Moog The source User manual

Other manuals for THE SOURCE

4

Table of contents

Popular Synthesizer manuals by other brands

NEON CAPTAIN

NEON CAPTAIN Radioator user manual

Roland

Roland JD-800 owner's manual

Joranalogue

Joranalogue Contour 1 user manual

Full Bucket Music

Full Bucket Music Mono/Fury manual

IK Multimedia

IK Multimedia UNO Synth PRO X user manual

Kawai

Kawai MP7 Software update

Roland

Roland Gaia SH-01 Quick guidebook

Behringer

Behringer DEEPMIND 12 quick start guide

Yamaha

Yamaha S90 ES owner's manual

Roland

Roland GR-30 manual

Gotharman

Gotharman Gotharman's anAmoNo-box user manual

QuStream

QuStream HDFS-550 Technical manual

Yamaha

Yamaha V50 Authorized product manual

Akai

Akai AX80 Operator's manual

Roland

Roland GS-500 instructions

Octave

Octave Cat SRM Service manual

Dreadbox

Dreadbox Murmux Initiate manual

neutral labs

neutral labs ELMYRA 2 Build guide

I

in

_nJ

s

OWNER'S

MANUAL

by

Rock

Wehrmann

Congratulations!

Now,

I

realize

that

about

80

percent

of

all

owner's

manuals

start

with

that

word

but,

in

this

case,

it's

justified.

The

fact

that

you've

purchased

THE SOURCE

says

several

things

about

you

as

a

musician:

—

You're

not

afraid

of

what

could

be

called

a

"computer-controlled

instrument";

rather,

you're

ready

to

work

with

the

advantages

presented

by

a

microprocessor-based

synthesizer.

—

You

are

quality

and

cost

conscious.

THE

SOURCE

contains

a

built-in

sequencer,

arpeggiator

and

program

sequencer

and

costs

less

than

some

non-programmable

synthesizers.

—

Finally,

and

perhaps

most

importantly,

you

just

want

to

make

good

music.

This

manual

will

help

you

to

realize

just

how

versatile

an

instrument

THE

SOURCE

truly

is.

Section

I

will

show

you

how

to

use

each function

on

the

instrument;

Section

II

explains

the

theory

behind

each

function

and

gives

tips

on

how

to

use

that

function

more

efficiently.

Margin

comments

periodically

explain,

in

detail,

points

made

in

the

main

copy.

After

you've

read

the

manual,

you

should

have

a

good

working

knowledge

of

digitally-controlled

synthesizers

and

you

should

realize

that,

rather

than

producing

"robot

music,"

digitally

programmable

synthesizers

take

care

of

the

"busy

work"

and

leave

you

free

to

make

your

own

kind

of

music.

And

when

you're

done

with

this

manual,

you'll

be

ready

to

earn

the

congratulations

which

really

count

—

the

applause

of

your

friends

and

audiences

for

making

great

music

with

THE

SOURCE.

Good

playing,

Rock

Wehrmann

MOOG

MUSIC

INC.

HI

CONTENTS

Section

I

Basic

Operation

. .

General

Maintenance

Setup

Tuning

Up

Playing

Programs

Factory

Programs

Performance

Controls

....

Editing

Programs

Storing

Programs

The

Hold

Control

Repositioning

Programs

....

Section

II

References

The

Analog

Synthesizer

Signal

Sources

Oscillators

Waveshapes

Sync

Noise

Modifiers

Voltage-Controlled

Filter

.

.

Emphasis

Contour

Amount

KB

Track

Voltage-Controlled

Amplifier

Controllers

Keyboard

Contour

Generators

Modulation

(LFO)

SECTION

I

1

Level

2

Functions

1

Using

the

Sequencer

2

Using

the

Arpeggiator

3

Using

the

Program

Sequencer

4

Storage

and

Loading

of

Data

21

5

Using

the

Remaining

Level

2

Controls

23

6

Auto

Trig

7

S&H

11

S&HFitt

£

12

Ext

Trig

12

SECTION

II

41

25

Digital

Functions

25

The

Sequencer

26 The

Arpeggiator

26

The

Program

Sequencer

45

27

Unconditional

Tuning

28

The

Incremental

Control

46

29

Interfacing

30

Outputs

*®

30

Inputs

31 Cables

^

32

Troubleshooting

33

Tuning

34

Cassette

Operations

35

Level

2

Functions

•

35

Incremental

Resolution

36

Sound

Charts

38

Index

75

IV

SECTION

I

BASIC

OPERATION

GENERAL

MAINTENANCE

The

components

of

the

shipping

carton

for

The

Source

should

be

saved

in

case

short-distance

transport

is

required.

Do

not

repack

The

Source

without

surrounding

it

with

some

kind

of

plastic

(similar

to

the

bag

in

which

it

was

shipped).

Putting

the

instrument

directly

inside

the

styrofoam

end

pieces

without

any

protection

can

generate

harmful

static

changes

and

may

also

damage

the

wood

side

pieces.

A

carrying

case

is

recommended

for

long-distance

transport.

The

wood

side

and

trim

pieces

are

walnut.

These

should

be

periodically

rubbed

down

with

linseed

oil

to

maintain

a

rich

finish.

The

body

of

the

instrument

is

constructed

of

brushed

aluminum

and,

when

needed,

should

be

cleaned

with

a

slightly

damp

(not

wet)

cloth.

The

touch

panel

may

be

cleaned

in

the

same

manner,

taking

care

not

to

let

water

accumulate

on

any

surfaces.

The

touch

panel

is

highly

resistant

to

all

forms

of

damage

except

heat.

Do

not

allow

open

flame

or

lighted

cigarettes

near

the

touch

panel.

SETUP

The

initial

setup

of

The

Source

is

as

follows:

o

9 9

r

sa

is

(It

With

the

power

switch

OFF,

connect

the

detachable

line

cord

first

to

The

Source,

and

then

to

a

grounded

wall

socket.

Run

a

1/4-inch

mono

cable

from

the

Source's

Audio

Out

to

the

amplification

system.

Connect

desired

interface

cables.

(See

Interfacing,

page

48,

for

proper

procedures.)

Set

amp

volume

and

Source

volume

to

zero.

Turn

the

power

switch

on

The

Source

ON.

The

numeral

1

should

appear

in

the

program

display

(upper

left

corner).

Turn

on

the

amplifier.

Turn

up

the

volume

on

the

amplifier

to

an

accustomed

listening

level.

With

the

volume

control

on

The

Source

still

down,

depress

any

key.

Turn

up

The

Source's

volume

to

a

comfortable

level.

Note

these

volume

settings.

POWER

SUPPLY

AMPLIFIER

Follow

this

procedure

whenever

the

instrument

is

used.

TUNING

UP

After

The

Source

has

warmed

up

(4

to

5

minutes),

follow

this

tuning

procedure:

VOLTAGE

CONTROLLED

FILTER

KB

TRACK

LOUONE8B

CONTOUR

Touch

program

Q.

Using

the

rear

panel

FINE

TUNE

control,

tune

The

Source

to

any

reliable

pitch

source

(an

organ,

piano,

tuning

fork,

etc.).

Touch

program

Q.Touch

the

ERBISBI

control

and,

while

still

holding

it

down,

touch

the

E§EH

controlin

the

Mixer

section.

Now

hold

down

the

top

key

on

the

keyboard,

and

turn

the

Incremental

Controller

until

the

two

oscillators

are

exactly

in

tune

(the

"beating"

effect

will

stop).

Touch

any

program

number.

THE

SOURCE

IS

NOW

TUNED

UP

AND

READY

TO

PLAY.

(If

the

factory

programs

have

changed,

use the

tuning

procedure

listed

in

the

Troubleshooting

section

on

page

56.)

PLAYING

PROGRAMS

To

call

up

a

programmed

sound,

touch

the

appropriate

program.

If

the

selected

program

does

not

come

up

immediately,

one

of

two

conditions

exists:

Touching

a

program

position

immediately

resets

every

circuit

of

the

analog

synthe

sizer

and

resets

all

digital

functions.

CONTROLLED

FILTER

KB

THACK

LOUDNEBB

CONTOUR

1.

The

Source

is

in

the

HOLD

mode

(see

Storing

Programs

on

page

11).

If

this

is

the

case,

a

semi-colon

figure

will

appear

in

the

Program

Display.

To

escape

the

HOLD

mode,

touch

HtSHBI.

The

semi-colon

figure

will

disappear.

2.

The

Source

is

operating

in

Level

2

(see

Level

2

Functions

on

page

15).

To

escape

Level

2,

touch

LEVEL

1

FACTORY

PROGRAMS

The

factory

programs

(programs

in

memory

when

The

Source

is

shipped)

are:

1.

Lead

1:

a

"fat"

lead

sound,

reminiscent

of

the

Minimoog.

2.

Lead

2:

a

guitarlike

lead

voice;

effective

with

pitch

bending.

3.

Horn:

a

simulation

of

brass

instruments;

realistic

over

a

wide

range.

4.

Flute:

voiced

with

tremolo,

this

program

sounds

best

with

the

modulation

wheel

set

at

approximately

75%.

5.

Clav

Bass:

a

bright,

funky

bass

voice

with

a

"plucked"

sound.

6.

Vibes:

this

voice

has

a

touch-dependent

envelope;

playing

and

holding

a

key

produces

a

different

sound

than

does

"tapping"

and

releasing

a

key.

Set

the

modulation

wheel

to

75%

for

tremolo.

7.

String

Bass: a

mellow

bass

sound

with

the

touch-dependent

envelope

described

in

program

6.

8.

Harpsichord:

a

bright,

plucked

sound.

9.

Organ:

this

voice

uses

single

triggering

for

a

"percussive"

attack

when

desired.

10.

Trill

Voice:

the

modulation

wheel

will

"tune"

the

upper

note

of

a

trill.

11.

Taurus:

the

same

rich,

deep

sound

as

the

Moog

Taurus

Pedal

Synthesizer

12.

Synthevox:

a

resonant

singing

lead-line

sound.

13.

Sax:

a

nasal,

biting

sound

characteristic

of

an

alto

or

soprano

saxophone.

14.

Wind:

this

voice

uses

noise

as

a

signal

source.

Turn

the

modulation

wheel

up

to

full

for

a

"sweeping"

effect.

15.

Snare

Drum:

different

areas

of

the

keyboard

will

produce

differently

"tuned"

drums.

16.

A

duplication

of

program

1.

Program

16

can

be

used

as

a

holding

position

for

rearrangement

of

program

positions.

PERFORMANCE

CONTROLS

THE

PERFORMANCE

CONTROLS

ON

THE

SOURCE

ARE

NOT

PROGRAMMABLE.

THEY

ARE

ALWAYS

ACTIVE

AND

READY

TO

BE

USED.

The

Performance

Controls

are:

32'

I I

IS'

I

FOOTAGE

0

El

0

CM

I

SING

I

IMULT

TRIGGER

MEMORY

HE

0 0

FOOTAGE

WAVESHA

I

interval!

OSCILLATOR

BANK

X/OLTAOE

CONTROLLED

FILTER

I I

KB

TRACK

II

CUTOFF

|

|EMPHASIS|

|

"gjJJTR

STOP

CONTINUE.

PLAY

1

PLAT

2

ARPEGGIO

SSH

SSHFILT

AUTOTfllQ

E

DBBD

HQDQBIiEliIliB

FILTER

CONTOUR

ONESS

CONTOUR

PRQGRAM5

1.

Volume

-

Final

master

gain.

This

determines

the

output

level

of

all

signals

from

The

Source.

2.

Octave

-

The

Octave

controls

(Zero

and

+1)

transpose

the

oscillators

and

filter

up

or

down

an

octave.

3.

Pitch

Wheel

-

This

wheel

changes

the

pitch

of

the

oscillators

up

or

down.

4.

Modulation

Wheel

-

Moving

this

wheel

up

(towards

the

volume

control)

introduces

vibrato

or

other

modulation

effects

{see

"Modulation"

on

page

38).

EDITING

PROGRAMS

As

previously

shown,

The

Source

may

be

used

exclusively

as a

preset

synthesizer.

However,

during

performance,

it

is

desirable

to

change

the

quality

of

a

sound.

For

this

and

other

reasons,

The

Source

has

extensive

editing

capabilities.

Editing

may

be

defined

as

"changing

the

memory

values

of

a

function.'

the

functions

on

any

synthesizer

fall

into

one

of

two

categories:

Switching

functions

or

incremental

functions.

The

Source's

touch

panel

and

incremental

controller

allow

access

to

all

these

functions.

The

touch

panel

is

laid

out

in

a

manner

similar

to

a

conventional

monophonic

synthesizer.

Major

function

blocks

—

oscillators,

filter,

modulation

-

are

grouped

in

visual

sections.

Switching

controls

on

The

Source

touch

panel

are

square-shaped

and

are

either

orange

(memory

controls)

or

light

blue

(synthesizer

controls).

To

edit

a

switching

function,

touch

the

control

positions

corresponding

to

the

desired

change.

For

example:

Hie

touch

panel

is

a

unique

instant-access

entry

system.

The

Source's

microprocessor

recognizes

an

entry

(touch)

on

the

panel

in

under

3

milliseconds.

For

an

explanation

of

touch

panel

functions,

see

The

Analog

Synthesizer

on

page

25.

SING

iMULTl

TRIGGER

MEMORY

VOLTAQS

CONTROLLED

FILTER

I

I

KB

TRACK

1/2

I I

CUTOFF

I

EMPHASIS!

FILTER

CONTOUR

LOUONE8Q

MODIFIERS

AY1

-

PIAY2,*

RE

HtCl

MtL*

aiur

t-unimuc

.£>;

nwi

i

-rJ

^"_m_

■.__n^_

;^^Z^/;ii;

"^~"

*

^^^^_".-^^^^^

-

^^^^_

,,

..'

^^^^_

^^^^HV

^^^^H

'

^^■H

'

'

'

'

^^1^1

fl^^^l

PROGRAMS