Moog One Bruksanvisning (160 Sidor)

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.

- D r . R o b e r t M o o g -

M u s i c a l i n s t r u m e n t s p r o v i d e

t h e m o s t e f f i c i e n t a n d r e f i n e d

i n t e r f a c e b e t w e e n h u m a n a n d

m a c h i n e o f a n y t h i n g w e k n o w .

“

THANK YOU FROM ALL OF US AT MOOG MUSIC,

With sincere pride and gratitude, we thank you for purchasing our agship polyphonic

synthesizer, the Moog One. Over ve years in development, more than 60 person-years

invested, and more than thirty years from the last polyphonic instrument from Moog, the

Moog One delivers a synthesizer experience unlike any other Moog instrument.

Before Bob Moog passed away in 2005, he encouraged us to be thoughtful about the

timing of introducing an analog poly. His advice stemmed from many years of personal

experience as he watched his company and his contemporaries exhaust their nancial and

engineering resources on the development of a polyphonic analog synthesizer. Following

Bob’s guidance, we spent many years developing new technologies through instruments like

the Minitaur and Sub Phatty – building both the condence and the capabilities to take on a

project as demanding as the Moog One.

Looking back, it is clear that the instrument our team has delivered is truly amazing.

At the original kick-off for this project, code name LAS (Long Awaited Synth), I told the team

this would be their legacy project – that there would never be another project as important or

as impactful to you (our community) as this one. I believe they have taken that to heart and

delivered the best polyphonic synth in the world.

Treasure this instrument. It will foster a lifetime of creative pleasure; spark your imagination

like nothing else; and become your musical companion for years to come. Enjoy the ride, and

know that Moog Music is here to support you on every step of your journey.

From all the employee-owners here at Moog Music, thank you.

Mike Adams

President / CEO

Moog Music Inc.

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

08

09

10

17

19

22

29

31

33

40

46

50

53

57

60

63

67

78

82

96

112

118

119

120

122

123

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.

9

OVERVIEW

By design, Moog One is both intuitive and efcient. The iconic angled Front Panel groups single-

function knobs together by module – Oscillators, Filters, Envelopes, LFOs, etc. – in a way that is

reminiscent of the original Moog modular synthesizers, as well as the legendary Minimoog Model D.

Under the hood, a robust operating system keeps track of voice assignments, modulation routings, and

other housekeeping tasks. The interactive LCD center panel provides quick access to global settings

and reveals a second level of sound-creation parameters via the button located in the top right MORE

corner of most modules. This uid combination of hands-on control and precision parameter editing

establish Moog One as both a powerful performance instrument and a serious sound-design station.

And, of course, there’s more. Moog One provides 61 expressive keys that respond to both velocity

and aftertouch. The enhanced Left Hand Controller (LHC) features a unique three-axis touchpad,

and a pair of aluminum pitch and modulation wheels. Two control pedal inputs and a sustain pedal

jack offer further opportunities for real-time expression. Onboard sequencing, arpeggiating, and

effects processing – including premier reverbs from Eventide® – add depth and motion to your sonic

creations. Best of all, Moog One can communicate with your other gear via MIDI, USB, and through

analog Control Voltage (CV) inputs and outputs. Finally, Moog One encourages you to dive deeply

into the world of music synthesis with a programmable Matrix Modulation page connecting dozens of

modulation sources and destinations – in various amounts – using a virtual patchbay. Purists can even

bypass the entire digital Effects section to achieve a 100% analog audio path - from the Oscillators,

Filters, and Amplier, to the nal analog output jacks.

PRESETS, SYNTHS, AND PERFORMANCE SETS

Moog One allows every Preset to contain up to three separate Synths. These Synths can be split and

layered across the keyboard, while maintaining multitimbral MIDI control, and the total number of hardware

voices can be allocated between them at will. Each Synth is equipped with its own Arpeggiator and

Sequencer. Either (or both) can be easily synced to the Master Clock, or allowed to run freely. In addition,

each Synth contains its own distinct sound settings, note range, voice count, MIDI Channel, and more.

Collectively, these settings and parameters that dene an individual Synth are referred to as a Timbre.

There are two types of audio effects in Moog One: Synth Effects and Master Effects. Each Synth has

a dedicated Synth Effect that can be applied to the currently selected Synth voice only. Unlike Synth

Effects, Master Effects can be accessed by all three Synth voices simultaneously through dedicated Send

level controls located in the Master Effects module.

NOTE: Master Effects work similarly to the Send/Return architecture found on a traditional mixing console.

Timestamped, Auto-Saved “Snapshots” keep track of your in-progress edits, and prevent accidental loss

of any modied data. Moog One can store thousands of Presets. As a way of providing quick access to

specic Presets in a live performance or session environment, Moog One allows the building and saving

of up to 128 Performance Sets, which are shortcuts that select specic collections of Presets within the

vast Moog One memory. Functionally similar to traditional Bank and Preset selection, each Performance

Set offers instant access to up to 64 Presets through the 8x8 matrix of assignable Bank ( ) and A - H

Preset (1 - 8) buttons found in the Performance Set module.

VOICE ARCHITECTURE

Moog One provides three incredibly agile and advanced Voltage Controlled Oscillators (VCO). These

uniquely Moog Oscillators offer creative access to increased wave-generating dexterity and rich

harmonic content. Each Oscillator simultaneously generates a variable-width Pulse wave, plus a Saw

or Triangle (switchable) wave, also with variable shape control. Selecting Triangle allows continuous

change of the wave’s rise and fall times via the WAVE ANGLE knob -- sweeping from a Sawtooth to a

symmetrical Triangle to a Ramp (Reverse Sawtooth) wave. Selecting Saw varies the reset time of the

wave. Individually each wave offers a diverse palette of tonalities. The MIX knob sets the blend between

the Triangle/Sawtooth wave and the variable-width Pulse wave, creating a world of new and complex

wave shapes not traditionally found on an analog synthesizer. Each Oscillator is highlighted by an OLED

screen that displays a static image of the resultant wave.

15

WORKING WITH SYNTHS (Continued)

The active Synth can be turned On or Off using the ON button located in the Keyboard Control

module. In addition, each Synth can be quickly zone-limited to a specic area of the keyboard. To do

this, press the LOW RANGE button (the LED will light) and then press a key on the keyboard to set the

lowest playable note for the selected Synth (the LED goes dark). Next press the HIGH RANGE button

(the LED will light) and press a key on the keyboard to set the highest playable note for the selected

Synth (the LED goes dark). Additional visual conrmation is provided on the HOME page, where the

keyboard range for each Synth is shown in red if Keyboard Control is , and grayed-out if it is Off.ON

TIP: Pressing both the LOW RANGE button and the HIGH RANGE button at the same time will expand

the zone of the active Synth to its full note range of G0 to C10 (MIDI Note 0 - 127).

TIP: Press any SYNTH button while holding SHIFT to solo the selected synth. Repeat to return to

standard behavior.

ADDING EXPRESSION

The Expression Assign buttons provide a convenient way to instantly assign a controller as a

modulation source to a specic parameter. Simply press any Controller button in the Expression Assign

module, and then tweak a knob or press a button to link the selected controller to that parameter.

Once a modulation path has been created, the Quick Assign modulation screen will appear in the

Center Console Display. Additional parameters may be accessed here.

The available controllers are:

• MW (Mod Wheel)

• PAD X (Pad Position X Axis - horizontal motion)

• PAD Y (Pad Position Y Axis - vertical motion)

• KB (Keyboard Note Value)

• VEL (Keyboard Velocity)

• AT (Aftertouch)

• EXP 1 (Expression Pedal input 1)

SELECTING A PRESET

Moog One can store a nearly innite

number of Presets that may be searched

and ltered in a variety of ways. From

the HOME screen, press the BROWSE

PRESETS Soft Button at the upper left of

LCD to open the Preset Browser.

17

KEYBOARD

Moog One features a premium quality, 61-note keyboard with velocity sensitivity and aftertouch, which

are both available as modulation sources. Selectable sensitivity curves are also available to further

tailor the keyboard’s response to your personal playing style.

LEFT HAND CONTROLLER

Located at the left end of the

Moog One keyboard, the Left Hand

Controller (LHC) provides a number

of tools that enhance the playability,

performance, and expression of this

powerful instrument.

OCTAVE

The OCTAVE buttons allow the keyboard to be shifted up or down

by octave. Pressing both OCTAVE buttons at the same time will reset the

keyboard to its Default Octave.

NOTE: Press and hold both OCTAVE buttons to send a MIDI Panic (All Notes

and Controllers Off) message.

GLIDE

Glide delivers a smooth, continuous change in pitch when moving from

one note to the next. In addition to the knob and the GLIDE RATE GLIDE

ON button, Moog One offers three types of Glide, as well as additional

parameters for Legato, Glissando, and Gated Glide. Pressing the MORE

button on the Left Hand Controller brings these parameters into view in the

Center Console Display.

X/Y PAD

The X/Y PAD is a highly expressive, multidimensional touch surface

whose X and Y axes can be easily assigned to a variety of musically useful

destinations. There is also a third assignable axis that can sense Pressure

on the surface of the pad. The can operate in either a latching or X/Y PAD

non-latching manner as determined by the state of the X/Y HOLD button.

If the button is illuminated, the held value of the X/Y HOLD X/Y PAD

can be saved as part of a Preset, similar to the wheel amount. Pad MOD

pressure also sends a Gate On signal, available as a Control Source in the

Mod Matrix.

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.

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.

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.

Varumärke:	Moog
Kategori:	Tangentbord
Modell:	One

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