Moog THE SOURCE User manual

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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
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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

1. Touch program Q - Hold down any key.
2. Touch LI in the OSC 1 section. The oscillator changes octaves immediately.
(Note that the edit LED tights up.)
3. Touch Q?H in the OSC 1 section. (The oscillator returns to the lower octave.)
Switching functions are unconditional; either ON or OFF, 16' or 8', etc. Incremental functions
are continually adjustable, and are represented on the touch panel by yellow rectangles.
Touching an incremental function assigns the incremental controller to that function.
Incremental functions are adjusted as follows:
The edit LED illuminates after
a front panel control is touched.
While the control is being held
down, the LED shuts off to
show that contact has been made.
When the control is released,
the LED illuminates again.
VOLTAGE CONTROLLED FILTER
KB TRACK
1. Touch programQ.
2. Touch |5J3JJJ'n the Mixer section. The incremental controller is now controlling the
audio level of OSC 1. The display next to the incremental controller illuminates,
displaying "99." Most of the incremental controls are divided into 100 increments -
0 to 99. In this case, the display indicates that OSC 1 level is at maximum.
3. Hold down any key. Turn the incremental controller counterclockwise. As the numbers
in the display decrease, the level of OSC 1 decreases. When the display shows zero,
Osc 1 is inaudible. The input of OSC 1 has been turned down in the mixer.
Note that touching a program
control cancels all previous
editing.
Note that the incremental con- «>
troller can still turn freely when, y
the display reaches zero. For an '-M
explanation of the characteristics.
of the incremental controller, see'
Digital Functions on page 41, -
8

i *
4. Touch PBftW in the Mixer section. The edit LED momentarily goes off (showing
that contact has been made), and the display reads "99f" showing that Osc 2 is at
maximum level. The previous editing (Osc 1 level changed to zero) is kept in memory.
At this point, turning the incremental controller will change the level of Osc 2.
5. "Review" the IZQEEl control in the Mixer section by touching it and noting
the display value (in this case, zero).
6. Touch ISSJEI again. If no changes were made in Step 4, the display should now
read "99." Turn the incremental counterclockwise until the display reads zero.
Depress any key. No signal is heard. Why?
1. Osc 1 level was set to zero in Step 3. That setting was held in memory.
2. Noise level was proved to have been programmed at zero by reviewing ( Step 5).
3. Current editing displays zero level for Osc 2.
All signal sources are at zero, so no output is heard.
Any incremental control may be reviewed or edited in the same way. For example:
Touching an incremental function,
without turning the incremental
controller, will display the current
memory value, but will not change
that value. Controls may be
"reviewed" in rapid succession
to get a mental picture of a
particular sound.
VOLTAGE CONTROLLED FILTER
KB TRACK
9

1. Touch program Q (this cancels all previous editing). Play the keyboard and note the quality of the sound.
2. Review lafliasrivisi in the Filter section. The display reads zero.
3. Touch MlhMdJ in the Filter section. The display reads 41. Turn the incremental controller while repeatedly
striking a key. Note the change in sound quality. At any point, touching another control will hold the last value
of the Cutoff control in memory.
SUMMARY:
1. Touching any front panel synthesizer control puts The Source into Edit mode.
2. When consecutive edit changes are made, all previous editing is held in memory.
3. Switching functions may be edited by direct entry.
4. Incremental functions may be:
a) Reviewed, by touching an incremental control, noting the display value, making no changes, and
proceeding to another control.
b) Edited, by touching an incremental control, changing its value with the incremental controller, and
proceeding to another control.
5. All editing is cancelled by touching a program control.
10

STORING PROGRAMS
A point mentioned several times earlier in this manual is that if a program position was touched,
all previous editing was "erased." Often, however, an edited version of a program may be
preferred over the original program.
Changes made in existing programs may be stored in memory as new programs. In fact,
changing existing programs is the only way to produce new sounds.
TO STORE A PROGRAM, FOLLOW THIS PROCEDURE:
1. Set up the desired sound.
2. Touch ■SOTBM . (Two dots light up in the program display.)
3. Touch KKtiaa and the intended program location simultaneously.
For example:
Note that in all the following
examples, the final sound
stored in memory began as an
existing program. The existing
program was substantially
changed, and a new, desirable
sound resulted.
VOLTAGE CONTROLLED FILTER
KB TRACK
26 73 27
FILTER
0 65 42 11
0 53 99 0
MODIFIERS
11

1. Touch program
2. Using the previous sound chart, edit all indicated controls by touching the appropriate
switching functions and adjusting each incremental function.
3. When all indicated editing has been completed, follow the storing procedure on page 11
to store the new program at program
4. Now touch program Q . The editing in the previous sound chart equals the values
in memory for factory program 2, so the program stored in 16 should duplicate
the program in 2.
Note that program 16
is a duplication of
program 1. No original
programs are lost during
this procedure.
THE HOLD CONTROL
The Hold control does two things: (1) freezes the front panel (so no further editing is possible),
and (2) activates the Store control. (Normally, the Store control is "dead" to prevent
accidental erasure of programs.)
While the Hold control is active, other programs may be momentarily reviewed by touching
and holding the program control. When the program control is released, The Source returns
to the sound set up on the front panel.
The Hold control is reversible - touching it again will turn it "on" if it is "off," or vice versa.
REPOSITIONING PROGRAMS
For a particular performance, the programs may need to be put in a different order, so it's a good idea to reserve
program [0 as a kind of "holding" position to allow repositioning of programs.
To switch any two program positions (4 and 8, for example), follow the procedure outlined with the next
sound chart.
Active Hold status is
indicated by two
illuminated dots in
the program display.
12

VOLTAGE CONTROLLED FILTER
KB TRACK
CUTOFF EMPHASIS ~"~
FILTER CONTOUR
LQUDNEBB CONTOUR
WAVESHAPE
INTERVAL
OSCILLATOR BANK
0 I |_ S
MODIFIERS
1. Move the first program (4) to position 16.
a) Touch program Q .
b) Touch HUHI .
c) Touch Rmiaai and program
simultaneously.
2. Move the second program (8) to the original location of the first program (4).
a) Touch program Q .
c) Touch QyQQJ and program Q simultaneously.
3. Move the first program to the original location of the second.
Touching
then
QQE9
control simultaneously
will store the current
front panel settings
(edited or not) at the
indicated program.
a) Touch program
c) Touch EHSEEi and program El simultaneously.
13

SUMMARY:
1. To store a program, touch |i[*]321 , then touch pifKM and a
2. The iSMWiJ control allows reviewing of existing programs and is reversible.
3. Reserving program [Q as a "holding" position allows relocation of programs.
PROGRAM NUMBER
simultaneously.
14

LEVEL 2 FUNCTIONS
Since The Source is a microprocessor-based instrument, a single control may have several different
functions, depending on the level of operation. Many of the controls on The Source have
alternate functions, accessed by entering Level 2, an "expanded-operation" mode. Level 2 allows
access to real-time functions such as the sequencer, the arpeggiator, and the program sequencer.
The operation of these functions will be explained in this section.
USING THE SEQUENCER
The Source has a self-contained digital sequencer capable of storing 2 sequences of up to 88 events each.
The Source has been shipped from the factory with two sequences. To play back sequences,
follow this procedure.
Touching
converts the program
selectors to the
Level 2 functions written
in small letters above the
program number. After
the Level 2 function has
been activated, control
generally reverts to
Level 1.
VOLTAGE CONTROLLED FILTER
K6 TRACK
A _J | 0 - I I S ^1 I R
LOUDNEBB CONTOUR
1. Touch the program number of the desired sound.
2. Touch IJQQHS^Iat the lower right corner of the touch panel.
3. Touch lawarJiM (program 5).
15

4. The Source is repeatedly playing Sequence 1. To change the playback rate, touch
in the modulation section, and adjust the sequencer rate with the incremental controller.
5. While the sequencer is playing, the incremental display "counts up." Other programs
may be selected and edited using editing techniques while the sequencer is running.
6. To stop the sequencer, touch ■■»«■«, then touch
from the last sequencer note played, touch
To restart from the beginning of the sequence, touch
To hear Sequence 2, follow the above procedure using
To record new sequences, follow this procedure:
PLAY 2
, then
(program 6).
To continue
l(program 4).
<Pr°9ram 5).
The last playback rate
chosen will be held
in memory when the
sequencer is stopped;
subsequent sequences
will start at this rate.
VOLTAQ6 CONTROLLED FILTER
KB TRACK
A ^J I' 0^1 |_ S I 1 H
LOUONE8B CONTOUR
1. Touch U3BHJ5I'tnen ':<a— (program 1). The incremental display shows 88,
the number of recordable events.
2. The sequencer will begin recording with the depression of the first key. The display
counts down, continuously displaying the number of events left.
Rests, or spaces between
notes, are counted as
events. For efficient
sequencer use, see
Digital Functions on
page 41.
16

3. At the end of the last desired event, touch
(program 3).
To hear a recorded sequence, follow the sequence playback procedure. The sequence plays back at the last
sequencer rate entered.
To record the second sequence, follow the above procedure using
second sequence is controlled by MUWixmfM (program 6).
(program 2). Playback of the
USING THE ARPEGGIATOR
The arpeggiator can be thought of as a kind of "instant sequencer." It performs many of the functions
of the sequencer, but uses none of the sequencer memory.
To use the arpeggiator, proceed as follows:
VOLTAGE COIMTBOLJ-ED FILTER
KB TRACK
n [a] |7B
A - I I 0 ^ | | S ~l I ' R
LOUDNEBB CONTOUR
FOOTAGE WAVESHAPE
INTERVAL
OBCII.LATOR BANK
5161718
1. Touch B3SI3SSM'then touch program
displaying the arpeggiator playback rate.
(Arpeggio). The incremental display lights up,
2. Play the notes of the desired musical pattern one by one without repeating the first note played.
As keys are depressed, the display counts down from 24. The repetition of the first note will indicate
the end of the pattern and switch the arpeggiator to the playback mode.
17