PATCH & TWEAK with Moog
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Minimoog Model D Manual
3 IMPORTANT SAFETY INSTRUCTIONS 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 amplifier 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 flame 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 qualified 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. -
Moog DFAM – Analog Percussion Synthesizer
Moog DFAM – Analog Percussion Synthesizer This time no Minimoog, no Phatty, no MoogerFooger, no … The Moog DFAM is a real drum computer – an analog synthesizer with step-sequencer. The DFAM (Drummer From Another Mother) can be used as a stand-on device or in any Eurorack modular system. Certainly, the combination of DFAM and MOTHER-32 looks particularly elegant. The DFAM concept is classic, yet flexible: 2 analog oscillators and noise provide the necessary sounds, and the attached patchbay can be used for in-depth sound-programming and cross-patching. Features: SOUND ENGINE: Analog SOUND SOURCES: 2 Oscillators With Square and Triangle Waveforms, 1 White Noise Generator, 1 External Audio Input ANALOG SEQUENCER: 8-Steps With Pitch and Velocity Per-Step SEQUENCER CONTROLS: Tempo, Run/Stop, Trigger, Advance FILTER: 20Hz-20KHz Switchable Low Pass / High Pass 4-Pole Transistor Ladder Filter | 1 Moog DFAM – Analog Percussion Synthesizer ENVELOPES: VCO EG w/ Voltage Controlled Decay and Bipolar Amount Control, VCF EG w/ Voltage Controlled Decay and Bipolar Amount Control, VCA EG w/ Voltage Controlled Decay and Selectable Fast/Slow Attack Time PATCHBAY: 24 x 3.5mm Jacks > INPUTS: Trigger, VCA CV, Velocity, VCA Decay, External Audio, VCF Decay, Noise Level, VCO Decay, VCF Mod, VCO 1 CV, 1→2 FM Amount, VCO 2 CV, Tempo, Run/Stop, Advance/Clock. > OUTPUTS: VCA, VCA EG, VCF EG, VCO EG, VCO 1, VCO 2, Trigger, Velocity, Pitch. AUDIO OUTPUT: ¼” TS Line / ¼” TRS Headphones (Shared Output Jack) “DFAM is the first addition to the Mother ecosystem of synthesizers and presents an expressive hands-on approach to percussive pattern creation. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen's Mikrophonie I and Saariaho's Six Japanese Gardens Permalink https://escholarship.org/uc/item/9b10838z Author Keelaghan, Nikolaus Adrian Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Nikolaus Adrian Keelaghan 2016 © Copyright by Nikolaus Adrian Keelaghan 2016 ABSTRACT OF THE DISSERTATION Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens by Nikolaus Adrian Keelaghan Doctor of Musical Arts University of California, Los Angeles, 2016 Professor Robert Winter, Chair The origins of electroacoustic music are rooted in a long-standing tradition of non-human music making, dating back centuries to the inventions of automaton creators. The technological boom during and following the Second World War provided composers with a new wave of electronic devices that put a wealth of new, truly twentieth-century sounds at their disposal. Percussionists, by virtue of their longstanding relationship to new sounds and their ability to decipher complex parts for a bewildering variety of instruments, have been a favored recipient of what has become known as electroacoustic music. -
Rack Mount Edition by R.Stephen Dunnington
USER’s MANUAL for the Rack Mount Edition By R.Stephen Dunnington Here it is – the Minimoog Voyager Rack Mount Edition®. Moog Music has put more than 30 years of experience with analog synthesizer technology into the design of this instrument to bring you the fattest lead synthesizer since the minimoog was introduced in 1970. We’ve done away with the things that made 30-year- old analog synthesizers difficult – the tuning instability, the lack of patch memory, and the lack of compatibility with MIDI gear. We’ve kept the good parts – the rugged construction, the fun of changing a sound with knobs in real time, and the amazing, warm, fat, pleasing analog sound. The Voyager is our invitation to you to explore analog synthesis and express yourself. It doesn’t matter what style of music you play – the Voyager is here to help you tear it up in the studio, on stage, or in the privacy of your own home. Have fun! Acknowledgements – Thanks to Bob Moog for designing yet another fantastic music making machine! Thanks are also due to the Moog Music Team, Rudi Linhard of Lintronics for his amazing software, Brian Kehew, Nigel Hopkins, and all the great folks who contributed design ideas, and of course, you – the Moog Music customer. TABLE OF CONTENTS: I. Getting Started……………………………………………………... 2 II. The Basics of Analog Synthesis…………………………………… 5 III. Basic MIDI................................................................................ 12 IV. The Voyager’s Features…………………………………………… 13 V. The Voyager’s Components A. Mixer……………………………………………………………... 17 B. Oscillators……………………………………………………….. 19 C. Filters…………………………………………………………….. 22 D. Envelope Generators………………………………………….. 26 E. Audio Outputs…………………………………………………… 28 F. -
Hugh Le Caine: Pioneer of Electronic Music in Canada Gayle Young
Document généré le 25 sept. 2021 13:04 HSTC Bulletin Journal of the History of Canadian Science, Technology and Medecine Revue d’histoire des sciences, des techniques et de la médecine au Canada Hugh Le Caine: Pioneer of Electronic Music in Canada Gayle Young Volume 8, numéro 1 (26), juin–june 1984 URI : https://id.erudit.org/iderudit/800181ar DOI : https://doi.org/10.7202/800181ar Aller au sommaire du numéro Éditeur(s) HSTC Publications ISSN 0228-0086 (imprimé) 1918-7742 (numérique) Découvrir la revue Citer cet article Young, G. (1984). Hugh Le Caine: Pioneer of Electronic Music in Canada. HSTC Bulletin, 8(1), 20–31. https://doi.org/10.7202/800181ar Tout droit réservé © Canadian Science and Technology Historical Association / Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des Association pour l'histoire de la science et de la technologie au Canada, 1984 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ 20 HUGH LE CAINE: PIONEER OF ELECTRONIC MUSIC IN CANADA Gayle Young* (Received 15 November 1983; Revised/Accepted 25 June 1984) Throughout history, technology and music have been closely re• lated. Technological developments of many kinds have been used to improve musical instruments. -
BOX DIMENSIONS Width, Height
2/19/2015 BOX DIMENSIONS width, height div { CSS height: 300px; width: 400px; background-color: #ee3e80;} p { height: 75%; width: 75%; background-color: #e1ddda;} RESULT 1 2/19/2015 LIMITING WIDTH min-width, max-width CSS td.description { min-width: 450px; max-width: 650px; text-align: left; padding: 5px; margin: 0px;} RESULT 2 2/19/2015 LIMITING HEIGHT min-height, max-height h2, p { CSS width: 400px; font-size: 90%; line-height: 1.2em;} h2 { color: #0088dd; border-bottom: 1px solid #0088dd;} p { min-height: 10px; max-height: 30px;} RESULT 3 2/19/2015 OVERFLOWING CONTENT overflow CSS p.one { overflow: hidden;} p.two { overflow: scroll;} RESULT 4 2/19/2015 BORDER, MARGIN & PADDING BORDER MARGIN PADDING WHITE SPACE & VERTICAL MARGIN Moog Moog Moog synthesizers were created Moog synthesizers were created by Dr. Robert Moog under the by Dr. Robert Moog under the company name Moog Music. company name Moog Music. Popular models include Moog Popular models include Moog Modular, Minimoog, Micromoog, Modular, Minimoog, Micromoog, Moog Rogue, and Moog Source Moog Rogue, and Moog Source Arp Arp ARP Instruments Inc. was set up ARP Instruments Inc. was set up by Alan Peralman, and was the by Alan Peralman, and was the main competitor for Moog during main competitor for Moog during the 1970's. Popular models the 1970's. Popular models include the Arp 2600 and the include the Arp 2600 and the ARP Odyssey. ARP Odyssey. Sequential Circuits Sequential Circuits Inc was Sequential Circuits founded by Dave Smith, and the Sequential Circuits Inc was company was pivotal in the founded by Dave Smith, and the creation of MIDI. -
The Minimoog Synthesizer Operation Manual
Minimoog Operation Manual the minimoog synthesizer operation manual MOOG MUSIC INC. Academy Street (P.O. Box 131) Williamsville, NY 14221 A GUIDE TO THE OPERATION OF THE MINI MOOG MODEL D contents • introduction • basic mini moog features • audio, control, and timing signals • setting up the instrument • output section • oscillator bank • controllers • modulation mix • other controllers • mixer • modifiers • filter and filter contour • loudness contour • accessories • options • s-trigger • left-hand controller • tuning procedures http://www.oldschool-sound.com Page 1 Minimoog Operation Manual introduction An electronic music synthesizer is a musical instrument whose circuitry can be interconnected and set up in a large variety of ways to produce a broad spectrum of musical sounds. The component circuit controls and interconnections of the Mini Moog Synthesizer are arranged in a logical and convenient way which is ideal for live performance. The purpose of this manual is to acquaint you with the component circuitry of the Mini Moog and the operation of each of the controls and switches regulating the generators, modifiers, and control devices involved in the synthesizing of a musical sound. After proceeding step by step through the instructions outlined below, you should be ready to begin using your instrument creatively and efficiently. basic mini moog features The Mini Moog contains the basic components and features to be found on larger, studio-oriented synthesizers. Its five sound sources include three oscillators for the production of pitched tones, one noise source for the production of unpitched sounds, and one microphone preamplifier for the introduction of live signals. Mixer controls are available for balancing these signals. -
Moog Modular V 2
USER’S MANUAL Moog Modular V 2 Programming: Nicolas Bronnec Pierre-Jean Camilieri Sylvain Gubian Xavier Oudin Gilles Pommereuil Cedric Rossi Graphics: Yannick Bonnefoy Thomas & Wolfgang Merkle (Bitplant) Manual: Jean-Michel Blanchet Frédéric Brun Tomoya Fukuchi Tom Healy Sadahiro Nakano Xavier Oudin Gilles Pommereuil Cedric Rossi Takashi Uesugi Yuji Sano Sound Designers: Wally Badarou Jean-Michel Blanchet Celmar Engel Michel Geiss Christoff Harbonier Mateo Lupo Hideki Matsutake Scot Solida Katsunori Ujiie Very special thanks to: Robert A. Moog and Isao Tomita Thanks to: Michael Adams, Bruno Begani, Ned Bouhalassa, Geoff Downes, Clay Duncan, Pavle Kovacevic, Roger Luther, Sadahiro Nakano, Fabrice Paumier, Ben Turl, Peter Willems, and the numerous beta testers. © ARTURIA SARL – 1999-2004 – All rights reserved. 4, Chemin de Malacher 38240 Meylan FRANCE http://www.arturia.com Information contained in this manual is subject to change without notice and does not represent a commitment on the part of Arturia. The software described in this manual is provided under the terms of a license agree- ment or non-disclosure agreement. 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. Other products, logos or company names quoted in this manual are trademarks or registered trademarks of their respective owners. Introduction to version 2 of the Moog Modular V manual The first version of the Moog Modular V was commercialized in March 2003 having been announced at the NAMM show of the same year. -
A Performer's Guide to Multimedia Compositions for Clarinet and Visuals: a Tutorial Focusing on Works by Joel Chabade, Merrill Ellis, William O
Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2003 A performer's guide to multimedia compositions for clarinet and visuals: a tutorial focusing on works by Joel Chabade, Merrill Ellis, William O. Smith, and Reynold Weidenaar. Mary Alice Druhan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Druhan, Mary Alice, "A performer's guide to multimedia compositions for clarinet and visuals: a tutorial focusing on works by Joel Chabade, Merrill Ellis, William O. Smith, and Reynold Weidenaar." (2003). LSU Major Papers. 36. https://digitalcommons.lsu.edu/gradschool_majorpapers/36 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. A PERFORMER’S GUIDE TO MULTIMEDIA COMPOSITIONS FOR CLARINET AND VISUALS: A TUTORIAL FOCUSING ON WORKS BY JOEL CHADABE, MERRILL ELLIS, WILLIAM O. SMITH, AND REYNOLD WEIDENAAR A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Mary Alice Druhan B.M., Louisiana State University, 1993 M.M., University of Cincinnati -
THE SOCIAL CONSTRUCTION of the EARLY ELECTRONIC MUSIC SYNTHESIZER Author(S): Trevor Pinch and Frank Trocco Source: Icon, Vol
International Committee for the History of Technology (ICOHTEC) THE SOCIAL CONSTRUCTION OF THE EARLY ELECTRONIC MUSIC SYNTHESIZER Author(s): Trevor Pinch and Frank Trocco Source: Icon, Vol. 4 (1998), pp. 9-31 Published by: International Committee for the History of Technology (ICOHTEC) Stable URL: http://www.jstor.org/stable/23785956 Accessed: 27-01-2018 00:41 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms International Committee for the History of Technology (ICOHTEC) is collaborating with JSTOR to digitize, preserve and extend access to Icon This content downloaded from 70.67.225.215 on Sat, 27 Jan 2018 00:41:54 UTC All use subject to http://about.jstor.org/terms THE SOCIAL CONSTRUCTION OF THE EARLY ELECTRONIC MUSIC SYNTHESIZER Trevor Pinch and Frank Troceo In this paper we examine the sociological history of the Moog and Buchla music synthesizers. These electronic instruments were developed in the mid-1960s. We demonstrate how relevant social groups exerted influence on the configuration of synthesizer construction. In the beginning, the synthesizer was a piece of technology that could be designed in a variety of ways. Despite this interpretative flexibility in its design, it stabilised as a keyboard instrument. -
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University of Huddersfield Repository Quinn, Martin The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980 Original Citation Quinn, Martin (2019) The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34986/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ 0. A Musicological Exploration of the Musicians and Their Use of Technology. 1 The Development of the Role of the Keyboard in Progressive Rock from 1968 to 1980. A Musicological Exploration of the Musicians and Their Use of Technology. MARTIN JAMES QUINN A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Arts. -
Minimoog Voyager Features and Technical Specifications
Minimoog Voyager Features and Technical Specifications The MINIMOOG VOYAGER Synthesizer is a monophonic (one note at a time) analog performance synthesizer. It incorporates virtually all of the sound resources and functions of the original Model D Minimoog, which was produced by Moog Music, Inc. from 1970 to 1982. It has many new additional features, including a three dimensional touch surface, MIDI IN and MIDI OUT implementation, extensive patching facilities, and a large number of new panel features. The signal path starts with a bank of three wide-range, high-stability voltage controlled oscillators, one noise source, and one audio preamplifier for externally-applied audio signals. The sound modifiers are two Moog filters and one stereo VCA (Voltage Controlled Amplifier). Modulation sources are two ADSR (Attack Decay Sustain Release) envelope generators and one multiwaveform LFO (Low Frequency Oscillator).Control devices include a 44-key keyboard with velocity and afterpressure outputs, pitch bend and modulation wheels, a three dimensional touch surface, and many control/pedal input jacks. The MINIMOOG VOYAGER has a hinged, multi-position panel and a solid hardwood cabinet. The power supply accepts any power voltage from 100 volts to 240 volts. Oscillators Module Three wide-range, high stability VCO's (Voltage Controlled Oscillators) with continuously-variable waveforms. • FREQUENCY controls (2) vary the frequencies of Oscillators #2 and #3 over a +/-7 semitone range with respect to Oscillator #1. • OCTAVE selectors (3) set the frequency ranges of the oscillators in six octave steps. • WAVE controls (3) provide continuous control over the waveforms of the oscillators, from triangular, to sawtooth, to square, to narrow rectangular.