Page 1 USER’S MANUAL Moog Modular V 2...
Page 2 The software license agreement specifies the terms and conditions for its lawful use. No part of this manual may be produced or transmitted in any form or by any purpose other than purchaser’s personal use, without the express written permission of ARTURIA S.A.
Page 3 Moog Modular V, and will be a great starting point for those who wish to dis- cover this new version. Go to the last part of Chapter 7 if you wish to jump into using the new mod- ules offered.
Page 5: Table Of Contents
The 4 sections of the Moog Modular V 3.1.1 The synthesis section 3.1.2 The other three sections 3.1.3 Reduced view of the keyboard and the real time controllers Using presets Modular synthesizer 3.3.1 First connections 3.3.2 Description of the synthesis section modules The other sections 3.4.1...
Page 6 7.3.1 Creative use of key follows 7.3.2 Creative use of triggers and trigger delays 7.3.3 Stereo without the effects using the new Moog Modular V 2.0 modules 7.4.1 The Bode Frequency Shifter 7.4.2 The Envelope Follower 7.4.3 The sample and hold...
Page 7 8.1.4 Information on the level of processor use 8.1.5 Panic 8.1.6 Saving an instrument VST™ 8.2.1 Installation 8.2.2 Using the instrument in VST mode 8.2.3 Connection to a MIDI track 8.2.4 Saving presets 8.2.5 Automation Pro Tools™ 8.3.1 Installation 8.3.2 The RTAS and HTDM standards 8.3.3...
Page 9: Introduction
THE BIRTH OF MODULAR MOOG SYSTEMS Robert A. Moog was born in May 1934 in New York. A passionate for music (he took piano lessons for 12 years), he was introduced to electronics by his father, an engineer in this domain. During his adolescence, he discovered the Thereminvox plan, invented during the 30’s by a Russian engineer,...
Page 10 In 1967, Bob decided to release different machines each with a certain number of modules. This marked the birth of modular systems I, II and III. This same year, Paul Beaver for the first time used a modular Moog system on a record.
Page 11 A little later, Keith Emerson, keyboard player for the groups Nice and ELP (Emerson, Lake and Pal- mer), was he himself to become an ambassador for Moog synths. He was one of the first to play a Moog modular on stage during a tour (A 3C system). Jan Hammer was also one of the first users of Moog systems.
Page 12 In 1969-70, the company which now has around forty employees was building up to three modulars per week and the order book was always full. The modular had 5 years of high sales, and sold around 200 models in the United States. Construction and testing of a modular Moog (Courtesy of Roger Luther, MoogArchives.com) In 1969, Bob Moog received demands for a more compact instrument that could be transported more easily, directed more to stage than studio.
Page 13: A Modular Synthesizer, Why
If we now take 9 oscillators, 6 envelopes, a modulation wheel and a velocity setting, we would need… 216 setting buttons! What can we therefore say for the Moog Modular V, which on top of this has three filters, a noise generator, a sequencer and two control pads! Connections in a modular synthesizer can sometimes seem difficult, but the often-unexpected re- sults, are always a source of great musical inspiration.
Page 14: A Better Emulation Thanks To Tae
A BETTER EMULATION THANKS TO TAE® TAE® - standing for True Analog Emulation - is a new technology dedicated to the digital reproduc- tion of analog circuits. When implemented in software code, TAE’s algorithms guaranty the respect of hardware specifica- tions.
Page 15: Better Reproduction Of Analog Wave Forms
Temporal representation of the Moog Modular V waveform thanks to TAE In addition, original analog oscillators were unstable. Actually, their wave shape was always slightly different from one period to another. In addition, due to analog hardware sensitivities, new period trigger times varied with the temperature and other environmental conditions.
Page 16: Better Reproduction Of Analog Filters
1.3.3 Better reproduction of analog filters TAE allows the emulation of analog-designed filters in a much more precise way than any existing digital filter. In particular, TAE has managed to reproduce the legendary Moog 24dB low-pass reso- nant filter with great respect towards the original.
Page 17: Implementation Of The Soft Clipping
In analog synthesizers, the resonant filter uses a current limiting function, preventing the signal from being too loud (soft clipping). TAE reproduces this current limiting function, making the sound more natural. It also allows filters to enter self-oscillation like original hardware synthesizers do.
Page 18 ARTURIA – MOOG MODULAR V – USER’S MANUAL...
Page 19: Installation
Insert the CD-ROM in the drive. Explore the CD-ROM content; double-click on the “Moog Modular V 2 Setup PC.exe” icon At the first step in the installation, choose the folder to install the Moog Modular V. It will be in- stalled by default in C:\Program Files\Arturia\Moog Modular V 2. You can change the destination with the Browse button.
Page 20 For the VST and RTAS protocols, you need to choose the installation folder to allow the host appli- cation to use the Moog Modular V as a plugin. If you do not know how to make this choice, go to chapter 8.
Page 21: Installation Macos
The Moog Modular V will be installed as a standalone application. The following step allows you to install the Moog Modular V as a plugin. To do this, choose the protocol(s) that you use (VST, RTAS/HTDM). For more information on these protocols, look at chapter 8.
Page 22 The installation program now has enough information to complete the installation. You will be able to use the Moog Modular V in a few seconds. Remark: Take care to keep your CD-ROM as the program will periodically ask you for it. You will also need your license number when you are reinstalling the program.
Page 23: Installation Macos 9
INSTALLATION MACOS 9 Insert the CD-ROM in the drive. Explore the CD-ROM content; double-click on the “Moog Modular V 2 setup Mac” icon. The Moog Modular V will be installed as a standalone application. The following step allows you to install the Moog Modular V as a plugin.
Page 24 The installation program now has enough information to complete the installation. You will be able to use the Moog Modular V in a few seconds. Remark: Take care to keep your CD-ROM as the program will periodically ask you for it. You will also need your license number when you are reinstalling the program.
Page 25: Quick Start
- The fourth holds the virtual keyboard, as well as a section dedicated to the key follows and essen- tial controllers. It is possible to keep only the fourth section on the screen, by clicking on the Keyb icon on the tool- bar.
Page 26: The Other Three Sections
The other three sections The first, situated at the top of the synthesizer, contains the step sequencer and 4 effects (the right hand effect can be either a chorus or phaser). The two others are found under the synthesis section.
Page 27: Reduced View Of The Keyboard And The Real Time Controllers
You also have the possibility to only keep the keyboard and its assignable controllers visible on the screen. The goal is to have quick access to all of the important real time controllers and sound pre- sets all while having a smaller work surface.
Page 28 The Moog Modular V is supplied with more 400 “factory” sound banks, which allow you to get used to the sounds and se- quences of the synthesizer. A bank called “user” offers a selection of presets allowing you to begin from a base configura- tion to start the programming of a sound (for example the sound “1 oscillator”...
Page 29: Modular Synthesizer
You can also create a connection by choosing the cable destination with a menu with a right click (or shift click) on the out- put jack. To delete a cable, click on it, it will then appear in a clearer color to show that it is selected. Press the “DEL” key on the keyboard to remove the connection.
Page 30 Connection of the filter1 audio output to the VCA1 audio input Once you have obtained a basic sound, you can add elements to enrich the sound. ► Take the “saw” output of oscillator2 and connect it to the audio input of filter2. ARTURIA – MOOG MODULAR V – USER’S MANUAL...
Page 31 ► Next connect the audio output of this filter to the VCA2 audio input. Connection of the VCA2 audio input ► Slightly detune the pitch of the second oscillator by turning the “frequency” button. You will ob- tain a sound that is more “alive” and “thick”.
Page 32 Turn the jack ring On the original Moog Modular, it was not possible to directly set the value of the modulation input signal! To do this we needed to go through controllable VCAs or dampening modules of which there were not very many. On the virtual synthe- sizer, it is possible to control the input modulation level (once the connections have been made) by turning the ring of the connected jack –...
Page 33 You will obtain a very natural stereo without the use of external effects! ► Don’t forget to save your preset in a bank to your name and a sub-bank with the name “Pads”. Then, enter the preset name “Stereo_Pad”.
Page 34 The final patch It would be good to insert arrows to distinguish the diverse parts of this section in the above image (the oscillators, the filters, the VCA…) ARTURIA – MOOG MODULAR V – USER’S MANUAL...
Page 35: Description Of The Synthesis Section Modules
To the oscillators previously described we add a white or pink noise generator. It is accessible in the form of 4 outputs. This mode also has two 6 dB/oct. filters: a low-pass (LPF) and a high-pass (HPF). With these, you can, for example, change the nature of the noise to make it more or less brilliant White and pink noise generator •...
Page 36 - Multi-mode 12 dB/octave (low-pass, high-pass, band pass, band reject, bell, shelf. The type change is done by clicking on the title of the filter type and by selecting the desired filter in the proposed menu. The 4 filter types •...
Page 37 • Dual trigger delay A module with two trigger delays allows the management of the signals used to trigger envelops and sequencer. The trigger delays • The LFOs Two low frequency oscillator modules (“Low Frequency Oscillator”) are used to create a cyclic modulation on one (or several) sound setting.
Page 38 These amplifiers can be regrouped to create mixers. To regroup two amplifiers simply click on the “link” button that separates them. When two amplifiers are regrouped, the output signal of the first corresponds to the sum of the output signals of the two amplifiers, while the second remains as it was before the regrouping.
Page 39: The Other Sections
Eight step sequence manager. Each step defines 3 levels of output modulations, with 3 rotating buttons. The manager moves from one step to another on every impulse from the low frequency generator. The 3 lines of sequence can also be chained to create a longer sequence (up to 24 steps) The output controller.
Page 40 The sequencer will work on its own when you start it. Apply a sequencer output to the VCA (here VCA2) ► Now go to the second screen and click on the “On” button situated in the “Oscillator” of the se- quencer. This will play the sequence in a loop.
Page 41 ► Set the pitch of each note in turning the potentiometers of the sequence row applied to the Driver oscillator. Setting of the values corresponding to the pitch of the oscillators ► Also set the length of the notes with the “length” potentiometer Set the length of each note ►...
Page 42: The Effects
Click on the “repeat” button ► If you wish to add more steps to your sequence, 16 for example, select “L4” in the LCD display below the oscillator “Driver” of the sequencer. Now select “L12” in the LCD display on the right of the sequencer (“chain”).
Page 43 “VCA1” and “VCA2”. This equalization is done with the help of resonant filters with 12 band pass filters,- each of the bands has a level (positive or negative) and bandwidth setting. This module also pos- sesses a low-pass filter (80Hz) and a fixed high-pass (12KHz).
Page 44 2 audio outputs of the sequencer. It is also possible to keep a part of the sound effect free by deactivating one of the two VCA switches. This can be very in-...
Page 45 “R” Right) If you wish to get a stereo echo, apply a different setting for the repetition of the left and right. So that the delay is synchronous, activate the “Sync” switch at the top of the module.
Page 46 “stereo width” (depth) and “stereo rate” (oscillation speed) potentiometers. Thus will get an “auto pan” pan effect. The effect will be even more present if you lower the level of the signal without effect (“Dry”), leaving only the effect return (“wet”).
Page 47: The Virtual Keyboard And Its Real Time Controllers
The keyboard The virtual keyboard situated on the bottom of the second screen, allows the quick testing of the sounds of the presets, or the sound that you are editing, and this without the need for an external MIDI keyboard.
Page 48 The velocity adds a modulation to the parameters, which are affected by the force with which the key is played on the MIDI keyboard. The After Touch adds a modulation to the parameters connected to its source by a variation in the force used on the keys of the MIDI keyboard.
Page 49: The Play Modes
► The “retrig” button, also active when the synthesizer is in monophonic mode, allows the system- atic re-triggering of the envelopes, even if you link the notes in your playing sequence. If, on the other hand, you don’t wish to re-trigger the envelopes when 2 notes are linked, leave the button raised.
Page 50 2D controller To have access to these 2 modulation inputs on a low-pass resonant, it is essential to change the filter type! (the low-pass 24dB Moog does not possess a modulation input in the resonance!) Take the multimode filter and set it to low-pass mode, if it isn’t already the case.
Page 51 The three filter cutoff frequency controllers This chapter has given you a look at some of the many aspects of the Moog Modular V. Now try to go a little deeper using the rest of the documentation. You will find all of the details concerning the modules, the sequencer and the many different modes of use of the Moog Modular V.
Page 52 ARTURIA – MOOG MODULAR V – USER’S MANUAL...
Page 53: The Interface
Display of bank, sub-bank, and preset being used To choose a preset in the current sub-bank, click on the button on the left of the current preset, a drop-down menu appears with a list of presets from the same sub-bank. You can choose another preset in the menu by selecting the corresponding line.
Page 54: Creation Of A Bank, Sub-Bank, Preset
Choice of preset in another sub-bank To choose a preset in another main bank, click on the button on the left of the name of the current bank. A drop-down menu appears with the choice of the main banks that are available, and the sub- lists corresponding to the sub-banks defined in each main bank and the presets contained in each sub-bank.
Page 55: Saving A User Preset
“Save” button on the toolbar If you want to save your preset under a different preset name, click on the “Save As” button in the toolbar. A drop-down menu will appear allowing the choice of either an existing preset (in this case, the preset contents will be replaced by the current setting), or to save your preset as a new preset (in this case, click on “New Preset…”...
Page 56 When you click on this button, a dialog appears allowing the choice of Moog Modular V preset bank files (.AMB file type on PC, AMpB file type on Mac). Choose the file that you want to import, and click on “Open”. The new preset bank will automatically appear in the available banks.
Page 57: Work Pages
WORK PAGES The Moog Modular V offers 2 work pages. The first contains the 4 Moog Modular V sections, and the second holds the keyboard and shortcuts to the main controls. 4.2.1 The complete view: Complete view The complete view contains all of the Moog Modular V sections. The full interface being too big to be displayed on a single screen, a scroll function allows you to move to the desired section.
Page 58: The Reduced Usage Page
The Moog Modular V allows access to a higher level of precision when adjusting the potentiometers with the mouse, with the use of the right click (or shift + click). In this mode, the precision of mo- vement is multiplied by 4 in relation to the normal linear mode. This mode can be accessed no mat- ter which mode has been chosen on the sequencer (circular or linear).
Page 59: Joysticks
The usage page of the Moog Modular V offers two 2 dimensional control joysticks. The outputs can be used as a source of modulation for all of the synthesizers modules. The utility of these joysticks is that they simultaneously give control of two parameters to the mouse, with great ease. The 2...
Page 60: Keyboard
Moog Modular V application (see the corresponding chapters). On the reception chan- nel, the Moog Modular V can receive up to 120 different MIDI controls. It is possible to choose a re- ception control for each potentiometer. For this, click hold down the Control button on the key- board and click on the potentiometer that you wish to control.
Page 61: Using Cables
Modulation input connectors To connect a modules output to the input of another module, click on the output and drag it to the target input while holding down the mouse button. When you are above the input, the connector lights.
Page 62: Modifying A Connection
Remark: The module inputs can only be connected to one output connector. On the other hand, each output connector can be connected to any number of input connectors, which allows, for example, the use of the same modulation signal to mod- ify several synthesis settings.
Page 63: Modulation Level Setting
“DEL” button on the keyboard to delete the connection. Remark: You will have a lot of trouble clicking on a cable if the “Move away cables” option is active! In this mode, the ca- bles will automatically flee the mouse pointer.
Page 64: Trigger Connections
Trigger type input connection menu This menu tells us to which module a trigger input is connected, and allows us to create a new con- nection or delete an existing one. When a trigger input is connected, its graphical aspect changes, and this tells us if a module is connected without checking the menu: Trigger input disconnected –...
Page 65: Synchronization Connections
At the level of each driver module and each filter, a digital display allows the selection of one of the four available key follows, by a simple click, as well as one of the 4 se-...
Page 66 Follow of line 3 of the sequencer Follow of line 3 of the sequencer Follow of line 4 of the sequencer Follow of line 4 of the sequencer No sequencer follow No sequencer follow ARTURIA – MOOG MODULAR V – USER’S MANUAL...
Page 67: The Modules
The modules The Moog Modular V can be broken down into 4 parts, from top to bottom, a section containing se- quencer and effects, a section dedicated to the sound programming, a small extension where the external cables are regrouped (velocity, after-touch, external signals...) and finally a section con- taining the keyboard and different play settings.
Page 68: Oscillators
This tone can then easily be modulated with the controller. Adding a vibrato effect on this sonority is immediate using a modulation input of the controller. This would not be the case if each of the modulation inputs of the slave oscillators had to be set.
Page 69 The general tuning of the 3 slave oscillators is done with the “Frequency” potentiometer. Depend- ing on the position of the “State” interrupter, the range of the knob is +/- an octave by semitone or +/- six octaves par fifth and quarter.
Page 70 The 921b type slave oscillators possess four outputs that can be used simultaneously: Sawtooth, si- nusoid, triangle, square. There is also an output generating a trigger signal synchronous with the square signal and with an identical width, which lets us trigger envelopes and sequencer in a cyclic manner. This output is visible only visible at trigger input menu level.
Page 71 The “range” selector allows the setting of oscillator range on 6 positions: Low, 32, 16, 8, 4 and 2. With the Low position the oscillator can be used at a very low frequency (on a cycle of more than 6 minutes).
Page 72: Filters
In the high position, the synchronization is said to be “soft”, and in this case, the synchronized os- cillator will only restart its cycle if it is coming to the end of the cycle when the synchronizing oscil- lator begins its cycle.
Page 73 The low-pass 24dB filter is typical of Moog synthesizers. It has a setting for the cut—off frequency and a setting for the resonance. Only connecting the output of any module to one of the 3 modula- tion inputs can dynamically modulate the cut-off frequency.
Page 74 Unlike the low-pass 904A filter, the high-pass 24dB filter does not possess resonance. The cut-off frequency can be set with the rotating “frequency” dial or by the 3 modulation inputs which func- tion in the same manner as the inputs of the low-pass.
Page 75 (no sequencer, sequencer 1,2,3 or 4). The 24dB band pass filter resembles the Moog 904C filter, but the difference from it is that while the Moog 904C is a pairing of the 2 associated low-pass and high-pass filters, this one is independent of the 2 other filters.
Page 76 (no sequencer, sequencer 1,2,3 or 4). The multi-mode 12dB filter, has different types of filtering that the original Moog modular synthe- sizers could not offer. The selector holds six types if filtering: Low pass, Band pass, Notch, High pass, low shelf, high shelf, bell.
Page 77 The following images represent the different spectrum of the different filters, the cut-off frequency is constant at 500 Hz. Low Pass 12 dB/Octave High Pass 12 dB/Octave Notch 12 dB/Octave Bell 12 dB/Octave ARTURIA – MOOG MODULAR V – USER’S MANUAL...
Page 78: Modulation Envelopes
: Sets the attack time (Attack) Decay : Sets the decay time Release : Sets the release time Sustain : Sets the sustain level Input Trigg : Trigger signal input connection Output : Envelope output signal ARTURIA – MOOG MODULAR V – USER’S MANUAL...
Page 79 When the input trigger goes from an inactive to an active state, the envelope launches its sequences “at- tack” followed by “decay” and remains in the “sustain” state as long as the input trigger remains active.
Page 80: Output Amplifiers (Vca)
These amplifiers are the last step in the generation of a sound. The associated envelope sculpts the temporal form of the signal at the end of the sequence after the application of all of the other modulations. Unlike the modulation envelopes, it has an extra period between the “attack” and “decay”...
Page 81 The output amplifier internally connected to this envelope has volume “gain” and amplitude input modulation settings. The input trigger can be connected to the output trigger coming from the keyboard, the trigger de- lay module, the oscillators or LFO trigger output, or from the sequencer.
Page 82: Low Frequency Oscillators (Lfo)
In this mode, the rotating button chooses a frequency depending on the application’s tem- po (multiple or sub multiple). Two other buttons are affecting a delay and a fade in at the output of this generator. Initialized on a keyboard trigger, the generator output will only begin to oscillate when the internal counter reaches a time value set with the “delay”...
Page 83: Controlled Amplifiers / Mixers
We can, for example, form a group of the first six amplifiers to mix the first six oscillators, then a group with the next 3 to mix the 3 last oscillators, and finally a group with the next 2 to mix the outputs of 2 filters which will respectively treat the output of the first amplifier and the output of the seventh.
Page 84: Trigger Delay
Set to the “parallel” position, the 2 internal counters start at the same time when the trigger input of the first delay goes to an active state. Each manages its output in function with its time setting. In the series position, the second counter only begins when the output of the first delay moves to an active state.
Page 85 Independent mode Parallel mode Serial mode ARTURIA – MOOG MODULAR V – USER’S MANUAL...
Page 86: Noise Generator
The noise generator allows the simultaneous management of a white and pink noise. It also pos- sesses a low-pass and a high-pass of the first order (6 dB/octave) in which the cut-off frequency can be statically set with the “frequency” potentiometers.
Page 87: Sample And Hold
Pink noise spectrum Whether it is for white or pink noise, the two output jacks correspond to two independent noise ge- nerators. 5.1.10 Sample and hold Clock Rate Trigg input Trigg selection Glide Input Output Sample and hold Clock Rate...
Page 88: Envelope Follower
This setting relies on the “Time Choice” which can be “short” or “long”. In the first case, the analysis of the input signal will be very precise, generating a signal with fast variation. The calculation power required is thus heav- ier than the second position, where the output signal will have slow variation.
Page 89: Ring Modulator
The depth and the frequency of the internal sinusoid can be modulated with the corresponding mo- dulation inputs. The “HiQ” interrupter, at the cost of an increase in calculation load, increases the quality of the sound. ARTURIA – MOOG MODULAR V – USER’S MANUAL...
Page 90: Formant Filter
(or bandwidth). It is possible to preset these four filters to reproduce the formation of a particular vowel with the “vowel” selection window. This preselection can also be modulated with the associated modulation input.
Page 91: Second Section
In the exponential position, the translation goes from 2 Hz to 1024 Hz, the modulation being expo- nential. In the other positions (5,50,500,5k), the translation will be of a maximum of 5 Hz, 50 Hz, 500 Hz or 5000 Hz, in positive or negative.
Page 92: Resonant Filter Bank
The cut-off frequency of these filters are fixed at the following values: 80 Hz, 125 Hz, 175 Hz, 250 Hz, 350 Hz, 500 Hz, 700 Hz, 1000 Hz, 1400 Hz, 2000 Hz, 2800 Hz, 4000 Hz, 5600 Hz, 6400 Hz.
Page 93: Chorus
“depth” and the width with the “Delay”. This frequency blurring is differ- ent for the left and right tracks. This allows us to get a stereophonic signal from a monophonic sig- nal. The difference between the 2 tracks can be set with the “stereo width” and the speed of the left right rotation with the “stereo rate”...
Page 94: Phaser
When the “stereo width” is set to 0, the left and the right channel are in phase. When it is set to 0.5, the sound seems to rotate, and when it is set to 1, the sound seem to go from one side to another.
Page 95: Stereo Delay
The repetition speed can be synchronized with the tempo of the host application, and in this case, the “time” potentiometer selects the multiples and sub-multiples of this tempo.
Page 96: Sequence Generator
Sequencer Also called sequencer, this module is similar to the original Moog 960 sequencer while simplifying the programming with internal connections. This module has 3 parts, low frequency oscillator, the 8-step sequence manager and the output con- troller. Frequency Midi Synchronization...
Page 97 In this case, the “frequency” potentiometer selects multiples and sub-multiples of this tempo. The passage from one step to the next can also be done by the means of a trigger signal (from the keyboard for example) connected to the “next trigger” input.
Page 98 It is possible to remain on a particular step by modifying the “Hold” display. In this case, we need a certain number of clock impulses from the sequencer (or from the trigger input) equal to the num- ber indicated to go to the next step.
Page 99: Third Section
The fourth output, for which the smooth can also be set with a “smooth” potentiometer, is man- aged in the following manner. It take the value of one of the 3 outputs in function with the current step and the type of progression specified by the “Mode output 4” selector.
Page 100: Fourth Section
The fourth section contains a virtual keyboard, control for the 4 key follows, 2 modulation surfaces, and a few shortcuts to the most frequently used settings (Envelope for the 2 output VCA and cut-off frequency settings for the 3 filters). You will also find general settings like choice of Mono- phonic/polyphonic, the “retrigg”...
Page 101: General Settings
When the note is outside of the limits, the trigger signal remains inactive. If the notes selected for the upper and lower limits are such that the lower note is higher than the upper, then the note detected by the keyboard must be outside of the limits to activate the trigger signal.
Page 102 ARTURIA – MOOG MODULAR V – USER’S MANUAL...
Page 103: The Basics Of Subtractive Synthesis
ARP, Buchla, Oberheim, Sequential Circuits (Prophet series), Yamaha (CS series), Ro- land, Korg (MS and PS series) to name but a few. This synthesis technique is still used on most of the current digital synthesizers, added to sample reading or wave tables, which have progressively re- placed analog oscillators since the 80’s.
Page 104 (using an envelope or a LFO). This variation of impulse width is translated by a spectrum modification, not unlike a waveform change. Unlike classic analog synthesizers, the Moog Modular V allows you to change the impulse width through not only the square waveform, but also the sawtooth and triangle.
Page 105 On the Moog Modular V, if you turn the modulation rate ring, you will obtain a sound richer in harmonics. If you introduce a square or sawtooth signal, the result can be quickly distorted… but interesting for inharmonic so- norities like bell sounds or special effects for example.
Page 106: The Filter Or Vcf
Also, note that the audio output of the noise can be used as a modulation signal (specially when it is heavily filtered) to create random cyclic variations.
Page 107 The 24 dB/Oct. offers a more efficient filtering than the 12dB/Oct. On the Moog Modular V, you have access to 7 different types of filtering. Lets have a look at their respective properties: • The low-pass (low-pass filter or LPF) deletes the high frequencies from a frequency limit (the famous cut-off frequency) and only allows mow frequencies to pass.
Page 108 LFO on this same parameter). You will thus obtain a sound close to a “phasing” effect. These 4 types of filtering are more often used on analog synthesizers. The Moog Modular V offers 3 other types of filters, unheard of on synthesizers, but very much used on high quality mixing con- soles or professional equalization modules: •...
Page 109 With a high level of resonance, the filter will begin to oscillate on its own, producing a sound close to a sinusoidal waveform. At this stage, the use of a key follow is very important as you can create a melody by tuning the filter cut-off frequency with the frequency of the oscillators.
Page 110: The Amplifier Or Vca
To play the Moog Modular V with a MIDI keyboard, click on the “trigg in” plug of the output VCA and select the “keyboard trigger” function. For more detail, see chapter 5 paragraph 1.1.5 “Output Amplifiers (VCA)”. Next select one of the 4 key follow settings in the visualizer “S1…4,off”...
Page 111: The Low Frequency Oscillator
20 Hz. In other terms, you won’t hear the sound if you connect the audio output of an LFO in an amplifier. Not being used to produce a sound, it can be used to create a cyclic modulation on the parameter on which it is connected.
Page 112 • 3 oscillators (VCO) • 1 noise module • 1 mixer (mixing the 3 VCO and the noise module towards 2 filters) • 2 filters (VCF) • 2 amplifiers (VCA, can be placed in stereo with the pan potentiometers) •...
Page 113: A Few Elements Of Sound Design
You will thus obtain the base patch of subtractive synthesis. Attention! If you click on one of the “Inv” buttons on the mixer VCAs, this will not change the base tone of the preset but will invert the signal connected to this VCA. (For example, a descending “sawtooth” signal will become ascending) In addition, if you apply soft clipping (light distortion) on one of the VCA, the operation will most likely use more CPU load than before.
Page 114: Simple Patch N°2
► To begin, load the “Blank_Synth” preset in the “User” / “Blank”. You will notice that it has no cable connection and it delivers no sound ! This is normal, it is from this preset that you will program your sounds from scratch.
Page 115 Patch 2 complete ► For more clarity, reuse the “Blank” preset. ► As previously, connect the “saw” output of oscillator1 to the first mixer VCA input. Next, connect the oscillator2 “saw” waveform to the second VCA. Connection of oscillators to mixer...
Page 116 Click on the link button to create a link between the 2 VCA ► To connect the audio output coming from the 2 mixed VCA to the filter1 input, drag a cable from the first VCA “out” to the filter1 “in”.
Page 117 “Sin” output of LFO1 and direct it to the first modulation input (“Mod In”) of filter1. Click again on this jack and lightly turn it towards the right (to 14h for example). This will dose the modulation input to the cut-off. Finally, lower the cut-off frequency to hear the oscillation of the sound.
Page 118: Complex Patch N°1
► Then, on this third slice, connect the audio output of the square waveform of the third oscillator. Notice that filter1 is still connected to the audio output of the first slice of the mixer. As a result, it now receives the signals coming from the 3 oscillators.
Page 119 ► Connect the audio output of this filter to the input of the second output VCA and turn the pan buttons of VCA1 to 9h and those of VCA2 to 3h to widen the stereo field.
Page 120 If you do not hear the sound, make sure with a right click on the “trigg” inputs of these 2 envelopes that “keyboard trigger” has been selected. ► Apply light cyclic variations on the filter1 cut-off frequency. Choose the “Sin” output of LFO1 and direct it to the first modulation input of filter1.
Page 121: Complex Patch N°2
• 3 LFO (the 2 principal LFO + 1 low frequency) This sound is stereo and uses delay and chorus effects. It can be as easily used in monophonic and polyphonic mode to create a very expressive ambient sound. The complete patch...
Page 122 “Mod” input of filters1 & 2, without forgetting to increase the 2 modulation levels. The white noise module connected to the band pass filter ► Set the third filter output towards the fifth slice of the mixer and link slices 3, 4 and 5 to direct them towards the first and second filters.
Page 123 “frequency” button to find the color and height of the sound that you like. This will also be modu- lated by a third LFO (for this take the “Sin” output of oscillator 7 and set it to “Low” mode so that it acts as a LFO).
Page 124: The Sequencer
Tip! If you apply several modulations provoked by the different LFOs and on different destinations (filter “Cutoff”, FM, PWM etc…). try to vary the different levels of modulation in order to create as many different variations in the evolution of the final sound.
Page 125 ► Now move to the second screen and click on the “ON” button situated in the “Oscillator” mod- ule. The sequencer starts up but you only hear the same pitch for all the steps ! This is normal. Start the sequencer ►...
Page 126: Sequence N°2
► Select the “L1-2” function on the line selector on the right of the sequencer. Once you have cre- ated a melody on the second line, you will alternately hear the melodies played by these two lines.
Page 127 Select the function “L1-2” ► Do the same thing for the third line. To hear it, select “L1-2-3” and try the other selections and the columns (3 potentiometers per column) by activating “C1-2-3”. With the “Al” position, the play- ing will be done randomly between each line and column.
Page 128 ► You can also “trigger” one of these steps using a MIDI keyboard by selecting “Keyboard Trigger” on the “Trigg” output above the “ON” button. The sequence will be triggered when you press one of the notes. In the same manner, you can switch lines or columns by selecting the same function on the “Trigg”...
Page 129: Sequence N°3
► Connect the square of the fourth oscillator (in order to create a second melodic sequence, differ- ent from the first) to the audio input of filter2 and choose the “Low Pass Filter” type for this filter. ► Place filter 1 on the “S2” output of the sequencer: click several times in the small visualizer at the bottom of the module to show its characters.
Page 130: Bonus Features
► to complete the evolution of the sound in stereo, you can apply modulations to the cut-off fre- quencies of the 2 filters using a LFO. To make this effect more apparent, turn the level of the mo- dulation input of filter1 to the left (negative value) and of filter2 to the right (positive value). By applying a slow rotation speed to the LFO, you will get the linking of the 2 sequences in stereo space, brought about by the opening of the 2 cut-off frequencies.
Page 131 Connection of the PWM to the key follow input 1 (key follow1) ► Now move to the second screen to set the slope and the notes that will separate the key follow actions. For this example, choose key follow n°1.
Page 132: Creative Use Of Triggers And Trigger Delays
All of the Moog Modular V envelopes are triggered by specific signals. These signals can be gener- ated by the keyboard (note On, note Off), by each of the 4 key follows, by the sequencer or by the trigger delay module.
Page 133 Click on the trigg “in” plug on the envelope ► Generally the envelope is triggered by the keyboard. The use of a trigger delay allows you to make the modulation appear after a determined time, as long as the note is still active. You will obtain a different sound depending on the length of the note.
Page 134: Stereo Without The Effects
► To keep the stereo space very wide, it is essential to keep the 2 channels independent. Il It is thus necessary to use a filter for each of them.
Page 135 These patches, you will have noticed have very different levels of difficulty. We hope that they will have allowed you to see some of the possibilities that the Moog Modular V has to offer. But don’t hesitate in testing the programming yourself, this is how we learn and progress and develop more originality.
Page 136: Using The New Moog Modular V 2.0 Modules
Moog galaxy. There were around 10 sold across the world! The bode Shifter module It allows the creation of a huge number of unique sounds, which we will see, in the two following examples: 7.4.1.1...
Page 137 We can direct the signal to a low pass filter (LP filter 24 dB) to dampen certain high frequen- cies. It is also possible to use a wave for that is not as rich in harmonics on the oscillator (the triangle, for example) if we don’t want to filter the sound coming from the Bode Shifter.
Page 138: The Envelope Follower
The “Bode-Seq” patch We are not obliged to use a sequencer as source of frequency modulation for the Bode Shifter. More subtle modifications are also possible with a LFO or a key follow. 7.4.2 The Envelope Follower The envelope follower is a module favored by aficionados of modular synthesizers with the goal of modulating the envelope with an external signal.
Page 139 It is also possible to create a continuous note (hold) so that the Moog signal doesn’t stop. For this, set the “Release” potentiometer on the VCA1 envelope fully to the right (in the direction of the hands of a clock).
Page 140 The “Ext_In” preset ► This module will be used to modulate the low pass filter frequency (LP Filter 24 dB). After “open- ing” the modulation rate, the filter cut-off frequency will be modified by the dynamic evolutions of the audio signal when the Moog is played through MIDI.
Page 141: The Sample And Hold
The preset “Pads / Env_Follow” ► To modify this wave form, we will connect the result of the mixing of the 3 oscillators as source of modulation to the input of the envelope follower. Click on the audio out of the first VCA (going from the left).
Page 142 Here we will look at creating a random modulation. ► Use the “Pads / Slow_SH” preset from the “Factory” bank for this example. It is made up of 3 os- cillators, a low pass filter (LP Filter 24dB), a noise module and a Sample and Hold.
Page 143 The pink noise output is filtered by a low pass filter (6dB/oct) and directed to the Sample & hold audio in. The audio out of the latter is connected to one of the 3 cut-off frequency modulation in- puts of the low pass filter.
Page 144 ARTURIA – MOOG MODULAR V – USER’S MANUAL...
Page 145: Using The Moog Modular V In Different Modes
STAND-ALONE The Moog Modular V application can be used as an instrument independent of a sequencer (stand alone mode). It allows you to open one or several instruments, and to play with a master MIDI key- board. Attention! The stand-alone application is only available for PC and Mac OS X 8.1.1...
Page 146: The Control Bar
Choose the MIDI port to which the keyboard that you are using to control the instrument is con- nected, and the channel that you wish to use. You can choose to respond to one or all of the chan- nels of this MIDI port by selecting ‘All’ in the MIDI channel choice.
Page 147: Information On The Level Of Processor Use
Attention: if saving a configuration in the Moog Modular V application saves the sound settings of the instrument, this has nothing to do with the saving of the presets of the instrument itself (cf. 4.1.3 Saving a user preset). The saving in the appli- cation does not imply the saving of the current preset.
Page 148: Using The Instrument In Vst Mode
So that the Moog Modular V can play the information coming from a MIDI track, you must choose a MIDI track and select the Moog Modular V as the MIDI output for this track using the menu in Cubase which is used for this:...
Page 149: Automation
• for Windows: C:\Program Files\Digidesign\DAE\Plug-Ins If your system can or cannot use the HTDM plug-ins or not (see the next section), the installation is the same. Under Mac OS 9, you need to increase the memory attributed to DAE (see the Pro Tools manual for the procedure) by 15 mega bytes.
Page 150: Opening The Instrument
Saving presets Once the session is saved, the state of the Moog Modular V is saved as it is, even if the programming does not correspond to any preset. For example, if you had been working on a preset P for which you had modified parameters (without having saved them under the name P), the next time the song is opened, the Moog Modular V will load preset P with the modifications.
Page 151: Automation Under Pro Tools
So that the Moog Modular V can play the information coming from a MIDI track, you must choose a MIDI track and select the Moog Modular V as the MIDI output for this track using the menu in Sonar which is used for this:...
Page 152: Saving Presets
8.4.4 Saving presets When the session is recorded, the state of the Moog Modular V is recorded as is, even if the pro- gramming does not correspond to any preset. For example, if you were working on preset “P1” on which you had modified the parameters (without having saved them under the name “P2”), the next...
Page 153: Connection To A Midi Node
Saving presets Once the session is saved, the state of the Moog Modular V is saved as it is, even if the programming does not correspond to any preset. For example, if you had been working on a preset P for which...
Page 154: Automation
(without having saved them under the name P), the next time the song is opened, the Moog Modular V will load preset P with the modifications. The scrolling menu that Digital Performer offers for saving plug-in parameters can of course be used with the Moog Modular V.
Page 155 SOFTWARE recorded on the enclosed disks and all subsequent copies of the SOFTWARE, regardless of the media or form on or in which the original disks or copies may exist. This License is not a sale of the original SOFTWARE.

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Moog modular v 2

Arturia Moog Modular V User Manual

1 Introduction

2 Installation

3 Quick Start

4 The Interface

5 The Modules

6 The Basics of Subtractive Synthesis

7 A few Elements of Sound Design

8 Using the Moog Modular V in Different Modes

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