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IMPORTANT SAFETY INSTRUCTIONS
WARNING - PLEASE BE ADVISED THAT THIS INSTRUMENT WEIGHS 45 POUNDS, AS SUCH WE
RECOMMEND THAT TWO PEOPLE REMOVE THE INSTRUMENT FROM THE BOX AS A SAFETY
PRECAUTION. PLEASE DON’T ATTEMPT TO MOVE THE INSTRUMENT BY YOURSELF.
WARNING - WHEN USING ELECTRIC PRODUCTS, THESE BASIC PRECAUTIONS SHOULD ALWAYS
BE FOLLOWED.
1. Read all the instructions before using the product.
2. Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or
near a swimming pool or the like.
3. This product, in combination with an amplier and headphones or speakers, may be capable of producing sound
levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or
at a level that is uncomfortable.
4. The product should be located so that its location does not interfere with its proper ventilation.
5. The product should be located away from heat sources such as radiators, heat registers, or other products that
produce heat. No naked ame sources (such as candles, lighters, etc.) should be placed near this product. Do not
operate in direct sunlight.
6. The product should be connected to a power supply only of the type described in the operating instructions or
as marked on the product.
7. The power supply cord of the product should be unplugged from the outlet when left unused for a long period
of time or during lightning storms.
8. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.
There are no user serviceable parts inside. Refer all servicing to qualied personnel only.
NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device,
pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful
interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy
and, if not installed and used in accordance with the instructions, may cause harmful interference to radio
communications. 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.
—Increase the separation between the equipment and receiver.
—Connect the equipment to an outlet on a circuit different from that to which the receiver is connected.
—Consult the dealer or an experienced radio/TV technician for help.
CAUTION: Please note that any changes or modications made to this product not expressly approved by
Moog Music Inc. could void the user’s authority granted by the FCC to operate the equipment.
OPERATING CONDITIONS AND STORAGE:
For optimal performance you should use your Moog One between 50 – 95 degrees Fahrenheit or 10 – 35 degrees
Celsius. Safe operating conditions are within the range of 50 – 110 degrees Fahrenheit or 10 – 43 degrees Celsius.
Your Moog One should be stored in temperatures above 32 F (0 C) but never greater than 135 F (57 C). Do not
leave your Moog One in a vehicle on a hot day with the windows closed. Temperatures in a vehicle can exceed
175 F or 80 C.
THIS MANUAL IS A LIVING DOCUMENT THAT WILL BE UPDATED.
Please visit www.moogmusic.com/moogone to nd the most up-to-date manual.
If you are having trouble nding information about your Moog One please email:
moogonemanual@moogmusic.com or chat with us in real-time at the Moog Factory
during our operating hours (M-F, 9am-5pm EST) on www.moogmusic.com.
Registering your Moog One ensures that you receive the latest rmware and manual updates.
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
VCA
Output
Performance Set
Master Clock
Voice Allocation (Hold/Chord/Polyphony)
Modulation
Arpeggiator
Sequencer
Effects
Left Hand Controller
THE BROWSER
Loading A Preset
Loading A Timbre
Saving Presets And Synth Timbres
EDITING AND SAVING
Compare
Snapshot
Autosave
SETTINGS
Global
Hardware Settings
MIDI Control
CV Inputs
CV Outputs
Utilities
Library
Tuning
SPECIFICATIONS
SERVICE AND SUPPORT
APPENDIX A: WORKING WITH A USB KEYBOARD
APPENDIX B: MIDI LEARN
07
07
08
09
09
10
10
17
19
22
22
29
31
33
40
46
50
53
57
60
63
67
78
82
96
112
118
119
119
120
122
122
122
123
124
124
125
128
131
132
133
134
139
140
142
143
144
7
UNPACKING AND INSPECTION
Use caution when unpacking your new Moog One, and be sure that nothing is lost or damaged. Moog
recommends saving the carton and all packing materials in case you ever need to ship the instrument
for any reason.
CONTENTS
In addition to the instrument itself, your new Moog One also ships with the following items:
Power adapter and connecting power cord
Owner’s Manual
Registration Card
SETUP AND CONNECTIONS
Before you begin exploring your Moog One, you will need to provide the instrument with power, and
connect it to an audio monitoring system so that you can hear it.
WHAT YOU WILL NEED
A stand or table capable of supporting Moog One (which weighs about 45 lbs.)
A properly wired and grounded AC outlet
Two 1/4” balanced TRS to TRS or TRS to XLR cables for connecting Moog One to an
audio monitoring system, or stereo headphones outtted with a 1/4” TRS (Tip/Ring/
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.
CONNECTING THE POWER SUPPLY
Moog One uses a universal power supply that can accommodate AC power sources ranging from 100
to 240 volts, and either 50 or 60 cycles (Hz). The included power supply features a detachable IEC-
style power cable.
Connect the included IEC power cable to the Moog One power supply.
Connect the power supply cable to the 19-volt DC locking connector on the rear panel
of Moog One.
Connect the other end of the power cable to a suitable AC wall outlet with a protective
earth ground connection.
Finally, use the power switch on the rear panel to turn on your new Moog One.
NOTE: The power supply connects to your Moog One using a locking connector. To release this connector
from the instrument, simply press the locking tab at the base of the connector and gently slide out the
connector plug. Never pull on the cable, only the plug.
AUDIO MONITORING
With the Moog One MASTER VOLUME knob turned all the way down, connect one 1/4” cable to the MAIN L
output, and the other 1/4” cable to the output, then connect the opposite ends to a pair of L/R MAIN R
inputs on an amplied speaker system or mixing console. Adjust the Moog One volume level by slowly
turning the MASTER VOLUME knob clockwise while playing the keyboard.
If you’re using headphones, turn the knob all the way down before plugging them into HEADPHONES
either of the two headphone jacks (located on the front edge of the Left Hand Controller panel). Adjust the
volume level by slowly turning the knob clockwise while playing the keyboard. HEADPHONES
NOTE: It may take up to 5 minutes for Moog One to warm up before Oscillator tuning has stabilized,
especially if it has been outside in a car on a cold night. (Although its Oscillators are very stable,
Moog One is an analog synthesizer, after all.)
1.
2.
3.
1.
2.
3.
1.
2.
3.
4.
8
MOOG ONE
Designed to exceed every expectation, Moog One is the rst polyphonic instrument from Moog in
decades. From the original napkin sketches to the day we boxed the rst unit for shipment from the
Moog Factory here in Asheville, North Carolina, the goal has remained to create an analog, polyphonic,
programmable, and multitimbral synthesizer that is without equal. Realizing the Moog One vision
has been a journey of collaboration and discovery; a sharing of ideas between the Moog Team and
countless artists, sound designers, and synthesizer enthusiasts from around the globe. In crafting
Moog One, it was paramount to keep the interface intuitive and tactile. The hope is that your sonic
explorations will transcend the separation of artist and instrument, allowing Moog One to be the
conduit for your own creative voice.
Moog One is an analog, polyphonic, programmable, and multitimbral synthesizer; each of these terms
carries its own signicance and its own legacy.
ANALOG
The heart of the Moog One sound is its analog signal path. Since the development of the rst Moog
Synthesizer in 1963, Moog analog circuits have been renowned for their rich harmonic qualities and for
the organic nature of their expression.
POLYPHONIC
Synthesizers changed forever with the advent of polyphony. As a polyphonic synthesizer, Moog
One can independently articulate numerous voices simultaneously; up to 8 or 16, depending on the
conguration of your instrument. This voice-count designation is stamped on the serial number label
on the underside of your Moog One.
PROGRAMMABLE
Moog One is a wonderland for sound designers and tweakers, with a Front Panel hosting over two
hundred knobs and buttons. The status of each knob and button – plus countless below-the-surface
parameter settings – are stored and saved in memory in near limitless numbers of Presets. Find your
favorites using the searchable Browser. These saved Presets can also be assigned to the Front Panel’s
Performance Set for instant recall.
MULTITIMBRAL
As a three-part multitimbral instrument, Moog One is capable of playing up to three distinct Synths
simultaneously – split, layered, or zoned across the keyboard – all from within a single Preset. With each
Synth able to access its own sound parameters, MIDI channel note range, arpeggiator, and sequencer,
Moog One can create its own ensemble performances or deliver a richly layered arsenal of sound.
11
KNOBS AND BUTTONS
In this manual, when referring to a specic 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.
Also, in this manual, when referring to the parameter affected by the controller, no bold is used, and only
the rst letter is Capitalized – for example: the Cutoff frequency, the Shift state, the Preset Library, etc.
KNOBS
There are three different types of knobs found on
Moog One. Traditional knobs have a xed functional
destination and rotational limitations. Soft Knobs,
which change assignment based on the currently
selected item on the LCD screen, can be rotated
innitely and are only found below the Center
Console Display. Finally, there is a large Master
Encoder located in the Center Console that allows
for scrolling and selection (by pressing the knob).
BUTTONS
Pressing a translucent button will toggle its function On (LED lit) and Off (LED
dark), while pressing a solid red button selects a function, state, or option as
indicated by a lit LED on the panel.
MORE
Nearly every module is equipped with a triangular MORE button located in its
upper right corner. When a MORE button is pressed, the Center Console Display
screen reveals additional parameters specic to that module. These additional
parameters are accessed and controlled using the Center Console knobs and
buttons.
NOTE: Pressing an illuminated MORE button will close that parameter window and
recall the HOME screen.
DEST
The four LFOs and three EGs each feature a dedicated DEST (Destination)
button that provides a simple shortcut for assigning that LFO or EG as a
modulation source to a particular destination. Once the DEST button is pressed, a
modulation routing screen will open in the Center Console Display; the next Front
Panel parameter that is touched or tweaked will become the new modulation
destination. As soon as the assignment is made, the modulation amount and
additional parameters will appear on the screen.
Traditional
Master Encoder
Soft
12
CENTER CONSOLE
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.
Additionally, there is a large Master Encoder that can be used to scroll through lists and make selections
by pushing down on the knob momentarily. In general, parameters are displayed above their respective
Soft Knobs in groups of four. Here, values can be edited using the four Soft Knobs. If more than four
parameters are available, rotating the Master Encoder will call up the additional rows. Together, the Soft
Buttons, Soft Knobs, and Master Encoder provide effortless navigation of the graphic interface.
Surrounding the Master Encoder
are eight dedicated buttons.
HOME
Pressing the button calls up the HOME HOME screen, which displays the name
of the active Preset, the names of the Timbres within the Preset, the respective
keyboard ranges and On/Off status of Synth 1, 2, and 3, and the current Master
Clock tempo.
Soft Buttons
Soft Knobs
Master Encoder
13
As notes are played on the keyboard,
key range indicators will ash to show
which Synth(s) are being played from
those keys. In addition, the HOME screen
shows any tags that have been assigned
(Type, Category, Mood, Group) to make
the Preset more discoverable in a search.
NOTE: Pressing the HOME button will
exit any currently selected screen and
return to the HOME screen.
SETTINGS
This button provides access to all Moog One Global, Library, and Tuning parameters.
MOD
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. A controller, such as the wheel, may also be assigned MOD
in order to add articulation and expression to a modulation assignment.
Additionally, Transforms can be inserted to place high and low limits on the
modulation source signal, or to square or cube the modulation source control
signal to further expand the variation and expressivity of the powerful Moog
One modulation engine.
NOTE: When editing or creating a Modulation Matrix, pressing down on the Master Encoder will toggle
back and forth between two sets of parameters (upper and lower) available for each modulation routing.
DELETE
The DELETE button is used to remove a modulation routing row, eliminate
sequence data, and more. Its specic function is contextual, and is determined
by the currently selected screen and parameter.
SNAPSHOT
Pressing SNAPSHOT performs a “micro-save” of the current data as you are
editing. Each Snapshot is time stamped, so there is no need to keep saving the
data manually under a new Preset name while you are editing. Any Snapshot
can be recalled, auditioned, or designated as the “ofcial” version of a Preset
when you are saving the data. To view the Snapshots saved with the current
Preset, hold the + buttons on the Front Panel.SHIFT SNAPSHOT
16
SELECTING A PRESET (Continued)
Use the Master Encoder to scroll through the list of available Presets that are displayed on the left
pane. Pressing down on the Master Encoder will load the selected Preset; you can also use the LOAD
PRESET Soft Button at the top of the screen.
The upper-right pane lists the Timbres used to create this Preset. The lower-right pane lists any tags
that have been assigned to this Preset. Tags narrow the list of available selections, making it easier to
nd a specic or appropriate Preset.
The four Soft Knobs at the bottom of the screen can choose which Presets will be displayed according
to TYPE, CATEGORY, MOOD, and GROUP. All tags are user denable, with the exception of TYPE.
Only TYPE has xed 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.
Presets in Moog One can also be instantly recalled using Performance Sets; the current Performance
Set is always accessible from the lower Right Panel. Each Performance Set can recall up to 64 Presets,
that are arranged in eight Banks ( ) of eight Presets ( ). Performance Sets allow you to have A - H 1 8-
select Presets ready and on tap for instant access during a live performance - or even a studio session.
To assign the active Preset to the currently loaded Performance Set, simply press the Bank ( ) A - H
button of your choice, then press and hold the desired Preset ( ) button for 1 second. The Preset 1 9-
button will blink rapidly to let you know your Preset is now assigned to that location.
NOTE: The Performance Set does not itself provide storage of Presets; instead, the Performance Set
saves “pointers” that direct Moog One to recall a specic Preset from its memory banks.
To select a Preset from a Performance Set, simply press a Bank button ( ), and then press a A H -
Preset button ( ) to choose a Preset from your selected Bank.1 8 -
NOTE: Buttons that are dimly lit indicate that there is a Preset assigned to that button. Buttons that
are completely dark indicate that no Preset has been assigned.
TIP: There is a SHOW BANK PREVIEW option
available (under SETTINGS - GLOBAL -
HARDWARE SETTINGS). When this function
is On, pressing a Bank button will open a
screen showing all of the Presets assigned
to that Bank.
18
PITCH
The spring-loaded PITCH wheel is used to bend the pitch of the Moog One Oscillators
up or down by a predetermined amount. The Pitch Bend Up and Pitch Bend Down
range can easily be specied by pressing the MORE button on the Left Hand Controller
and adjusting each parameter accordingly.
MOD
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.
NOTE: The MOD wheel position can be saved as part of the Preset.
HEADPHONES
Located just below the is a pair of front-facing stereo headphone X/Y PAD
outputs. Use the HEADPHONES knob in the Output module to set the
volume level for both headphone outputs.
19
REAR PANEL
The Moog One Rear panel is equipped with a full complement of audio jacks, communication
ports, MIDI connectors, and pedal ports – plus congurable CV In and CV Out connections – to
accommodate nearly any use.
POWER
Moog One uses an external power supply/adapter that
connects using a locking multi-pin cable. Orient the cable
correctly and slide it straight in until it locks. To remove the
cable, depress the locking tab on the connector plug and slide
the cable straight out. Hold the cable by the locking plug --
never pull on the cable directly. The Moog One On/Off switch
is located adjacent to the power port.
MAIN OUT/SUB OUT
Moog One features two sets of
stereo outputs, the MAIN L (Left)
and MAIN R (Right), and the SUB L
(Left) and (Right). Both the SUB R
MAIN OUTS and the SUB OUTS
feature 1/4” balanced TRS jacks.
Each Synth can be assigned to
either set of outputs – or both.
NOTE: The SUB OUTS are not affected by the MASTER VOLUME knob.
INSERT 1 2 3 4
Four INSERT jacks are provided.
Their routing is controlled by
pressing the Output Module MORE
button. The tip of this tip-ring-
sleeve jack is wired as the Send,
so each jack can be used INSERT
as an individual output when used
with a standard unbalanced TS 1/4”
cable. Each Insert jack can also be
used with a Y-conguration 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. In addition, the ring/return connectors
on adjacent pairs of inserts (1 2 3 4 & , & ) are stereo normalled, so that they can be used as stereo
returns. The way this works is that if nothing is connected to the return of Insert 2, the signal returning
via Insert will be summed to both the and 1MAIN L MAIN R outputs. Similarly, if nothing is connected
to the return of Insert , the signal returning via Insert will be summed to both the and 4 3 MAIN L
MAIN R outputs.
21
REAR PANEL (Continued)
COMM (COMMUNICATION PORTS)
The LAN port enables Moog One to connect
directly to a computer network using a CAT-5
cable, which allows for remote servicing and
future expansion. The port allows USB HOST
for updating the Moog One rmware from a
USB thumb drive, and provides a convenient
way to backup instrument data onto portable
USB drives for safe keeping and backline
applications. Additionally, the USB 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.
PEDAL JACKS
Moog One includes three pedal input jacks. One
is congured as a sustain ( ) pedal input, SUSTAIN
and the other two as expression (EXP 1, EXP 2)
pedal inputs. These inputs can be used to control
nearly any Moog One parameter, allowing for a
tremendously expressive performance.
NOTE: Keep in mind that these pedal jacks can also be used to receive CV signals (via 1/4” TS cables)
from other synth modules, Eurorack systems, etc.
22
OSCILLATORS
Oscillators are the primary sound source for any synthesizer. Moog One Oscillators have no physical
moving parts like a guitar’s string or a clarinet’s reed. Instead, the Oscillators generate an electronic
signal that changes direction very rapidly. The patterns created by these uctuations 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.
Each Oscillator generates two waveforms simultaneously; these can be blended via a dedicated
MIX control into a single complex, composite wave. For the rst waveform, either a Triangle or
Sawtooth wave can be chosen. Applying the WAVE ANGLE control to the Triangle wave can change
the symmetry of the waveform, allowing the Triangle to reach a Ramp or Sawtooth shape at either
extreme. Applying the WAVE ANGLE control to the Sawtooth wave can vary the reset time, delivering
increased harmonic diversity. The second waveform is a Pulse wave with a variable Pulse Width. As
with the PULSE WIDTH knob, the TRI/SAW WAVE ANGLE knob can be modulated from another
controller or parameter.
Together, their combined signals can be used to create an endless array of wave shapes that determine
each Oscillator’s nal sonic output. The OLED screen in the center of each Moog One Oscillator
provides a static image of this composite waveform.
NOTE: The static image displayed on the OLED is created by the Oscillator’s parameter settings only,
and does not reect any real-time modulation routings that may also be affecting the nal waveform.
OCTAVE (32’, 16’, 8’, 4’, 2’)
Rotating the OCTAVE knob will change the pitch of the Oscillator by
octave. The historical “foot” settings are a musical convention that
relates to pipe lengths on a pipe organ. The 8’ setting is considered
standard, and will pitch the “C” in the middle of the Moog One
keyboard (MIDI Note #60) at “Middle C.”
FREQUENCY (-7 to 0 to +7)
While the OCTAVE knob sets the Oscillator pitch in octave units, the
FREQUENCY knob continuously varies the Oscillator pitch over a range
of +/- 7 semitones (up or down a perfect fth).
23
OSCILLATORS (Continued)
BEAT FREQ (-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. This method provides consistent, musical
results over the entire keyboard.
WAVE (TRI, SAW)
The button is used to select either the WAVE TRI (Triangle) or SAW
(Sawtooth) mode for the rst wave generator.
WAVE ANGLE
The function of the WAVE ANGLE knob is determined by the
WAVE button selection.
TRI (TRIANGLE MODE)
With the button set to WAVE TRI (the will be lit), rotating the TRI LED
WAVE ANGLE knob will continually vary the wave shape, changing the
relationship between the rising and falling segments of the wave.
The center position will create a Triangle wave. Rotating the knob to the
far left will produce a wave shape closer to a Sawtooth wave; rotating the
knob to the far right will produce a Reverse Sawtooth (or Ramp) wave.
NOTE: In TRI mode, the rising
and falling phases of the wave
both scale with pitch -- both
get faster at higher pitches, and
both get slower at lower pitches.
TIP: In TRI mode, try modulating the WAVE ANGLE to vary the rise and fall segments of the wave,
producing a wide variety of timbres traditionally unavailable on an analog synthesizer.
SAW TRIANGLE RAMP
26
OSCILLATORS (Continued)
VCO MODE (SAWTOOTH, TRIANGLE)
This parameter shows the status of the button on the front panel. This function can also be WAVE
controlled here.
PITCH TRACKING (0 200%)to
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. For example, at 0%, the Oscillator would play the same pitch,
regardless of the note played. Another example would be to set an Oscillator to Hard Sync, and utilize
an excessive value (150% - 200%) to enhance the effect.
NOTE-ON RESET (OFF, ON)
Normally, an Oscillator is constantly running, and each new note played begins from the current point
in the waveform cycle. When NOTE-ON RESET is On, the phase of the Oscillator is reset to zero with
each new note-on command, which can make for extremely punchy bass sounds.
BEND OFFSET
The Bend Offset amount is set individually for each oscillator, and is combined with the per-Synth
Pitch Bend Up and Down values set on the LHC MORE page. Bend Offset provides separate values for
Bend Up and Bend Down, and each can be set to either a positive or a negative value. In this way, the
Pitch Bend wheel can be used to resolve each oscillator to a specic note or interval at either end of its
travel, allowing for creative harmonies and chords to be introduced as part of a performance.
BEND UP OFFSET (-24 to 0 to +24)
This parameter species the amount of Pitch Bend Offset applied to the Oscillator when the
Pitch Bend wheel is moved Up. When the value is set to zero no offset is added. Negative
offset values will bend the pitch down; positive values will bend the pitch up. The range is +/-
24 semitones (two octaves).
BEND DOWN OFFSET (-24 to 0 to +24)
This parameter species the amount of Pitch Bend Offset applied to the Oscillator when the
Pitch Bend wheel is moved Down. When the value is set to zero no offset is added. Negative
offset values will bend the pitch down; positive values will bend the pitch up. The range is +/-
24 semitones (two octaves).
HARD SYNC SRC. (OSCILLATOR 2 and OSCILLATOR 3 only)
The default source for Hard Sync on Oscillator 2 and Oscillator 3 is Oscillator 1. Here, a different
oscillator can be designated as the Hard Sync source.
OSCILLATOR 2 (VCO 1, VCO 3)
OSCILLATOR 3 (VCO 1, VCO 2)
28
WAVEFORM MODULATION
These modulation parameters affect the waveform of the Oscillators. Both knobs are applying LFO 3 to
the Oscillator wave shape.
WAVE ANGLE / LFO 3 AMT (0 10)to
Turning this knob determines the amount of LFO 3 that is applied as a
modulation source to the Oscillators’ Wave Angle parameter. The higher
the value of this knob, the deeper the effect.
PULSE WIDTH / LFO 3 AMT (0 10)to
Turning this knob determines the amount of LFO 3 that is applied as a
modulation source to the Oscillators’ Pulse Width parameter. The higher
the value of this knob, the deeper the effect.
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.
FM AMT (0 10)to
Turning this knob determines the amount of Frequency Modulation that
is applied from one Oscillator to another. The higher the value of this
knob, the deeper the effect.
ROUTE (1 – 2, 1 – 3, 3 – 1)
This button selects the Oscillators and routing scheme for the FM effect.
When making a selection, the corresponding LED will light.
1 – 2
The output of Oscillator 1 is modulating the frequency of Oscillator 2.
1 – 3
The output of Oscillator 1 is modulating the frequency of Oscillator 3.
3 – 1
The output of Oscillator 3 is modulating the frequency of Oscillator 1.
29
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. This envelope generator offers a variable knob, a variable knob, and a ATTACK RELEASE
SUSTAIN button that allows the Noise generator to continue to sound as long as a note is held.
ATTACK (1 M-SEC to 10 SEC)
The ATTACK knob sets the Attack Time of the Noise Envelope
Generator, controlling how fast the Noise reaches its maximum volume
once a key has been pressed or a gate signal received.
RELEASE (1 M-SEC TO 10 SEC)
The RELEASE knob sets the Release Time of the Noise Envelope
Generator, controlling how slowly the fades out after a key is NOISE
released or the gate is closed.
SUSTAIN (ON/LIT, OFF/UNLIT)
When the button is engaged, the Noise Generator will SUSTAIN
continue to sound as long as a gate is held open, either by pressing
the Keyboard, holding a Sustain Pedal, or when receiving a CV Gate.
When the button is off, the Release stage will act as more of SUSTAIN
a Decay stage, fading the sound down as soon as the Attack stage has
been completed.
NOTE: The Noise Envelope Generator (NOISE EG) is available as a
modulation source; the individual stages of the NOISE EG are available
as modulation destinations.
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. Rotating the knob fully to the left will
emphasize the color listed in the left column. Rotating the knob fully to
the right will emphasize the color listed in the right column. Placing the
knob in the center position will provide an even mix between the two.
COLOR
The COLOR button species which two colors of noise are being
blended using the COLOR MIX knob - the corresponding LED will light
for each selected pair.
RED + WHITE
Red Noise and White Noise are selected.
RED + PURPLE
Red Noise and Purple Noise are selected.
WHITE + PURPLE
White Noise and Purple Noise are selected.
WHITE NOISE
White Noise is analogous to white light; it contains the same amount of energy across every octave band
in the audio spectrum. It’s the sound you hear when an old television is set to a non-existing channel.
RED NOISE
Also referred to as Brownian Noise, Red Noise provides a 6 dB decrease in energy per octave across
the audio spectrum as the frequency increases. This greatly curtails the high-frequency Noise
components. Red Noise can be thought of as a “rumble” type of Noise.
PURPLE NOISE
Sometimes called Violet Noise, Purple Noise is the counterpart to Red Noise. Purple Noise provides a
6 dB increase in energy per octave across the audio spectrum as the frequency increases. This greatly
reduces the low-frequency Noise components. Purple Noise can be thought of as a “hiss” type of Noise.
NOTE: Pink Noise – a popular element in modular and percussion synthesis – can be approximated by
using the COLOR button to select RED + WHITE, and by then adjusting the COLOR MIX knob to taste.
33
FILTERS
Technically, Moog One employs three analog Filters to provide dynamic tone-sculpting. A pair of State
Variable Filters (SVF) function as a single unit; their conguration is determined by their parameter
settings. The third lter is a classic Moog transistor Ladder Filter. The SVF and Ladder Filter can run
side by side in the Parallel mode, or they can feed from SVF into the Ladder using the Series mode.
This combination of Filter types and routings provides extensive control of the timbre, harmonic
content, and nal character of the sound. In turn, this exibility allows Moog One to recreate a vast
array of lter schemes that have appeared in countless classic (as well as obscure) synthesizers and
modules, and also combine them to create completely new, unique sounds.
In both the State Variable Filter (SVF) and Ladder Filter, the basic parameters are the same. The
CUTOFF knob species the operating frequency of the Filter. The Cutoff Frequency may represent an
upper frequency limit, lower frequency limit, or center frequency value, depending on the Filter MODE
selected. The knob routes a portion of the Filter’s output signal back to the input of the RESONANCE
Filter, emphasizing the Cutoff Frequency. The Cutoff Frequencies of the SVF and Ladder Filter can be
linked together and operated simultaneously from either CUTOFF knob.
NOTE: When designing sounds, remember that each source can be routed to either Filter individually,
or to both.
STATE VARIABLE FILTER (SVF)
The SVF is constructed using two identical lter circuits that together behave as one; their
arrangement and interaction is determined by the choice of NOTCH, Bandpass (BP), High Pass (HP), or
Low Pass (LP) Modes on the Front Panel, and by other parameters located in the Filter MORE page.
CUTOFF (20Hz to 20kHz)
Rotate this knob to set the operating frequency of the SVF
Filter. The function of the selected frequency will depend on the
selected Filter MODE.
RESONANCE (0 10)to
As the value of the RESONANCE knob is increased, more emphasis
is applied at the Cutoff Frequency of the Filter. This will boost the
prominence of any harmonic content in your sound that is at or near
the Cutoff Frequency.
34
FILTERS (Continued)
MODE (NOTCH, BP, HP, LP)
Pressing this button cycles through the four available SVF Filter Modes.
The associated LED will light to indicate your selection.
NOTCH (NOTCH)
In Notch Mode, harmonic content contained in a band centered
around the Cutoff Frequency is attenuated, while the frequencies
outside this band – both above and below – can freely pass.
BP (BAND PASS)
Band Pass Mode is the opposite of Notch Mode. Harmonic content
contained in a band centered around the Cutoff Frequency is
allowed to pass, while the frequencies outside this band – both
above and below – will be attenuated.
HP (HIGH PASS)
In the High Pass Mode, harmonic content above the Cutoff Frequency is allowed to pass, and
the lower frequencies are attenuated.
LP (LOW PASS)
In the Low Pass Mode, harmonic content above the Cutoff Frequency is attenuated, and the
lower frequencies are allowed to pass.
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.
CUTOFF (20Hz to 20kHz)
Rotate the CUTOFF knob to set the operating frequency of the
Ladder Filter. The function of the selected frequency will depend
on the selected Filter MODE.
RESONANCE (0 10)to
As the value of the RESONANCE knob is increased, more emphasis
is applied at the Cutoff Frequency of the Filter. This will boost the
prominence of any harmonic content in your sound that is at or near
the Cutoff Frequency. By turning the knob all the way RESONANCE
up and lowering the knob, the Filter can be coaxed into a CUTOFF
self-oscillating state, acting as a sine-wave oscillator whose pitch is
determined by the Filter’s Cutoff Frequency.
35
FILTERS (Continued)
MODE (HP, LP)
Pressing the button toggles between the two Ladder Filter MODE
Modes. The associated LED will light to indicate your selection.
HP (HIGH PASS)
In the High Pass Mode, harmonic content above the Cutoff Frequency is
allowed to pass, and the lower frequencies are attenuated.
LP (LOW PASS)
In the Low Pass Mode, harmonic content above the Cutoff Frequency is
attenuated, and the lower frequencies are allowed to pass.
SLOPE (24dB, 18dB, 12dB, 6dB)
Pressing this button cycles through the Filter’s available Slope settings.
The associated LED will light to indicate your selection.
24dB
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 lter operated at 24 dB per
octave.
18dB
Using this setting, the Ladder Filter attenuates the frequencies above
(LP Mode) or below (HP Mode) the Cutoff Frequency at a rate of 18 dB
per octave.
12dB
Using this setting, the Ladder Filter attenuates the frequencies above (LP Mode) or below (HP
Mode) the Cutoff Frequency at a rate of 12 dB per octave.
6dB
Using this setting, the Ladder Filter attenuates the frequencies above (LP Mode) or below (HP
Mode) the Cutoff Frequency at a rate of 6 dB per octave.
FILTER COMMON PARAMETERS
These parameters apply to both the SVF and Ladder Filter simultaneously; they determine how the
Filters operate together.
LINK CUTOFF (ON/LIT, OFF/UNLIT)
When this parameter is on, operating either the SVF knob or CUTOFF
the Ladder CUTOFF knob will uniformly change both of their Cutoff
Frequencies. The relative offset between the Cutoff Frequency settings
of the Filters is preserved as the linked value is increased or decreased.
NOTE: In a situation where tweaking one of the knobs causes CUTOFF
either parameter to reach its high or low limit, it will remain at that limit. The
relative offset will be restored when the parameter is no longer at its limit.
37
FILTERS (Continued)
LADDER MOD (ON/LIT, OFF/UNLIT)
When this button is lit, the EG AMT, LFO 2 AMT, and knobs will FM AMT
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.
NOTE: The SVF MOD and LADDER MOD buttons can be On (lit)
simultaneously by pressing both buttons at the same time. In this case,
the EG AMT, LFO 2 AMT, and FM AMT knobs will affect the modulation
amounts for both Filters.
EG AMT (-10 to 0 to +10)
This knob sets the amount of control signal generated by the Filter
Envelope that will be applied as a modulation source to the Cutoff
Frequency of the selected Filter(s). In the center position, the EG AMT
knob will have no effect. Turning the knob to the right will increase the
amount of positive modulation being applied. Turning the knob to the left
will increase the amount of negative (or inverse) value being applied.
LFO 2 AMT (0 to 10)
The amount of modulation signal generated by LFO 2 that will be
applied to the Cutoff Frequency of the selected Filter(s) is determined
by this knob. At the far left setting, no modulation is applied. Turn the
knob to the right to apply more modulation signal.
FM AMT (0 to 10)
The amount of modulation signal generated by the FM (Frequency
Modulation) Source that will be applied to the Cutoff Frequency of
the selected Filter(s) is determined by this knob. At the far left setting,
no modulation is applied. Turn the knob to the right to apply more
modulation signal.
NOTE: The modulation source for the FM AMT knob is selected in the
Filter MORE page. An independent FM Source can be set for the Ladder
Filter and for the SVF.
38
FILTER MORE PAGE
Pressing the triangular button in the upper right corner of the Filter Module will reveal a second MORE
level of parameters that can be accessed and modied 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 lter modules. The right pane shows the current value of the
Front Panel hardware parameters for this module. Tweaking these panel controls will update their
values here.
NOTE: Pressing the (now) illuminated MORE button will exit the MORE page and recall the screen.HOME
The onscreen page parameters are MORE
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. In other cases, the Soft Knob may
choose from a list of values or settings,
and in other cases, the Soft Knob is
dialing in a value – either absolute or a
percentage.
SELECTING A ROW
The scroll bar at the right edge indicates the current row. Rotate the Master Encoder to the right to
highlight the next row of parameters. Rotating the Master Encoder to the left will select a previous row.
Again, rotate the Soft Knob below a parameter to change its value.
SVF SPACING (-100% to 0 to +100%)
This parameter sets up an offset in the Cutoff Frequency value between the two lter elements that
comprise the State Variable Filter. The SVF Cutoff Frequency sets the value of lter element A; the
SVF SPACING parameter sets the Cutoff Frequency of element B above or below that value. When
the value of this parameter is set to 0, the Cutoff Frequency of the two elements is the same. Positive
values raise the Cutoff Frequency of element B in relation to element A; negative values will lower it.
SVF SERIES/PARALLEL (SERIES, PARALLEL)
This parameter determines how the two lter elements that comprise the SVF module will arrange
themselves. When Series is selected, the output of element A will feed the input of element B. By
selecting Parallel, the two lters will operate side by side.
NOTE: Although sharing similar attributes, this parameter has a different function than the SER / PAR
ROUTE button on the Front Panel. That button species whether the SVF and Ladder Filter are running in
Series or Parallel. The SVF SERIES/PARALLEL selection only affects the elements inside the SVF module.
SVF FM SOURCE (OSC 1, OSC 2, OSC3)
This parameter determines which Oscillator will serve as the Frequency Modulation source for the SVF.
When applying FM button needs to be On (lit), and the , the SVF MOD FM AMT knob sets the amount.
LADDER FM SOURCE (OSC 1, OSC 2, OSC3)
This parameter determines which Oscillator will serve as the Frequency Modulation source for the
Ladder Filter. When applying FM, the LADDER MOD button needs to be On (lit), and the FM AMT knob
sets the amount.
40
ENVELOPES
Sounds change over time, and how they change over time is part of what makes a sound unique. Each
sound has a beginning, an end, and some things that happen in between. Some sounds begin abruptly,
like the strike of a drum. Some sounds end just as quickly, and some linger like a held chord on a piano.
This start-to-nish prole is known as the envelope of a sound.
In synthesis, the Envelope Generator (EG) is one of the most useful and versatile modulation sources.
Traditionally, four individually controlled parameters – Attack Time, Decay Time, Sustain Level, and
Release Time – allow the Envelope Generator to create a complex (ADSR) control signal that can be
used to evolve a sound over time. Moog One adds additional Delay Time and Hold Time parameters
(DAHDSR) to each Envelope, as well as selectable Curves for each stage, Looping and Latching EG
modes, Time Scaling, Multi Triggering, and even Sync, to generate a much more useful EG signal.
Three independent Envelope Generators are provided – the Filter Envelope, the Amplier Envelope,
and the Modulation Envelope. By default, the Filter Envelope modies the timbre of a sound over time,
the Amplier Envelope modies the amplitude (loudness) over time, and the Modulation Envelope is
available as a modulation source for any parameter, though it is also hardwired to the MOD EG AMT
knob in the Pitch Modulation section of the Oscillator module. In practice, any EG can be used as a
modulation source for any modulation destination. The parameters dened below are identical for
each Moog One Envelope.
In this diagram, you can see how the Delay Time, Attack Time, Hold Time, Decay Time, Sustain Level,
and Release Time work together to form a continuous control signal. The Envelope begins as the key is
pressed, and the Release stage begins when the key is released. An external gate can also be used to
trigger an 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. This MIN setting makes
the value less sensitive to the effects of the TIME SCALE parameter (Envelope MORE page).
A m p l i t ud e
A t t a c k
H o l d
D e l a y
D e c a y
S u s t a i n
R e l e a s e
T i m e
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. In other cases, the Soft Knob may
choose from a list of values or settings,
and in other cases, the Soft Knob is dialing
in a value – either absolute or
a percentage.
SELECTING A ROW
The scroll bar at the right edge indicates the current row. Rotate the Master Encoder to the right to
highlight the next row of parameters. Rotating the Master Encoder to the left will select a previous row.
Again, rotate the Soft Knob below the parameter to change its value.
DELAY TIME (0.0 10.0ms to s)
Not to be confused with the DECAY KNOB, the DELAY TIME parameter species how soon the Attack
will begin after a key is pressed (or a gate is opened). Normally, this value will be 0.0ms, and the
envelope Attack will begin instantaneously.
HOLD TIME (0.0 10.0ms to s)
The HOLD TIME parameter pauses the Envelope at the peak of the Attack stage for a specic period
of time before the Decay stage begins.
TIP: Setting the HOLD TIME of the Amplier Envelope to about 10 to 100 ms can simulate a taste of the
classic Minimoog “envelope clipping” to deliver an extra bite or edge to the sound.
RESET (OFF, ON)
This parameter applies to the EG Attack stage, when either the MONO or buttons in the UNISON
Polyphony Module are lit, and the EG MULTI TRIG button is On. When the function is On, each RESET
new note played will cause the Envelope to begin again, resetting the Attack stage to zero. When
RESET is Off, a new note played Legato style will apply the Envelope’s current value as the starting
point for the Attack stage.
TIME SCALE (10% to 100% to 1000%)
Changing the TIME SCALE can provide Envelopes with longer or shorter durations while maintaining
the timing ratios established by the Delay, Attack, Hold, Decay, and Release settings. Using the center
value of 100% does not alter the TIME SCALE.
TIP: Using Velocity or Keyboard Tracking as a modulation source for this parameter can provide
increased articulation over all ve Envelope Time parameters.
TIP: Any Envelope stage having a time value = MIN will be unaffected by changes to the
Time Scale parameter.
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. In this example,
the Oscillator 2 FREQUENCY knob has
been selected, and turning the knob will
set the modulation amount as shown in
the second screen.
At this point, pressing the Soft DONE
Button at the top of the screen will
complete the modulation routing, or the
CANCEL Soft Button can be used to exit
this modulation screen without making the
modulation route complete. The functions
of the additional Soft Knobs and Soft
Buttons are discussed elsewhere, in the
MODULATION section.
LFO MORE PAGE
Pressing the triangular MORE button in the upper right corner of any
LFO module will reveal its second level of parameters that can be
accessed and modied using the interactive portion of the Center
Console. These additional parameters are displayed in the bottom
portion of the screen. The left pane shows the LFO wave shape as
determined by the LFO WAVE button on the Front Panel and the
VARIATION parameter described below. The right pane shows the
current values of the Front Panel parameters for this module. Tweaking
these Front Panel controls will update their values here.
NOTE: Pressing the (now) illuminated button will exit the MORE
MORE page and recall the HOME screen.
48
LOW FREQUENCY OSCILLATORS (Continued)
The onscreen page parameters are MORE
edited using the four Soft Knobs below
the screen.
CHANGING THE VALUE
Rotate the Soft Knob below each
parameter name to change its value. In
some cases, the Soft Knob simply turns a
function on or off. In other cases, the Soft
Knob may choose from a list of values or
settings, and in other cases, the Soft Knob
is dialing in a value – either absolute or a
percentage.
SELECTING A ROW
The scroll bar at the right edge indicates the current row. Rotate the Master Encoder to the right to
highlight the next row of parameters. Rotating the Master Encoder to the left will select a previous row.
Again, rotate the Soft Knob below the parameter to change its value.
RANGE (SLOW, LOW, MEDIUM, HIGH)
Each LFO has a frequency range from 0.001 Hz to 1 kHz. In order to make it easier to dial in just the
right rate, the range is divided into four sections.
SLOW
0.001 Hz to 1 Hz
LOW
0.01 Hz to 10 Hz
MEDIUM
0.1 Hz to 100 Hz
HIGH
1.0 Hz to 1 kHz
VARIATION (0% 00%)to 1
Pressing an LFO button on the Front Panel selects from a series of variable LFO wave shapes. WAVE
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.
TRIANGLE (TRI / SIN)
Triangle forms a symmetrical wave, with equal rise and fall times. The VARIATION parameter provides
a continuous transition from Triangle (0%) to Sine (100%). Sine replaces the pointed peaks and valleys
of the Triangle with a smoother curve.
PULSE
With Pulse selected, the VARIATION parameter provides a continuous change in pulse width, or duty
cycle, from 0% to 100%.
TIP: When applying the parameter to a Pulse wave, 0% is “always off” and 100% is VARIATION
“always on” so if you don’t hear any changes from an LFO that is set to the Pulse wave, try changing
the VARIATION parameter to some mid-range value.
51
VCA (Continued)
LEVEL (0 to 10)
The LEVEL knob sets the volume of the active Synth in the Main and
Sub Outputs.
PAN (LEFT to RIGHT)
The PAN knob sets the stereo pan position of the active Synth in the
Main and Sub stereo output mixes. Rotating the knob to left pans the
Synth to the left; rotating the knob to the right pans the Synth to the
right. In the center position, the Synth is panned equally between the
left and right outputs.
VCA MORE PAGE
Pressing the triangular MORE button in
the upper right corner of the VCA module
will open the 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 eld
when using the Left and Right MAIN OUT
jacks or the SUB OUT Left and Right jacks.
The left pane offers a visual representation
of the Level and Pan settings of each
Synth. The right pane shows the current
value of the Front Panel hardware parameters for this module. The Front Panel controls can only adjust
the active Synth. Using the parameters at the bottom of the screen allows all Synths to be adjusted
here. In either case, the values shown in the right pane will be update when the controls are edited.
NOTE: Pressing the (now) illuminated MORE button will exit the MORE page and recall the HOME screen.
The onscreen page parameters are edited using the four Soft Knobs below the screen.MORE
CHANGING THE VALUE
Rotate the Soft Knob below each parameter name to change its value. In some cases, the Soft Knob
simply turns a function on or off. In other cases, the Soft Knob may choose from a list of values or
settings, and in other cases, the Soft Knob is dialing in a value – either absolute or a percentage.
SELECTING A ROW
The scroll bar at the right edge indicates the current row. Rotate the Master Encoder to the right to
highlight the next row of parameters. Rotating the Master Encoder to the left will select a previous row.
Again, rotate the Soft Knob below the parameter to change its value.
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.
SYNTH 2 - LEVEL (0% to 100%)
Turning the Soft Knob to the left decreases the Level of Synth 2. Turning the Soft Knob to the right
increases the Level of Synth 2. The Level Indicator in the left pane will move, and the corresponding
value in the right pane will change as well.
SYNTH 3 - LEVEL (0% 100%)to
Turning the Soft Knob to the left decreases the Level of Synth 3. Turning the Soft Knob to the right
increases the Level of Synth 3. The Level Indicator in the left pane will move, and the corresponding
value in the right pane will change as well.
SYNTH 1 - PAN (100% L to C to 100% R)
Turning the Soft Knob to the left will pan the sound of Synth 1 to the left. Turning the Soft Knob to the
right will pan the sound of Synth 1 to the right. A value of C (for Center) places the sound of Synth 1 in
the center of the stereo mix. The Pan Indicator in the left pane will move, and the corresponding value
in the right pane will change as well.
SYNTH 2 - PAN (100% L to C to 100% R)
Turning the Soft Knob to the left will pan the sound of Synth 2 to the left. Turning the Soft Knob to the
right will pan the sound of Synth 2 to the right. A value of C (for Center) places the sound of Synth 2 in
the center of the stereo mix. The Pan Indicator in the left pane will move, and the corresponding value
in the right pane will change as well.
SYNTH 3 - PAN (100% L to C to 100% R)
Turning the Soft Knob to the left will pan the sound of Synth 3 to the left. Turning the Soft Knob to the
right will pan the sound of Synth 3 to the right. A value of C (for Center) places the sound of Synth 1 in
the center of the stereo mix. The Pan Indicator in the left pane will move, and the corresponding value
in the right pane will change as well.
SYNTH 1 - SPREAD (0% to 100%)
This parameter determines the width, or the amount of stereo spread created by voices played in
Synth 1. The pan position specied by the Synth 1 Pan parameter is the center of the stereo spread.
With a value of 0%, no Spread is applied and all voices will be subject to the pan position specied by
the Synth 1 Pan parameter. Rotate the Soft Knob to the right to increase the amount of stereo spread
applied, dynamically panning individual voices in the stereo eld up to the specied amount.
SYNTH 2 - SPREAD (0% to 100%)
This parameter determines the width, or the amount of stereo spread created by voices played in
Synth 2. The pan position specied by the Synth 2 Pan parameter is the center of the stereo spread.
With a value of 0%, no Spread is applied and all voices will be subject to the pan position specied by
the Synth 2 Pan parameter. Rotate the Soft Knob to the right to increase the amount of stereo spread
applied, dynamically panning individual voices in the stereo eld up to the specied amount.
SYNTH 3 - SPREAD (0% to 100%)
This parameter determines the width, or the amount of stereo spread created by voices played in
Synth 3. The pan position specied by the Synth 3 Pan parameter is the center of the stereo spread.
With a value of 0%, no Spread is applied and all voices will be subject to the pan position specied by
the Synth 3 Pan parameter. Rotate the Soft Knob to the right to increase the amount of stereo spread
applied, dynamically panning individual voices in the stereo eld up to the specied amount.

Produktspecifikationer

Varumärke: Moog
Kategori: Tangentbord
Modell: One

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30 Mars 2025