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Moog One Manual

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This manual is a living document that will be updated frequently.
Please visit www.moogmusic.com/moogone to find the most
up to date manual. If you are having trouble finding specific
information about your Moog One in this manual please email:
moogonemanual@moogmusic.com for assistance.
THIS VERSION WAS PUBLISHED ON 1/10/19.
Revisions made to:
Page 52 - Spread Parameter
Page 100 - Stereo Width
Page 129 - Noise Reduction

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  • Page 1 This manual is a living document that will be updated frequently. Please visit www.moogmusic.com/moogone to find the most up to date manual. If you are having trouble finding specific information about your Moog One in this manual please email: moogonemanual@moogmusic.com for assistance. THIS VERSION WAS PUBLISHED ON 1/10/19.
  • Page 3 “ M u s i c a l i n s t r u m e n t s p r o v i d e t h e m o s t e f f i c i e n t a n d r e f i n e d i n t e r f a c e b e t w e e n h u m a n a n d m a c h i n e o f a n y t h i n g w e k n o w .

  • Page 4: Important Safety Instructions

    However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: —Reorient or relocate the receiving antenna.

  • Page 5: Table Of Contents

    TABLE OF CONTENTS UNPACKING AND INSPECTION SETUP AND CONNECTIONS MOOG ONE OVERVIEW Presets, Synths, And Performance Sets Voice Architecture PILOTING MOOG ONE Front Panel Keyboard And Left Hand Controller Rear Panel MOOG ONE MODULES Oscillators Noise Mixer Filters Envelopes Low Frequency Oscillators...
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  • Page 7: Unpacking And Inspection

    Sleeve) plug may be used in either of the front Headphone jacks. NOTE: Moog One is equipped with balanced outputs, so use either 1/4” TRS to 1/4” TRS cables or 1/4” TRS to XLR cables for the best results. Unbalanced 1/4” TS to 1/4” TS instrument cables may also be used, but are not recommended.

  • Page 8: Moog One Overview

    ANALOG The heart of the Moog One sound is its analog signal path. Since the development of the first Moog Synthesizer in 1963, Moog analog circuits have been renowned for their rich harmonic qualities and for the organic nature of their expression.

  • Page 9: Presets, Synths, And Performance Sets

    Time-stamped, Auto-Saved “Snapshots” keep track of your in-progress edits, and prevent accidental loss of any modified data. Moog One can store thousands of Presets. As a way of providing quick access to specific Presets in a live performance or session environment, Moog One allows the building and saving of up to 128 Performance Sets, which are shortcuts that select specific collections of Presets within the vast Moog One memory.

  • Page 10: Piloting Moog One

    Around back, the Moog One Rear Panel is home to a vast array of audio, analog control voltage, and expression input and output jacks, as well as MIDI, USB, and Ethernet ports.
  • Page 11 In this manual, when referring to a specific knob, button, or jack, the name of the control will be presented in ALL BOLD CAPS as it appears on the Moog One front or rear panels - for example: CUTOFF knob, SHIFT button, MIDI OUT jack, etc.
  • Page 12 The upper portion of the Center Console is built around an interactive graphic interface that provides access to a secondary layer of sound design parameters, as well as other Moog One Global parameters. The Center Console Display is operated via four Soft Buttons and four Soft Knobs, all of whose functions change based on the current screen.
  • Page 13 HOME screen. SETTINGS This button provides access to all Moog One Global, Library, and Tuning parameters. The MOD button opens the Modulation Matrix screen, where any possible modulation source can be freely routed to any possible modulation destination, and in any amount.
  • Page 14 Tweaking knobs and pressing buttons has a direct effect on the sound of Moog One. But what exactly is the Front Panel controlling? Remember, a Preset is comprised of up to three Synths -- and one Synth (or more) is always assigned to the Front Panel.
  • Page 15 • AT (Aftertouch) • EXP 1 (Expression Pedal input 1) SELECTING A PRESET Moog One can store a nearly infinite number of Presets that may be searched and filtered in a variety of ways. From the HOME screen, press the BROWSE PRESETS Soft Button at the upper left of LCD to open the Preset Browser.
  • Page 16 TYPE, CATEGORY, MOOD, and GROUP. All tags are user definable, with the exception of TYPE. Only TYPE has fixed options - SINGLE, LAYER, SPLIT, and MULTI. Generally, one would use SINGLE for a Preset using a single Synth. SPLIT for multiple Synths playing in different areas of the keyboard, LAYER for multiple Synths stacked on the same keys, and MULTI for a Preset combining SPLITS and LAYERS, etc.
  • Page 17 GLIDE Glide delivers a smooth, continuous change in pitch when moving from one note to the next. In addition to the GLIDE RATE knob and the GLIDE ON button, Moog One offers three types of Glide, as well as additional parameters for Legato, Glissando, and Gated Glide.
  • Page 18 The MOD wheel is an assignable Controller that is most commonly used to manually determine the amount of modulation being applied from a Source to a Destination. In the case of the Moog One, the MOD wheel can also be assigned to multiple locations simultaneously through the Mod Matrix and EXPRESSION ASSIGN Buttons.

  • Page 19: Rear Panel

    Y-configuration insert cable to achieve true insert functionality. The signal is returned to Moog One via the ring connection of the tip-ring-sleeve jack. This allows the active Synth to be sent to, and returned from, an external processor, while still maintaining its place in the internal mix.
  • Page 20 Eurorack synthesizers today. Moog One is equipped with two dedicated CV IN jacks (1, 2) and four CV OUT jacks (1, 2, 3, 4). Additionally, both expression pedal inputs (EXP 1, EXP 2) and the SUSTAIN pedal input may also be configured for use as control voltage inputs for further analog control.
  • Page 21 HOST port can also incorporate any class- compliant MIDI device (one that requires no additional software drivers) into Moog One operations. The USB port found here allows Moog One to communicate directly with your computer via USB, sending and receiving MIDI and other system data.

  • Page 22: Oscillators

    The patterns created by these fluctuations determine the waveform, or wave shape, which in turn determines the harmonic content of the signal. Moog One features three independent Oscillators that are nearly identical in design.
  • Page 23 (-7 to 0 to +7) Slightly detuning multiple Oscillators is a classic method for creating huge analog sounds. Moog One adds a Beat Frequency control that can offset the pitch of any Oscillator by a constant amount, which is measured in Hertz (Hz). Use the BEAT FREQ knob to create a slight tuning offset per Oscillator.
  • Page 24 Pulse Wave with a 20% “off” time. Graphically, they are mirror images of each other, and their harmonic contents are identical. However, it is the smooth cyclic transition from one to the other that gives Pulse Width Modulation (PWM) its distinctive sound.
  • Page 25 Adding modulation to the frequency of a sync’d Oscillator can greatly enhance this effect. Moog One sets Oscillator 1 as the Master Oscillator by default. Use the HARD SYNC button to force the selected Oscillator(s) to sync to Oscillator 1.
  • Page 26 OSCILLATORS (Continued) VCO MODE (SAWTOOTH, TRIANGLE) This parameter shows the status of the WAVE button on the front panel. This function can also be controlled here. PITCH TRACKING (0 to 200%) With this parameter set to 100%, the pitch of the Oscillator will track the keyboard as normal. In some cases you may want to change this value.
  • Page 27 Oscillators’ PULSE WIDTH knobs or the Oscillator MIX knobs. TIP: Try altering the PITCH TRACKING amount of one of the Oscillators (using the MORE button) to emphasize the RING MOD effect. You may want to reduce the volume of the altered Oscillator.
  • Page 28 FM (FREQUENCY MODULATION) Frequency Modulation (FM) allows the output of one oscillator to modulate the frequency of another oscillator. Applying FM can produce complex sounds and introduce interesting harmonics. Moog One uses linear FM.

  • Page 29: Noise

    NOISE In addition to the three Oscillators and the Ring Modulator, Moog One also includes a sophisticated dual source Noise Generator, available as a separate audio source with a dedicated channel in the Mixer module. Built into the Noise module is a dedicated Envelope Generator to provide independent articulation of the noise.
  • Page 30 NOISE (Continued) The Noise generator produces three different colors of noise – White, Red, and Purple. Any two noise colors can be selected at once using the COLOR button; the COLOR MIX knob creates a blend between those two noise colors. COLOR MIX The COLOR MIX knob sets the balance between the two colors of noise selected by the COLOR button.

  • Page 31: Mixer

    MIXER The Moog One Mixer module provides six input channels and two output busses. The first five inputs – OSC 1, OSC 2, OSC 3, RING MOD, and NOISE – have dedicated hardware Mixer controls on the Front Panel. NOTE: Pressing the Mixer MORE button provides access to the sixth channel – the External Audio Input.
  • Page 32 MIXER (Continued) NOISE Use the NOISE knob to set the level of the Noise Generator signal as it enters the Mixer. Press the associated SVF and LADDER buttons to specify which FILTER(s) the Noise Generator is being routed to. When each button is lit, it is On, and that filter path is enabled.

  • Page 33: Filters

    This combination of Filter types and routings provides extensive control of the timbre, harmonic content, and final character of the sound. In turn, this flexibility allows Moog One to recreate a vast array of filter schemes that have appeared in countless classic (as well as obscure) synthesizers and modules, and also combine them to create completely new, unique sounds.
  • Page 34 LADDER FILTER (LADDER) The Ladder Filter is based on the classic Moog transistor-network Ladder design. As with the SVF, the Ladder Filter offers different Modes of operation. In addition, the Ladder Filter offers four distinct attenuation slopes.
  • Page 35 Using this setting, the Ladder Filter attenuates the frequencies above (LP Mode) or below (HP Mode) the Cutoff Frequency at a rate of 24 dB per octave. The original Moog Ladder filter operated at 24 dB per octave. 18 dB...
  • Page 36 FILTERS (Continued) ROUTE (PAR, SER) Pressing the ROUTE button cycles through the available Filter Routings. The associated LED will light to indicate your selection. PAR (PARALLEL) When Parallel Routing is selected, the SVF and Ladder Filter operate individually, side by side. SER (SERIES) When Series Routing is selected, the output of the SVF feeds into the input of the Ladder Filter, forming a continuous “filter chain.”...
  • Page 37 FILTERS (Continued) LADDER MOD (ON/LIT, OFF/UNLIT) When this button is lit, the EG AMT, LFO 2 AMT, and FM AMT knobs will set the modulation for the Cutoff Frequency of the Ladder Filter. When LADDER MOD is unlit, the knobs no longer adjust the Ladder Filter modulation amount, but any previous modulations set for the Ladder Filter will remain.
  • Page 38 FILTER MORE PAGE Pressing the triangular MORE button in the upper right corner of the Filter Module will reveal a second level of parameters that can be accessed and modified using the interactive portion of the Center Console. These additional parameters are displayed in the bottom portion of the screen. The left pane offers a visual representation of the two filter modules.
  • Page 39 FILTER MORE PAGE (Continued) SVF KEY TRACK (-200% to +200%) Keyboard Tracking allows the Cutoff Frequency of the Filter to track the keyboard in the same way an Oscillator would. In this way, higher notes on the keyboard will be filtered differently than lower notes. At 100%, the Filter is tracking the keyboard at the same rate as the default Oscillator tracking.

  • Page 40: Envelopes

    Envelope. NOTE: Although the value for the Attack Time, Decay Time, and Release Time are given as M-SEC 1 (one millisecond) to 10 SEC (ten seconds), it is possible to set these parameters to an even smaller near-zero value, indicated as MIN (minimum) by rotating the knob all the way to the left.
  • Page 41 ENVELOPES (Continued) ATTACK (1 M-SEC to 10 SEC) The ATTACK knob determines the amount of time required for the control signal to rise from zero to its maximum level once a key is pressed or a gate is initiated. Rotating the knob to the right will increase the Attack Time.
  • Page 42 This setting provides improved articulation while playing in the MONO or UNISON Modes. With the MULTI TRIG (Multiple Triggering) button set to Off, a new note played while one is still being held on the keyboard (legato style) will not initiate a new Envelope cycle; instead the new note will sound at the current position of the active Envelope.
  • Page 43 ENVELOPES (Continued) DEST The DEST (Destination) button provides an intuitive and simple shortcut for establishing a modulation route using this Envelope as the source. Once the DEST button is pressed, the Modulation Quick Assign screen will open in the Center Console Display. The next Front Panel parameter that is touched or tweaked will become the modulation destination.
  • Page 44 ENVELOPES (Continued) The onscreen MORE page parameters are edited using the four Soft Knobs below the screen. CHANGING THE VALUE Rotate the Soft Knob below the parameter name to change its value. In some cases, the Soft Knob simply turns a function on or off.
  • Page 45 ENVELOPES (Continued) ATTACK CURVE (100% LOG to LINEAR to 100% EXP) Each Envelope can specify a particular type of curve for each stage. With a value of 100% LOG, the Attack curve will have a Logarithmic shape. When the value reaches LINEAR, the resulting Attack curve will be a straight line.

  • Page 46: Low Frequency Oscillators

    Just as the Oscillator is the primary sound source found in a synthesizer, the Low Frequency Oscillator (LFO) is often the primary source for adding modulation. Whenever one synthesizer module influences the behavior of another module, that is modulation. As the name suggests, LFOs are Oscillators that have a low-frequency operating range.
  • Page 47 LOW FREQUENCY OSCILLATORS (Continued) DEST (DESTINATION) The DEST (Destination) button provides a quick and easy way to establish a modulation route using the LFO as the source. Once the DEST button is pressed, the Modulation Quick Assign screen will open in the Center Console Display. The next Front Panel parameter that is touched or tweaked will become the modulation destination.
  • Page 48 Pressing an LFO WAVE button on the Front Panel selects from a series of variable LFO wave shapes. The VARIATION parameter provides a smooth and continuous transition from one (0%) to the other (100%). The resulting wave shape is shown in the left pane of each LFO MORE page.
  • Page 49 The timing of each step is modified to play as a dotted note, or at 1.5 x the value specified by the Sync Division. TRIPLET The timing of each step is modified to play as if it were one note in a triplet, or at 2/3rds of the value specified by the Sync Division. NOTE-ON RESET...

  • Page 50: Vca

    MAIN OUT and/or SUB OUT mixes. The panel controls of the MASTER OUT module, on the other hand, are used to adjust the listening level of the entire Moog One, and are unaffected by the loading of Presets and Timbres. Both modules are equipped with a MORE button that reveals a second parameter layer, where their differences may become more apparent.
  • Page 51 VCA MORE page. The VCA MORE page conveniently places the Level and Pan controls of all three Synths together on one page, making it easy to set the right mix. Panning adjusts the placement of the sound in the stereo field when using the MAIN OUT Left and Right jacks or the SUB OUT Left and Right jacks.
  • Page 52 SYNTH 1 - LEVEL (0% to 100%) Turning the Soft Knob to the left decreases the Level of Synth 1. Turning the Soft Knob to the right increases the Level of Synth 1. The Level Indicator in the left pane will move, and the corresponding value in the right pane will change as well.

  • Page 53: Output

    Preset. Output Routing for the Insert channels is one-to-one, meaning each Synth can only be assigned to one Insert at a time, and each Insert can only host one Synth at a time. NOTE: Pressing the (now) illuminated MORE button will exit the MORE page and recall the HOME screen.
  • Page 54 OUTPUT (Continued) The onscreen MORE page parameters are edited using the four Soft Knobs below the screen. CHANGING THE VALUE Rotate the Soft Knob below the parameter name to change its value. In some cases, the Soft Knob simply turns a function on or off.
  • Page 55 OUTPUT (Continued) INSERT 2 - SYNTH 1 (OFF, ON) Setting this parameter to On will route Synth 1 to the INSERT 2 buss. INSERT 2 - SYNTH 2 (OFF, ON) Setting this parameter to On will route Synth 2 to the INSERT 2 buss. INSERT 2 - SYNTH 3 (OFF, ON) Setting this parameter to On will route Synth 3 to the INSERT 2 buss.
  • Page 56 Technically, each of the four inserts relies on a single 1/4” TRS jack wired as both a send and a return. The Tip of this Tip/Ring/Sleeve jack is wired as the Send; the signal is then returned to Moog One via the Ring connection of the Tip/Ring/Sleeve jack.

  • Page 57: Performance Set

    Performance Set can be active at any time. Choose a Preset from the active Performance Set by pressing one of the 8 BANK buttons (A - H) and one of the 8 PRESET buttons (1 - 8) on the Front Panel.
  • Page 58 PERFORMANCE SET (Continued) PERFORMANCE SET MORE PAGES Pressing the triangular MORE button in the upper right corner of the PERFORMANCE SET module will open the CURRENT SET page. The additional BROWSE SETS and ARRANGE SETS pages can be selected using the Soft Buttons above the screen. When in Arrange Sets, An EDIT soft button allows editing of the Name and Notes for the current/selected set.
  • Page 59 PERFORMANCE SET (Continued) ARRANGE SETS Use the ARRANGE SETS Soft Button to open this screen. Here you can add, delete, and rearrange Performance Sets. The left pane shows a list of all Performance Sets. The current Performance Set is highlighted, and appears as the Selected Set in the right pane.
  • Page 60 NOTE: The note numbers given above relate to the onscreen keyboard, and do not reflect the key’s actual MIDI Note number, etc. TIP: You can also enter text directly, using a standard USB keyboard connected to the Moog One USB HOST port.

  • Page 61: Master Clock

    MASTER CLOCK The Master Clock provides a base tempo for the entire Moog One, and is measured in BPM (Beats Per Minute). The Master Clock provides a reliable tempo that can be shared amongst various Moog One modules as well as external devices via MIDI and USB. The values of many Moog One parameters are set using units of time –...
  • Page 62 MASTER CLOCK MORE PAGE Pressing the triangular MORE button in the upper right corner of the Master Clock module opens a second level of parameters that can be accessed and modified using the interactive portion of the Center Console. The current tempo is displayed in the center of the screen and can be changed by rotating the Master Encoder.

  • Page 63: Voice Allocation (Hold/Chord/Polyphony)

    CHORD button (On/Off) are saved per Synth. TIP: When entering a chord, Moog One will recognize the first note entered as the Root note; in this way you can enter a chord using an inversion, and it will still be transposed correctly.
  • Page 64 POLYPHONY It is polyphony that allows Moog One to play multiple keys at the same time and have them all sound. All polyphonic synthesizers – including Moog One – have a finite number of voices. This module controls the ways to maximize performance by allocating voices effectively. But it’s not only about polyphony.
  • Page 65 (see below). When the MONO mode is selected on the Front Panel, all of the voices specified here will be stacked in Unison on that one note. However, when the MONO mode is set to Off, Moog One will continue to allocate Unison voice-stacking in the POLY mode. On a 16-voice Moog One, you could set the UNISON COUNT to 4, and up to four notes could be played with a four-voice Unison stack.
  • Page 66 POLYPHONY MORE PAGE (Continued) VOICE STEALING MODE (NO STEALING, OLDEST NOTE, QUIETEST NOTE, NEWEST NOTE) This parameter specifies how voices will be sacrificed and reallocated when the active Synth reaches its polyphony limit. NO STEALING This is effectively the Off position for this parameter. No new notes are played until voices become available.

  • Page 67: Modulation

    MODULATION In basic terms, modulation allows a control signal from one module to influence the value of a parameter in another module. A modulation path needs both a source and a destination. In a truly modular world, each modulation pathway is created by connecting a separate patch cord from the modulation source to the destination –...
  • Page 68 Envelope) will instantly create a new Modulation pathway using that LFO or EG as the source. This same method of modulation routing is available by pressing one of the seven EXPRESSION ASSIGN buttons at the bottom edge of the Center Console, which similarly assign a controller to a specific modulation destination.
  • Page 69 MODULATION (Continued) Four Soft Buttons are labelled at the top of the screen. CANCEL Pressing the CANCEL Soft Button will exit the Quick Assign window without saving the new modulation path. EDIT MODULATIONS Pressing the EDIT MODULATIONS Soft Button opens up a special case of the Modulation Matrix screen that is filtered by source, showing only the modulation paths that have the same source as this...
  • Page 70 Synth. This includes assignments made here, and those made using the Quick Assign method; they all are part of one Modulation Matrix. Pressing the MOD button in the Center Console opens the Modulation Matrix screen.
  • Page 71 The Destination specifies the parameter that will ultimately be controlled by this modulation path. The list of modulation destinations is extensive. To make it easier to select a destination quickly, the top row parameter will select the Moog One Module, the bottom row parameter will choose the destination parameter from within that module.
  • Page 72 FILTERING BY DESTINATION Holding the SHIFT button while pressing any one of the MORE buttons on the Front Panel (OSCS, FILTERS, etc.) will open the Modulation Matrix, but showing only the modulation paths whose destination is included in the selected module. Pressing the CLEAR DEST FILTER Soft Button will clear the destination filter, and all modulation paths in the Modulation Matrix will be displayed.
  • Page 73 These notes can be quick reminders or application cues, such as “Uses staggered and sync’d LFOs” or “this is the one Gerry created during the studio session” etc. Press the NOTES Soft Button and follow the screen prompts. After naming the Modulation Matrix and adding any notes, press the OK Soft Button to save the Modulation Matrix, or press the CANCEL Soft Button to exit the Modulation Matrix SAVE screen without saving.
  • Page 74 MODULATION (Continued) LOADING A MODULATION MATRIX Pressing the LOAD Soft Button will open the LOAD Modulation Matrix Browser screen. A list of saved Modulation Matrix presets is shown in the left pane. The upper right pane shows any performance notes that were saved with the Modulation Matrix preset, and the lower right pane provides a timestamp of the saved data.
  • Page 75 MODULATION (Continued) MODULATION MATRIX APPENDICES Here you can find the complete list of all available Sources, Controllers, Transforms, and Destinations that can be used to create a path in the Modulation Matrix. LFO 2 PITCH WHEEL LIMIT HIGH LFO 3 PAD X SQUARED LFO 4...
  • Page 76 MODULATION (Continued) DESTINATIONS PITCH LFO 1 MOD COLOR MIX DELAY PITCH EG MOD ATTACK ATTACK TRIANGLE LFO 3 MOD SUSTAIN HOLD PULSE LFO 3 MOD RELEASE DECAY MIXER FM MOD SUSTAIN PITCH OFFSET OSC 1 LEVEL RELEASE OSCILLATOR 1 OSC 2 LEVEL TIME SCALE FREQUENCY OSC 3 LEVEL...
  • Page 77 MODULATION (Continued) DESTINATIONS LFO 1 LFO 3 LFO 4 RATE RATE RATE RATE (SEMITONES) RATE (SEMITONES) RATE (SEMITONES) VARIATION VARIATION VARIATION DELAY DELAY DELAY FADE IN TIME FADE IN TIME FADE IN TIME FADE OUT TIME FADE OUT TIME FADE OUT TIME LFO 2 RATE RATE (SEMITONES)

  • Page 78: Arpeggiator

    At its most basic level, an arpeggiator scans the notes being held down on the keyboard and plays them one at a time in a cyclic and rhythmic fashion. This description doesn’t even begin to come close to describing the Moog One Arpeggiator. Octave Order, Pendulum Mode, and Random patterns allow this Arpeggiator to become an extra set of hands, create an electronic counterpoint, generate cascades of notes, and to form the solid base of a rhythmic groove.
  • Page 79 ARPEGGIATOR (Continued) PENDULUM (ON/LIT, OFF/UNLIT) Pendulum changes the way the pattern is repeated. When the PENDULUM button is set to On, once the entire arpeggiator pattern has played through, the Pendulum function will play the entire arpeggiator pattern again in the reverse order, and then the pattern will play again normally, etc.
  • Page 80 ARPEGGIATOR (Continued) PATTERN (UP, DOWN, ORDER, RANDOM) It is this parameter that specifies the pattern in which the arpeggiated notes are played. Notes are arpeggiated from the lowest pitch to the highest pitch. DOWN Notes are arpeggiated from the highest pitch to the lowest pitch. ORDER Notes are arpeggiated based on the order in which they were played.
  • Page 81 The timing of each note is modified to play as a dotted note, or at 1.5 x the value specified by the CLOCK DIVISION parameter. TRIPLET The timing of each note is modified to play as if it were one note in a triplet, or at 2/3rds of the value specified by the CLOCK DIVISION parameter. GATE LENGTH (1% to 100%) Adjusting the GATE LENGTH parameter changes the duration of each arpeggiated note in the pattern.

  • Page 82: Sequencer

    In the Moog One, each Synth is equipped with a polyphonic step-sequencer. This allows each Preset to access up to three sequencers simultaneously – one for each Synth. Each sequence can be up to 64 steps long, arranged as pages of 16 steps. Sequences can be easily recorded and edited, and they can be transposed as they play back.
  • Page 83 TIP: To start multiple sequences simultaneously – that is, one sequence from Synth 1 plus a second from Synth 3, for example – use the PANEL FOCUS buttons in the Center Console to select more than one Synth, and then press the u|| (START/STOP) button.
  • Page 84 SEQUENCER (Continued) REST (ON/LIT, OFF/UNLIT) Pressing the REST button toggles a musical rest on or off for the current sequence step. If there is a rest assigned to the current step, then any notes entered on that step will not play. NOTE: As the sequence plays, the REST button will light to indicate that the current step has been designated as a rest.
  • Page 85 ENTERING NOTE DATA (STEP EDIT MODE) Notes entered into the Sequencer are displayed in a grid, where each column represents one step of the sequence, and each row (lane) shows the note assigned to each step. Each lane can be thought of as monophonic, so adding more lanes allows more notes to be assigned to each step.
  • Page 86 ROW DOWN Soft button is one way to add an additional lane. You can also simply play multiple notes on a single step; Moog One will create a new lane for each additional note played. Only one lane can be active/highlighted at once, so if you...
  • Page 87 SEQUENCER (Continued) TYPES OF NOTE DATA (NOTES, TIES, RESTS, RATCHETS) Each sequence step can be entered as a Note, a Tie (creating a pair of Tied Notes), or a Rest. These designations – and the Ratchet Count – can be reassigned while editing. NOTES Entering a Note creates a box that sits within the sequence grid for that specific step.
  • Page 88 SEQUENCER (Continued) EDITING NOTE DATA The Velocity, Gate Time, Ratchet Count, and Note can be edited for every sequence step. In addition, the Tie and Rest status of each note in every step can be reassigned. Note data can be edited in the Step Edit screen, whether the Record function is On or Off.
  • Page 89 As with entering and editing notes, the Modulation routings are applied using lanes. Each lane is limited to one Modulation destination. While the CONTROLLER, AMOUNT, CATEGORY, and DESTINATION Parameters set with the Soft Knobs found at the bottom of the screen are universal for the selected lane, the OFFSET values are set for each individual step.
  • Page 90 OFFSET values can be adjusted simultaneously using the Soft Knob at the bottom of the screen. Pressing the ROW DOWN Soft button will cause the cursor to select only one lane at a time. Continue to rotate the Master Encoder to the right to move between steps.
  • Page 91 SEQUENCER (Continued) STEP EDIT MODULATION APPENDIX CONTROLLERS CATEGORY/DESTINATION ALL OSCS SVF FILTER NONE MOD WHEEL PITCH 1 LFO CUTOFF PITCH WHEEL PITCH EG MOD RESONANCE PAD X TRIANGLE LFO 3 MOD SPACING PAD Y PULSE LFO 3 MOD EG AMOUNT PAD PRESSURE FM AMOUNT LFO 2 AMOUNT...
  • Page 92 The timing of each step is modified to play as a dotted note, or at 1.5 x the value specified by the CLOCK DIVISION parameter. TRIPLET The timing of each step is modified to play as if it were one note in a triplet, or at 2/3rds of the value specified by the CLOCK DIVISION parameter.
  • Page 93 On (lit). When this Restart On Note Trigger parameter is set to On, then using the Note Trigger feature to initiate the sequence playback will always reset the sequence to restart at step one. When this Restart On Note Trigger parameter is set to Off, using the Note Trigger feature to initiate the sequence playback will resume the playback of the sequence from the active step.
  • Page 94 (OFF, ON) Once the sequence begins to play, it can play to the end and stop (One Shot On), or it can play to the end and then loop around and restart from the beginning (One Shot Off). This looping behavior is the way most sequencers operate, but the addition of the One Shot option allows an intricate sequence pattern to be launched at will, anywhere in the song, and play through only once –...
  • Page 95 NOTE: The note numbers given above relate to the onscreen keyboard, and do not reflect the key’s actual MIDI Note number, etc. TIP: You can also enter names directly, using a standard USB keyboard connected to the Moog One USB HOST port.

  • Page 96: Effects

    Synth Effect list, and Synth Effects can be recalled and used as Master Effects as well – and vice- versa. These digital effects are the only part of the Moog One audio path that is not in the analog domain.
  • Page 97 TIP: When the PRESET AUTOLOAD function [SETTINGS / GLOBAL / HARDWARE SETTINGS] is set to On, scrolling from one entry to the next in either pane will load the selected Effect Preset automatically, without the need to press down on the Master Encoder.
  • Page 98 NOTE: The note numbers given above relate to the onscreen keyboard, and do not reflect the keys actual MIDI Note number, etc. TIP: You can also enter names directly, using a standard USB keyboard connected to the Moog One’s USB HOST port.

  • Page 99: Master Effects

    Eventide effects can operate simultaneously. NOTE: If one of the Eventide effects is already assigned to one of the Master Effects, say Master Effect 1, then the Eventide effects will appear grayed-out in the EFFECT 2 TYPE list, and they will be unselectable.
  • Page 100 Soft Knob at the lower left corner of the screen to select a mode. STEREO In this configuration, one Master Effect is available; using a stereo input and a stereo output. When this parameter is set to STEREO, the STEREO LED indicator in the Master Effects module on the Front Panel will be lit.
  • Page 101 TIP: When the PRESET AUTOLOAD function [SETTINGS / GLOBAL / HARDWARE SETTINGS] is set to ON, scrolling from one entry to the next in the Effect Preset list will load the selected Effect Preset automatically, without the need to press down on the Master Encoder.
  • Page 102 Here you can name your edited Effect Preset. ENTERING TEXT Moog One allows you to enter names and text directly from the keyboard. The white keys (naturals) enter the characters; certain black keys (accidentals) have specific functions.
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  • Page 104 EFFECTS APPENDIX NOTE: When the Sync parameter is set to On, the value of certain time-based parameters will automatically switch from absolute and variable ms values to clock-division values based the Master Clock. Fractional clock-division values will be presented in three different versions, 1/4T, 1/4, and 1/4., for example. In the first Triplet version, the timing is modified to play at 2/3rds of the Straight value.
  • Page 105 PING PONG (Dual Tap Digital Delay Line; Cubically Interpolated with Alternating Stereo Spatialization) AMOUNT OF DELAY SIGNAL IN THE OUTPUT 0% to 100% CTRL 1 FEEDBACK DELAY SIGNAL FED BACK TO THE INPUT 0% to 100% CTRL 2 TIME LEFT DELAY TIME FOR THE LEFT SIDE 0.1ms to 2000ms...
  • Page 106 ECHO (Single Tap Delay with Spring-Style Diffusion) AMOUNT OF DELAY SIGNAL IN THE OUTPUT 0% to 100% CTRL 1 TONE LPF TONE CONTROL 0% to 100% TIME DELAY TIME 0.1ms to CTRL 2 2000ms FEEDBACK FEEDBACK PARAMETER FOR ECHO 0% to 100% ROOM SPACE CONTROL FOR DIFFUSION TANK 0% to 100%...
  • Page 107 DUAL CHORUS (Dual Tap Digital Chorus; Bi-Phase Implementation) AMOUNT OF CHORUS SIGNAL IN THE OUTPUT 0% to 100% CTRL 1 FEEDBACK CHORUS SIGNAL FED BACK TO THE INPUT -100% to CTRL 2 +100% TIME TIME OFFSET 3ms to 60ms DEPTH LFO DEPTH OF MODULATION 0% to 100% RATE...
  • Page 108 6 STAGE PHASER (Six All Pass Filter Stage Phaser (MF-103 Style)) AMOUNT OF PHASER SIGNAL IN THE OUTPUT 0% to 100% CTRL 1 FEEDBACK PHASER FEEDBACK EMULATION 0% to 100% SWEEP PHASER ZERO POINT 0% to 100% RATE LFO RATE OF MODULATION 0.01Hz to CTRL 2 20Hz...
  • Page 109 BIT CRUSHER (Crossover Filter for Dual Bit Crushing) AMOUNT OF EFFECT SIGNAL IN THE OUTPUT 0% to 100% CTRL 1 DEPTH BIT DEPTH 2-BIT to 24- CTRL 2 RATE SAMPLE RATE 128Hz to 48kHz GAIN GAIN STAGE OF THE PROCESSED SIGNAL 0% to 100% RESONATOR (Resonant Filterbank) AMOUNT OF EFFECT SIGNAL IN THE OUTPUT...
  • Page 110 EVENTIDE® ROOM (Eventide parametric room reverb.) REFLECTION DENSITY, SPREAD, AND TIME MACRO FOR EARLY THIS EFFECT HAS 20 REFLECTION DELAY TAP NETWORK DETENTS AS FOLLOWS EARLY 10 + LATE 0 (0), EARLY 10 + LATE 1 (0.05), .., EARLY 10 + LATE 10 (0.5), EARLY 9 + LATE 10 (0.55), .., EARLY 0 + LATE 10 (1)
  • Page 111 EVENTIDE® PLATE (Master Plate Effect) DISTANCE DELAY TIME FOR EARLY REFLECTION TAP NETWORK 0 - 100 DIFFUSION FEEDBACK COEFFICIENT FOR EARLY REFLECTION 0 - 100 NETWORK MOD LEVEL MODULATION DEPTH OF DELAY TAP IN EARLY 0 - 100 REFLECTIONS TONE CUTOFF FOR LPF AT INPUT -100 - 100 HIGH DAMP...
  • Page 112 EVENTIDE® BLACKHOLE (Master Blackhole Effect) PARAMETER NAME PARAMETER DESCRIPTION RANGE MOD DEPTH MODULATION DEPTH FOR EARLY REFLECTION STAGE 0 - 100 MOD RATE MOD RATE FOR EARLY REFLECTION STAGE 0 - 100 FEEDBACK FEEDBACK SIGNAL FOR EARLY REFLECTIONS 0-100 (0.9), INFINITE, FREEZE(1) RESONANCE...
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  • Page 114: Left Hand Controller

    The Left Hand Controller panel contains a variety of dynamic, hands-on features that can bring higher levels of expression and articulation to any Moog One performance. The scope of these controllers can be tailored to the performer’s taste – or to a particular sound and song – using the MORE page parameters.
  • Page 115 MOD WHEEL Use the MOD wheel to manually articulate the amount of modulation being applied – in one or multiple instances. Unlike the PITCH wheel, the MOD wheel is not spring-loaded, and its starting position can be saved as part of the Preset.
  • Page 116 Sliding a finger across the X/Y PAD controls two individual parameters at the same time, in different amounts. One is assigned to the X axis, the second to the Y axis. There is also a third axis that can sense pressure on the pad. Also, anytime the pad is...
  • Page 117 LEFT HAND CONTROLLER FUNCTIONS (Continued) The onscreen MORE page parameters are edited using the four Soft Knobs below the screen. CHANGING THE VALUE Rotate the Soft Knob below the parameter name to change its value. In some cases, the Soft Knob simply turns a function on or off.
  • Page 118 Again, a special case for articulating the Glide effect. In this case, Glide is produced only when the notes are played legato-style (one is held down as the new note plays). If the notes are played in a non-legato, or staccato fashion (the previous note is released before the new note is played), the Glide effect will not be produced.
  • Page 119 (-12 to OFF to +12) The overall pitch of the active Synth may be transposed up or down up to one octave, in semitone units. Layered Synths can be pitched a fifth or an octave apart; songs can be played in new keys using established fingering;...

  • Page 120: The Browser

    CATEGORY, MOOD, and GROUP divisions. Only TYPE has fixed options - SINGLE, LAYER, SPLIT, and MULTI. Generally, one would use SINGLE for a Preset using a single Synth. SPLIT for multiple Synths playing in different areas of the keyboard, LAYER for multiple Synths stacked on the same keys, and MULTI for a Preset combing SPLITS and LAYERS, etc.

  • Page 121: Loading A Preset

    TIP: When the PRESET AUTOLOAD function [SETTINGS / GLOBAL / HARDWARE SETTINGS] is set to On, scrolling from one entry to the next in the Browser will load the selected Preset automatically, without the need to Press down on the Master Encoder or to use the LOAD PRESET Soft Button.

  • Page 122: Saving Presets And Synth Timbres

    MIDI Note number, etc. TIP: You can also enter text directly, using a standard USB keyboard connected to the Moog One’s USB HOST port. When you are done, press the SAVE PRESET AS Soft Button at the top of the screen. Preset names must be unique;...
  • Page 123 USING THE BROWSER (Continued) SAVING TIMBRES From the SAVE / NAMES screen, you can rotate the Master Encoder and highlight any Timbre contained in the current Preset. The selected Timbre can be given a new name using the same naming method defined in the SAVE AS section above, and then saved with the current Preset under this new name by pressing the SAVE...

  • Page 124: Editing And Saving

    When creating sounds and delving deep into the world of analog synthesis and creative sound design, few things are as important as saving your edits before they are lost forever. Fortunately, Moog One is equipped with a number of thoughtful features to ensure your critical work is easy to manage. For starters, as soon as any knob, button, or parameter is changed after you call up a Preset, the SAVE button on the Front Panel will dimly light as a reminder that there are unsaved changes present.

  • Page 125: Autosave

    Sequences, Effect or Mod Matrix presets, etc. When you open the Snapshot file by pressing the SHIFT + SNAPSHOT buttons, one of the snapshots in the list will carry the marker (AUTOSAVE). This Snapshot is a record of your unsaved changes from the last time you visited...

  • Page 126: Settings

    SETTINGS SETTINGS Pressing the SETTINGS button opens the door to a host of under-the- hood functions that control Moog One global parameters, configure hardware controls and connections, manage libraries, and administer firmware updates. Three Soft Buttons at the top of the screen open the GLOBAL, LIBRARY, and TUNING pages, respectively.
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  • Page 128 The brightness of the LCD panel in the Center Console is controlled by this parameter. PANEL LED BRIGHTNESS (0% to 100%) This one parameter proportionally controls the brightness of every LED on the Front Panel. SHOW BANK PREVIEW (OFF, ON)
  • Page 129 (IGNORE, OVERWRITE, AUTO RENAME, MANUAL RENAME) This parameter lets you tell Moog One how to proceed when importing an item from a USB memory device in the case when there is already a similar item in memory using the same name.
  • Page 130 This setting works optimally in environments with a temperature at or below 75°F (24°C). NOTE: If LOW mode is selected and the environment that Moog One is in causes it to require further cooling, the fans will initiate at whatever speed is necessary to cool, protect, and ensure...

  • Page 131: Midi Control

    MIDI source, overriding the internal Master Clock. RECEIVE MIDI START/STOP (OFF, ON) When this parameter is set to On, Moog One will receive Start and Stop commands from an external MIDI source. It is possible to receive Start and Stop command independent of the Clock signal.
  • Page 132 This parameter selects the MIDI Channel that Synth 3 will use to receive data. TIP: If you really only need one Synth – Synth 3, say – to receive on a separate channel, Use the Per Synth option and set Synth 1 and Synth 2 to the same channel, and Synth 3 to independent channel.
  • Page 133 MIDI I/O (Continued) MIDI OUT ROUTE (ALL SYNTHS, PER SYNTH) When set to ALL SYNTHS, outgoing MIDI data from all three Synths in the current Preset will be sent on a single channel, as specified by the MIDI IN CHANNEL ALL parameter that will be present and available.

  • Page 134: Cv Inputs

    Moog One is equipped with five 1/4” TS Control Voltage (CV) Inputs on the rear panel – CV IN 1 and CV IN 2, plus the PEDALS inputs for Expression – EXP 1, EXP 2, and SUSTAIN. All of these inputs can be configured to work with a variety of CV sources, from expression pedals to other modular, Eurorack, and standalone synthesizers.

  • Page 135: Cv Outputs

    Moog One is equipped with four 1/4” Control Voltage (CV) Outputs on the rear panel – CV OUT 1, CV OUT 2, CV OUT 3, and CV OUT 4. All of these outputs can be configured to work with a variety of CV destinations, from other modular and Eurorack synthesizers, to standalone CV synthesizers.

  • Page 136: Utilities

    RESTORE DEFAULT SETTINGS (SOFT BUTTON) Selecting this option from the list in the right pane using the MASTER ENCODER will restore all Moog One SETTINGS to their factory default values; the screen prompt will read RESTORED DEFAULT SETTINGS. NOTE: Restoring the Moog One Default Settings will NOT change, alter, or erase any Presets or Sequences.

  • Page 137: Library

    BUILD INFO Selecting this option displays the Build Info for the Moog One operating system. This is not an editable parameter. IP ADDRESS Selecting this option displays the IP Address used to communicate with this specific Moog One via Internet Protocols.
  • Page 138 FACTORY Soft Button will create a new User Space populated with factory presets, while pressing the CREATE EMPTY Soft button will create a new, empty User Space. ENTERING TEXT Moog One allows you to enter names and text directly from the keyboard. The white keys (naturals) enter the characters;...
  • Page 139 The opposite of the EXPORT command, you can use the IMPORT command to selectively load any and all Moog One data saved to a USB drive. Be sure the portable USB drive containing the data is available and securely inserted into the USB Type A (USB HOST) port located in the COMM section of the rear panel..
  • Page 140 UNDERSTANDING CATEGORIES, MOODS, AND GROUPS Moog One allows the assigning of tags to each Preset and Synth as it is saved. These tags can be applied as search criteria when using the BROWSER pages to find either a specific Preset or Synth, or a suitable Preset or Synth based on these tags.
  • Page 141 LIBRARY (Continued) EDITING CATEGORIES To add a new Category, rotate the Master Encoder to highlight the +++ option from the list in the right pane. Pressing the MASTER ENCODER will open a new screen where you can name your new Category, using the keyboard entry method.

  • Page 142: Tuning

    TUNING While on the SETTINGS page, press the TUNING Soft Button at the top of the screen to open the TUNING page. From the TUNING page, you can adjust the Moog One’s MASTER FREQUENCY and FINE TUNE. Use the Soft Knobs at the bottom of the screen to set the value of the MASTER FREQUENCY and MASTER FINE TUNE parameters.

  • Page 143: Specifications

    MIXER: Independent levels and filter routing for OSC 1, OSC 2, OSC 3, RING MOD, NOISE, and EXT IN FILTERS: State-Variable Filter; Ladder Filter (Mixable, Parallel or Series operation) STATE VARIABLE: Two -12dB per octave filters operating as one filter, configurable as NOTCH, BP, LP, and HP – with -12dB or -24dB slopes; Cutoff, Resonance, etc.
  • Page 144 SPECIFICATIONS PERFORMANCE SETS: Create, save, and manage up to 128 Performance Sets offering single-button access to up to 64 PRESETS SETTINGS: Access to pages for managing Libraries, Tuning features, plus Utilities such as updates, configuring ins and outs, etc. MOD MATRIX: Provides the ability to map modulation sources to destinations at will, using either controllers or addressable transforms to articulate the modulation signal VOICE ALLOCATION: Mono or Poly voice count per Synth, unison/mono detune (48 oscillator max.), Chord Memory, plus voice stealing/sharing options...

  • Page 145: Service And Support

    (828) 251-0090 to register your product. CARING FOR THE MOOG ONE Clean the Moog One with a soft, dry cloth only – do not use solvents or abrasive detergents. Heed the safety warnings at the beginning of the manual. Don’t drop the unit.

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