

source

of

Q51

begins

to

approach

the

new

key

voltage

approximately

3.0

milliseconds

after

the

key

is

depressed,

and

is

brought

to

.

*

be

equal

to

the

new

key

voltage

well

before

the

ramp

current

turning

IC1G

goes

to

zero.

As

long

as

a

key

is

depressed,

the

correct

voltage

at

the

source

of

Q51

is

maintained

by

the

small

trickle

current

going

through

R59.

When

the

key

is

released,

the

trigger

output

at

the

collector

of

Q8

drops

to

zero,

and

the

^^pl^n^^ircu^^^longe^sample^th^<eyboar^voffag^

■

UP*

Jp

milli.iecond

delay

supplied

by

Q5

and

Q6

is

necessary

to

bypass

_

.the

effect

of

contact

bounce

during

key

depression.

.

•

.

ic6

becomes

important

v/hen

two

keys

are

depressed.

Any

abruot

change

in

voltage

at

the

output

of

IC4

is

fed

through

R56

and

CIO

to

the

input

of

ICG.

Cll

filters

out

spikes

shorter

than

1

rnilli

second

or

so

that

are

associated

with

contact

bounce

or

spurious

interference.

The

resulting

rounded

pulse

is

amplified

by

IC6

(fig.

3).

When

the

output

of

ICG

goes

positive,

CR9

con¬

ducts

and

also

fires

Q6.

Therefore,

a

flO

millisecond

positive

going

pulse

is

produced

at

the

collector

of

Q5

whenever

the

key¬

board

buss

voltage

changes.

While

this'

millisecond

pulse

is

on,

the

'trigger

voltage

at

the

collector

of

Q8

goes

to

zero.

This

recharges

Cl3

and

also

resets

the

contour

generators

which

will

be

described

later.

Thus,

v/hen

a

key

is

held

down

and

a

higher

key

is

depressed,

the

sample-hold

circuit

again

samples

’

and

the

trigger

is

rest.

The

same

happens

when

that

higher

key

is

released.

However,

if

the

higher

key

is

held

and

the

lower

key

is

released,

nothing

will

happen

since

the

keyboard

buss

voltage

remains

constant.

When

all

keys

are

released,

CR9

conducts

ar.d

a

£.0

millisecond

pulse

appears

at

the

collector

of

Q5.

However,

the

output

of

IC5

goes

negative,

so

that

when

the

collector

of

Q5

again

goes

negative,

Q3

is

not

reset.

IC3

is

a

voltage

follower.

Its

output

is

the

voltage

of

the

last

key

to

be

depressed.

The

variable

resistor

that

controls

the

glide

rate

is

connected

between

A7

and

A24.

The

time

constant

of

this

resistor

and

C4

determines

the

glide

rate.

ICS

and

Q2-are

another

voltage

follower.

The

difference

between

this

voltage

follower

and

IC3

is

only

in

the

amount

of

input

current

required.

IC9

is

biased

at

a

low

current-

level

so

that

input

current

does

not

result

in

a

pitch

error

v/hen

the

glide

rate

potentiometer

is

at

its

maximum

resistance.

The

voltage

at

the

emitter

Q2

is

the

voltage

which

determines

the

pitch

of

the

.

audio

oscillator.

It

is

also

fed

to

the

filters

and

contour

generators

so

that

as

the

keyboard

voltage

goes

up

the

filter

frequency

also

goes

up

and

the

contour

time

constants

decrease.

.

IC8

is

an

operational

adder.

It

adds

the

pitch,

the.

one-

octave

transpose

voltage,

a

tuning

voltage

from

the

fins

tuning

potentiometer

on

the

rear

panel,

a

modulating

voltage,

and

the

voltage

from

the

external

accessory

socket.

R14

is

a

temperature-

compensating

feed-back

resistor.

The

summation

constant

increases

with

a

temperature

coefficient

of

approximately

3400

parts

per

'

million.

The

relationship

between

R14

and

the

input

resistors

is

such

that

the

output

of

IC8

decreases

approximately

20

milli¬

volts

for

each

octave

increase

in

frequency.

'The

audio

sawtooth

waveform

is

generated

by

charging

C38

from

one

of

the

transistors

in

ICll,

then

rapidly

discharging

it

through

045.

The

current

which

charges

C38

is

determined

by

^

.the

voltage

difference

between

pins

2

and

4

of

ICll.

The

ratio

of

currents

through

these

two

transistors

in

ICll

is

proportional

to

.he-

voltage

difference

betv/een

their

bases.

The

current

from

1

of

IC11

is

kept

constant

via

a

feedback

network.

The

voltage

at

}>in

1

is

compared

with

the

voltage

at

the

junction

of

R28

and

R29

.

Any

voltage

difference

generates

an

error

signal

which

changes

the

total

current

to

the

transistor

pair

in

IC11.

When

the

"two

octave"

switch

is

R30

conducts

and

Q49

is

saturated.

Thin

effectively

places

the

series

combination

of

R20

and

R21

in

parallel

with

R19.

The

voltage

at

1

of

IC11

is

then

det<;n

ir.ed

by

the

current

which

flows

through

the

parallel

'res.si.ors

R19

and

R20-21.

When

the

"two

octavo"

switch

is-ifp-,

R30

does

not

conduct,

Q49

is

open,

and

R20-21

are

out

of

the

circuit.

Thus

the

current

from

1

of

IC11

is

one

quarter

as

much

when

049

is

open

as

it

is

when

it

is

saturated

and,

for

the

same

voltage

difference

between.the

bases,

the

current

from

5

is

also

one

quarter

as

much.

-

The

lower

end

of

C38

is

applied

to

low-current

voltage

fol

.over

IC12-Q46.

The

voltage

at

the

emitter

of

Q46

is

fed

to

Schmitt

trigger

Q43-44.

The

Schmitt

trigger

has

high

hysteresis.

When

the

voltage

descends

to

the

point

where

the

Schmitt

trigger

firos,

Q45

is

turned

on

and

C38

is

rapidly

discharged.

The

Schmitt

trigger

begins

to

shut

off

when

the

discharge

is

about

2/3

complete.

Because

of

the

storage

time

of

Q44

and

Q45,

C38

is

!ully

discharged

before

Q45

is

completely

off.

The

sawtooth

wave

developed

at

the

emitter

of

Q46

(Fig.

4)

is

applied

through

R41

to

the

base

of

Q47

and

through

R43

to

the

col.

ector

of

Q48.

Q47

is

a

high

gain

amplifier.

The

width

of

the

rectangular

wave

that

appears

at

its

collector

depends

on

the

bias

current

supplied

through

R45

from

the

output

of

xC13.

The

control

current

which

is

fed

to

the

input

of

IC13

from

the

res

.stor

matrix

determines

the

output

voltage

of

IC13.

When

the

control

current

is

zero,

Q47

remains

saturated

throughout

the

entire'sawtooth

cycle.

Q48

also

remains

shut

off,

and

the

vol-ace

across

R120

is

the

undistorted

sawtooth.

As

the

conrrol

current

increases,

the

voltage

at

the

output

of

IC13

goes'negative.

When

it

is

about

-1

volt,

the

current

through

Rll.T

is

enough

to

completely

saturate-

Q48

and

effectively

short

out

the

sawtooth

waves.

When

it

is

about

-3

volts,

Q47

begins

to

conduct

on

part

of

the

sawtooth

cycle

and

a

narrow

rectangular

wavoferm

appears

at

its

collector.

When

the

voltage

at

the

out¬

put

of

IC13

is

about

-9

volts,

the

clipping

of

Q47

is

symmetrical

and

a

square

wave

appears

at

its

collector.

Thus,

the

vaveform

at

the

junction

of

R119

and

R120

is

first

a

sawtooth

when

the

com.

rol

current

into

IC13

is

zero,

then

changes

to

a

narrow

rectangular,

then

to

a

broad

rectangular,

and

finally

to

a

square

wavi

as

the

control

current

is

increased.

This

waveform

is

fed

to

the

bandpass

filter.

The

bandpass

filter

consists

of

IC15,

IC16,

and

IC.17,

and

their

associated

components.

The

input

signal

is

fed

to

IC15

and

IC’6.

IC16

and

IC17

are

identical

integrators

which

are

effectively

connected

in

series.

If

it

were

not

for

IC15,

the

duai

integrator

network

would

produce

two

poles

which

would

be

ver}

n

;ar

to

the

imaginary

axis.

The

presence

of

IC15

moves

these

poles

to

the

left.

Thus,

the

gains

of

IC16

and

IC17

determine

the

center

frequency

of

the

filter,

and

the

gain

of

iC15

determines

the

bandwidth

(Q)

.

These

gains

are

set

by

the

..bias

currents

which

are

fed

from

transistor

pairs

Q39-40

and

Q37-33

respectively-.

These

transistor

pairs

aray

be

compared

directly

to

the

transistor

pair

in

IC11

which

determines

the

frequency

of

oscillation.

The

main

difference

is

that

relatively

constant

currents

are

fed

to

these

transistor

pairs

through

R133

and

R129.

A

precise,

wide

range

relationship

between

output

current

and

base-to-base

voltage

is

not

required

of

these

transistor

pairs.

Only

reasonable

repeatability

and

the

rough

approximation

of

exponential

characteristics

are

needed.

'

The

bandv/idth

is

determined

by

the

voltage

difference

between

the

bases

of

Q37

and

Q33.

The

voltage

at

the

base

of

Q37

is

the

result

of

the

bandwidth

control

currents

flowing

through

R128.

An

increase

of

18.5

mv

doubles

the

bandv/idth.

There

are

two

sources

of

Bandv/idth

control

current:

Row

£8

of

the

resistor

matrix,

and

the

EMPHASIS

potentiometer

voltage

applied

to

R121.

The

Center

Frequency

is

determined

by

the

voltage

difference

between

the

bases

of

039

and

Q40.

The

voltage

at

the

base

of

Q40

is

the

result

of

the

center

frequency

control

currents

flowing

through

R134.

An

increase

of

18.5

mv

doubles

the

center

frequency..

These

currents

come

from

Row

i-7

of

the

resistor

matrix,

the

COLOR

potentiometer

voltage

applied

to

P.193,

the

EXTERNAL

jack

voltage

applied

to

R184,

the

modulation

voltage

applied

to

R181,

the

filter

contour

voltage

applied

to

R116,

and

the

keyboard

pitch

voltage

applied

through

R179

and

R180.

The

current

from

row

54

of

the

resistor

matrix

determines

whether

or

not

Q25

conducts.

When

Q25

conducts,

it

is

saturated

and

shorts

out

the

keyboard

voltage

which

is

routed

to

control

the

center

frequency.

R130

and

R132

are

offset

adjustments

for

setting

correct

values

of

bandv/idth

and

center

frequency

respectively.

They

compensate

for

transistor

offset

voltages,

resistor

variations,

and

gain

variations

of

IC15,

IC16,

and

IC17.

The

output

of

the

bandpass

filter

is

taken

from

the

source

of

Q41

and

applied

across

the

bases

of

the

bottom

transistor

pair

of

IC19.

This

transistor

pair

and

the

two

immediately

above

it

consitute

a

low

pass

filter

whose

cutoff

frequency

is

proportional

to

the

standing

current.

This

current

is

in

turn

determined

by

the

voltage

difference

between

13

of

IC19

and

the

base

of

Q33.

The

voltage

at

the

base

of

Q33

is

the

result

of

cutoff

frequency

currents

flowing

through

R151.

These

currents

come

from

row

#9

of

the

resistor

matrix,

the

COLOR

potentiometer

voltage

applied

to

R186,

the

EXTERNAL

jack

voltage

applied

to

R185,

the

modulation

voltage

applied

to

R187,

and

the

filter

contour

voltage

applied

through

R117.

The

setting

of

R139

determines

the

calibration

current

through

R140.

An

increase

of

approximately

18.5

millivolts

at

the

base

of

Q33

results

in

a

one

octave

increase

in

the

cutoff

frequency

of

^

the

low

pass

filter.

‘

The

transistor

pair

to

the

right

of

the

low

pass

filter

controls

t

\e

amplitude

of

the

audio

waveform

by

variable

trans-

conductanc

"J.

The

current

which

determines

this

transconductance

is

in

turr

determined

by

the

voltage

of

12

of

IC20,

and

the

resistance

between

13

and

ground.

The

voltage

applied

to

12

is

the

amplitude

contour

voltage,

and

the

resistor,

from

'

B19

to.

grc

and

is

the

100k

volume

control

potentiometer.

IC22

is

a

differential

amplifier,

the

output

of

which

is

the

final

audio

wave

form.

*

.

•

Of

the

two

contour

generators,

the

amplitude

contour

generator

is

the

simplest,

so

it

will

be

described

first.

This

contour

gsaerator

consists

of

Q35,

Q36,

IC18,

transistor

pairs

026-27

and

Q23-29,

Q30,

Q31,

and

the

associated

circuitry.

When

the

trigger

voltage

goes

on,

Q35

partially

discharges

C25

so

that

the

eaitter

of

Q35

remains

at

5

volts

or

so.

If

Q36

is

saturated,

Q34

does

not

go

on

at

all.

Row

if

3

in

the

resistor

matrix

det

srraines

whether

or

not

Q36

is

turned

on.

If

Q34

is

not

turned

on,

the

C25

is

free

to

charge

again

through

Q26.

The

charging

carrent

from

Q26

is

determined

by

the

voltage

control

which

the

current

from

the

resistor

matrix

develop

across

R189.

Thus,

the

/oltage

at

the

emitter

of

Q35

is

a

decaying

curve

if

Q36

is

on,

and

a

step

followed

by

a

decaying

curve

if*Q36

is

off.

The

rise

time

of

the

voltage

at

the

emitter

of

Q35

is

determined

only

by

th

inability

of

Q35

to

discharge

C25.

Typically,

this

rise

time

Ls

less

then

1

millisecond.

The

decay

time

of

the

amplitude

contour

is

determined

by

the

voltage

difference

between

the

bases

of

Q26

and

Q27.

The

voltage

across

R189

results

from

the

a

nolitude

contour

decay

time

control

currents

coming

from

row

#2

of

the

resistor

matrix,

the

keyboard

voltage

applied

to

R1S9,

and

the

shaping

current

from

R169

and

R171

(described

below).

R190

corrects

for

transistor

offsets

and

other

normal

component

variations.

A

voltage

increase

of

18.5

rav

at

the

base

of

Q25

cuts

the

decay

time

in

half.

IC18

and

Q32

comprise

a

voltage

follower

whose

slew

rate

is

propora

cional

to

the

bias

current

of

IC13.

The

bias

current

comes

from

the

collector

of

Q28

and

is

determined

by

the

voltage

difference

between

the

bases

of

Q2?

and

Q29.

Thus,

since.the

decay

time

of

an

envelope

is

generally

longer

than

the

attack

time,

the

/oltage

appearing

at

the

source

of

Q32

has

an

attack

time

inversely

proportional

to

the

collector

current

of

Q26.

The

contributions

to

attack

time

control

are

similar

to

those

of

decay

time

control.

The

quick-set

current

comes

from

row

#1

of

the

resistor

matrix.

-

‘

.

Sincj

Q26

is

a

nearly

ideal

current

source,

the

decay

slope

at

the

source

-of

Q32

would

be

a

straight

line,

were

it

not

for

the

action

of

Q30.

At

the

beginning

of

the

decay

slope,

the

voltage

at

the

base

of

Q30

is

more

positive

than

the

emitter,

and

Q30

do

as

not

conduct.

When

the

base

of

Q30

goes

below

(

-0.6

volts,

Q30

acts

as

an

emitter

follower.

The

current

through

R169

slows

down

the

decay

slope.

The

more

negative

the

base

of

Q30

goes,

the

higher

is

its

control

current,

and

the

more

the

decay

slop*

gees

down.

This

gives

the

decay

slope

an

extended

tail

and

t

\erefore

sounds

like

a

more

natural

exponential

decay.

When

the

voltage

at

B21

is

+9,

Q31

is

saturated

and

there

is

very

li

:tle

current

flowing

through

R171.

When

the

voltage

•

••

•

at

B21

3

s

zero,

R31

is

open

and

current

flows

through

R170-171

to

greatly

speed

u£

the

decay

slope.

The

"sustain"

switch

connects

B21

to

+9~v;hen

it

is

down,

and

connects

it

to

the

trigger

line

when

it

is

up.

As

a

result,

the

tone

is

rapidly

squelched

when

the

"sustain"

tab

is

up

and

the

keys

are

released.

As

noted

above,

the

keyboard

pitch

voltage

controls

both

attack

c.nd

decay

times

through

R199

and

R198

respectively.

These

times

change

by

a

factor

of

approximately

2.5

over

the

complete

keyboard

range.

The

filter

contour

generator

contains

most

of

the

features

of

the

amplitude

contour

generator.

Q15

of

the

filter

contour

generator*corresponds

to

Q35

of

the

amplitude

contour

generator,

Q13

to

Q34,

and

Q12

to

Q36.

An

additional

feature

of

the

contour-initiating

circuitry

is

the

coupling

in

of

trigger

pulses

from

the

modulating

oscillator

through

R36

and.R90

to

produce

repeated

filter

contours

(Fig.

5).

The

"filter

contour

choice"

control

current

that

comes

from

the

matrix

row

#11

through

R

88

and

R91

determines

whether

the

filter

contour

will

rise

and

then

immediately

fall,

or

fall

only

upon

release

of

all

keys.

Q9-10

of

the

filter

contour

generator

corresponds

to

Q26-27

of

the

amplitude

contour

generator.

The

current

from

Q10

determines

the

decay

time

of

the

contour.

Similarly,

IC14

corresponds

to

IC18,

Q18-19

corresponds

to

Q28-29,

and

Q16

correxponds

to

Q30.

R95

and

R10I

couple

the

keyboard

voltage

to

the

attack

and

decay

control

circuits.

Finally,

the

voltag-

applied

to

B18

from

the

contour

potentiometer

simultaneously

varies

the

attack

and

decay

rimes

of

the

filter

contour.

Q22

and

Q23

are

routing

switches;

only

one

is

on

at

a

time.

The

"filter

contour

routing"

control

current

from

matrix

row

#5

determines

whether-

Q17

is

open

or

saturated.

.

If

Q17

is

open,

then

Q21

is

also

open,

and

Q24

is

saturated.

Thus,

Q22

is

biased

on

and

Q23

is

biased

off,

and

the

contour

is

routed

to

the

low

pass

filter.

On

the

other

hand,

if

Q17

is

saturated,

Q2

3

is

biased

on

and

the

contour

is

routed

.to

the

center

frequency

control

input

of

the

bandpass

filter.

DESCRIPTION

OF

CIRCUITRY

ON

SMALL

BOARD

The

raw

power

supply

and

modulating

oscillator

are

mounted

on

the

smaller

circuit

board,

along

with

the

seven

slide

potentiometers.

Refer

to

drawing

08-004

for

the

schematic

of

this

board.

The

raw

supply

is

completely

conventional.

The

nominal

total

load

drawn

from

each

of

the

raw

voltages

is

45

ir.illiamperes.'

The

modulating

oscillator

consists

of

ICl,

IC2,

and

associated

components.

IC2

is

an

integrater

and

ICl

is

a

Schmitt

trigger.

The

waverform

at

the

output

of

IC2

is

triangular

and

the

waveform

at

the

output

of

ICl

is

square.

The

output

of

ICl

is

used

to

drive

Ql

in

and

out-

of

saturation.

Thus,

the

voltage

at

the

square

wave

output

(pin

12

)

is

a

square

wave

with

a

peak

amplitude

of

precisely

-9

volts.

The

trigger

output

(pin

10

)

is

a

positive

pulse

which

occurs

when

the

square

wave

*

switch.es

from

negative

to

positive.

The

current

which

supplies

the

integrater,

and

therefore

the

oscillator

frequency,

is

varied

by

means

of

RIO.

The

frequency

range

is

1-50

Hz.

Satellite

Test

and

Calibrating

Procedure

Page

Nine

Revision

A

5/14/74

Unless

otherwise

noted,

controls

and

switches

on

the

outside

of

the

Satellite

should

be

set

in

the

following

"normal"

positions

for

testing:

CONTOUR

COLOR

EMPHASIS

RATE

DEPTH

GLIDE

VOLUME

PINE

TUNE

EFFECTS

TABS

QUICKSET

TABS

0

10

0

10

Mid-Position

All

up

All

up

1.

A

djust

R4

until

the

+9

volt

line

is

exactly

9.000

volts

+10

mv.

Verify

that

the

-9

volts

line

is

-9.000

volts

+200

mv.

/

2.

Depress

highest

note

on

keyboard.

Observe

the

voltage

between

A6

(common

lead)

and

AS

(positive

lead).

Adjust

R79

until

voltage

reads

+9.000

volts

+10

mv.

This

sets

the

keyboard

current.

3.

Verify

that

the

trigger

voltage

at

the

collector

of

QB

is

as

shown

in

Fig.

6

when

a

single

key

is

depressed.

Hold

that

key

down

and

depress

the

key

and

verify

that

a

trigger

occurs.

4.

Verify

that

the

keyboard

pitch

voltage

at

the

emitter

of

Q2

goes

from

-4.50

volts

to

+4.50

volts

+50

mv

as

the

tester

runs

his

hand

up

the

keyboai'd.

Also

verify

that

this

voltage

holds

while

and

after

the

key

is

released

and

does

not

drift

+

more

than

25

mv

per

minute.

5.

Depress

"one

octave"

tab

and

the

A

above

middle

G

on

the

keyboard.

Observe

a

sawtooth

wave

as

shown

in

Fig.

7

at

the

emitter

of

Q46.

Adjust

tune

control

to

approximately

the

.

middle

range.

Adjust

R16

for

approximately

440

Hz.

6.

Depress

the

C

above

middle

G

and

adjust

its

frequency

by

means

of

the

fine

tuning

control

to

some

convenient

value,

say

500

Hz.

Now

play

the

lowest

C

on

the

keyboard

and

adjust

R17

for

pre¬

cisely

125

llz.

Repeat

until

a

precise

two

octave

step

results

between

these

two

C's.

This

sets

the

overall

interval

spacing.

7.

Depress

the

lowest

C.

Observe

that

the

frequency

is

precisely

125

Hz.

Raise

the

"one

octave"

tab,

and

adjust

R10

for

pre-

•

ciscly

250

Hz.

This

sets

the

one

octave

step.

Satellite

Test

and

Calibrating

Procedure

e

.

-5

Page

Ten

Revision

A

5/14/74

8.

Depress

the

"two

octave"

tab.

Play

middle

"F"

on

the

keyboard.

Now

flip

the

"two

octave"

tab

up

and

adjust

R21

for

an

oscil¬

lator

frequency

change

of

precisely

two

octaves.

This

sets

the

two

octave

step.

l'}6-

9.

With

all

tabs

up,

depress

the

highest

C

and

adjust

the

fine

tunc

control

for

2000

Hz.

Play

the

lowest

C.

Adjust

R25

for

250

llz.

Continue

to

go

back

and

forth

from

the

lowest

C

to

the

highest

C

until

a

perfect

three

octaves

is

obtained.

This

sets

the

high

frequency

compensation.

LJ!:

Repeat

steps

6-9

until

unit

is

in

tune.

,

Put

the

modulation

waveform

selector

tab/on

square

and

the

vibrato

tab

down.

Put

the

MODULATION

JS3TFFH-

slider

in

its

maximum

position.

Adjust

R1

for

a

perfect

octave

jump.

/

12

-

Observe

the

waveform

at

the

junction

of

R119

and

R120.

Depress

the

"hollow"

tab.

Adjust

R47

for

a

symmetrical

square

wave.

This

sets

the

waveform

calibration.

ATT

•P€Cr

(Gca)

finTWt-

(S<*)

(

i6

-

Depress

the

"one

octave"

tab

and

depress

the.

second

C

from

the

bottom.

Depress

the

"mute"

tab.

Observe

the

filter

contour

at

the

source

of

Q20

when

the

key

is

depressed.

Adjust

R98

and

R105

until

the

filter

contour

matches

the

pattern

shown

in

Fig.

9.

This

sets

the

filter

contour

attack

and

decay.

Observe

the

voltage

at

the

junction

of

R166

and

R165.

With

the

"mute"

tab

still

down,

depress

the

second

C

from

the

bottom,

adjust

R174

so

that

the

attack

time

matches

that

shown

in

Fig.

10.

This

sets

the

amplitude

contour

attack.

Lift

the

"mute"

tab

and

depress

the

"strike"

tab.

Depress

the

second

C

from

the

bottom.

Adjust

190

for

the

decay

time

shown

in

Fig.

11.

This

sets

the

amplitude

contour

decay

time.

Lift

the

"strike"

tab

and

depress

the

"hollow"

tab.

Observe

the

waveform

at

the

source

of

Q41.

Depress

the

"one

octave"

tab

and

depress

the

second

C

from

the

bottom

of

the

keyboard.

Adjust

R130

and

R132

to

obtain

the

waveform

shown

in

Fig.

8.

This

sets

the

bandwidth

and

center

frequency

calibration.

Raise

all

tabs.

Depress

the

highest

key

on

the

keyboard.

Set

the

VOLUME

slider

all

the

way

up.

Adjust

R159

until

the

waveform

at

the

output

of

IC22

is

two

volts

peak-to-penk.

Short

the

junction

of

R149

and

C30

to

ground.

Set

the

volume

slider

at

maximum,

hit

and

release

a

key

and

adjust

R160

until

minimum

click

or

thump

is

heard.

Satellite

Test

and

*

Calibrating

Procedure

Page

lilcvon

Revision

A

5/14/74

19.

Depress

"bell"

.and

"rep"

tabs.

Depress

key

and

verify

that

the

bell

sound

repeats.

20.

Lift

"rep"

tab

and

depress

"sust"

tab.

Hit

and

release

a

key

and

verify

that

bell

decays

slowly

after

the

key

is

released.

21.

Lift

"rep"

and

"bell"

tabs

and

depress

"glide"

tab.

Verify

that

keyboard

voltage

glides

between

any

two

notes

and

verify

that

GLIDE

slider

varies

glide

rate.

22.

Observe

the

voltage

at

A21.

Using

"tunc"

control

set

this

voltage

to

0

volts

+_

100

mv.

Depress

"one

octave"

tab

and

A

above

middle

G

on

the

keyboard.

Observe

a

sawtooth

wave

at

emitter

of

Q46.

Adjust

R16

for

precisely

440

llz.

23.

Cinch-Jones

Six

Connector

Test.

a.

Verify

that

the

voltage

between

1

5

2

is

+9.000

^20

mv.

b.

Verify

that

the

voltage

between

3

5

2

is

-9.000

+200

mv,

c.

Depress

the

"one

octave"

tab,

depress

low

C

on

the

keyboard,

and

adjust

"tune"

control

for

125

llz.

Apply

+900

volts

to

4

and

verify

that

the

oscillator

frequency

is

now

500

Hz

+50

Hz.

d.

Raise

all

tabs

and

depress

the

lowest

key

on

keyboard.

Observe

output

of

IC22.

Apply

-3

volts

to

5.

Waveform

should

read

.8

volts

pp.

approximately.

This

tests

the

external

control

of

lowpass

filter.

'

e.

Depress

"bright"

tab

and

second

C

from

the

bottom

of

keyboard.

Observe

waveform

at

source

of

Q41.

Apply

-3

volts

to

5.

Waveform

should

compare

to

waveform

in

Fig.

12.

This

tests

the

external

control

of

the

bandpass

filter.

f.

Raise

all

tabs.

Momentarily

apply

+9.00

volts

to

6.

Verify

that

a

trigger

occurs

when

the

voltage

is

applied.

24.

Depress

"bright"

tab

and

any

key

on

keyboard.

Apply

-3

volts

to

Filter

Control

Jack.

Verify

that

the

harmonic

content

of

output

waveform

decreases.

This

determines

whether

Filter

Control

Jack

wiring

is

correct.

Moog Satellite User manual

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