DOCSLIB.ORG

Moog One Manual 8/2/19

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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 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. 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 modifications 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 find the most up-to-date manual. If you are having trouble finding information about your Moog One please email: [email protected] 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 firmware and manual updates. “ Musical instruments provide the most efficient and refined interface between human and machine of anything we know. - Dr. Robert Moog - THANK YOU FROM ALL OF US AT MOOG MUSIC, “ Musical instruments provide With sincere pride and gratitude, we thank you for purchasing our flagship polyphonic synthesizer, the Moog One. Over five years in development, more than 60 person-years the most efficient and refined 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. interface between human and Before Bob Moog passed away in 2005, he encouraged us to be thoughtful about the machine of anything we know. 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 financial and - Dr. Robert Moog - 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 confidence 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 07 UNPACKING AND INSPECTION 07 SETUP AND CONNECTIONS 08 MOOG ONE OVERVIEW 09 Presets, Synths, And Performance Sets 09 Voice Architecture 10 PILOTING MOOG ONE 10 Front Panel 17 Keyboard And Left Hand Controller 19 Rear Panel 22 MOOG ONE MODULES 22 Oscillators 29 Noise 31 Mixer 33 Filters 40 Envelopes 46 Low Frequency Oscillators 50 VCA 53 Output 57 Performance Set 60 Master Clock 63 Voice Allocation (Hold/Chord/Polyphony) 67 Modulation 78 Arpeggiator 82 Sequencer 96 Effects 112 Left Hand Controller 118 THE BROWSER 119 Loading A Preset 119 Loading A Timbre 120 Saving Presets And Synth Timbres 122 EDITING AND SAVING 122 Compare 122 Snapshot 123 Autosave 124 SETTINGS 124 Global 125 Hardware Settings 128 MIDI Control 131 CV Inputs 132 CV Outputs 133 Utilities 134 Library 139 Tuning 140 SPECIFICATIONS 142 SERVICE AND SUPPORT 143 APPENDIX A: WORKING WITH A USB KEYBOARD 144 APPENDIX B: MIDI LEARN 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: 1. Power adapter and connecting power cord 2. Owner’s Manual 3. 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 1. A stand or table capable of supporting Moog One (which weighs about 45 lbs.) 2. A properly wired and grounded AC outlet 3. Two 1/4” balanced TRS to TRS or TRS to XLR cables for connecting Moog One to an audio monitoring system, or stereo headphones outfitted 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. 1. Connect the included IEC power cable to the Moog One power supply. 2. Connect the power supply cable to the 19-volt DC locking connector on the rear panel of Moog One. 3. Connect the other end of the power cable to a suitable AC wall outlet with a protective earth ground connection. 4. 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 MAIN R output, then connect the opposite ends to a pair of L/R inputs on an amplified 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 HEADPHONES knob all the way down before plugging them into either of the two headphone jacks (located on the front edge of the Left Hand Controller panel).
Recommended publications
  • Minimoog Model D Manual

    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.
  • THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014

    THE SHARED INFLUENCES and CHARACTERISTICS of JAZZ FUSION and PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014

    COMMON GROUND: THE SHARED INFLUENCES AND CHARACTERISTICS OF JAZZ FUSION AND PROGRESSIVE ROCK by JOSEPH BLUNK B.M.E., Illinois State University, 2014 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master in Jazz Performance and Pedagogy Department of Music 2020 Abstract Blunk, Joseph Michael (M.M., Jazz Performance and Pedagogy) Common Ground: The Shared Influences and Characteristics of Jazz Fusion and Progressive Rock Thesis directed by Dr. John Gunther In the late 1960s through the 1970s, two new genres of music emerged: jazz fusion and progressive rock. Though typically thought of as two distinct styles, both share common influences and stylistic characteristics. This thesis examines the emergence of both genres, identifies stylistic traits and influences, and analyzes the artistic output of eight different groups: Return to Forever, Mahavishnu Orchestra, Miles Davis’s electric ensembles, Tony Williams Lifetime, Yes, King Crimson, Gentle Giant, and Soft Machine. Through qualitative listenings of each group’s musical output, comparisons between genres or groups focus on instances of one genre crossing over into the other. Though many examples of crossing over are identified, the examples used do not necessitate the creation of a new genre label, nor do they demonstrate the need for both genres to be combined into one. iii Contents Introduction………………………………………………………………………………… 1 Part One: The Emergence of Jazz………………………………………………………….. 3 Part Two: The Emergence of Progressive………………………………………………….. 10 Part Three: Musical Crossings Between Jazz Fusion and Progressive Rock…………….... 16 Part Four: Conclusion, Genre Boundaries and Commonalities……………………………. 40 Bibliography……………………………………………………………………………….
  • Analog Synthesizer So There Is No Need for Soldering.)

    Analog Synthesizer So There Is No Need for Soldering.)

    Assembly time: Approximately 20 minutes (The electric circuit comes pre-assembled, Analog Synthesizer so there is no need for soldering.) How to Assemble and Use the Supplement Things you will need Parts in the Kit Phillips screwdriver (No. 1) AA alkaline batteries (4 new) Knobs (5) * Please note that rechargeable NiCd batteries and non-rechargeable Oxyride and nickel-based batteries should not be Washer head screws (7) used due to a high risk of components melting or fire breaking out with these batteries because of accidental short-circuiting or the like. Additionally, because this supplement was designed based on operation at 6 V, it may not operate in the desired way due to an excess of or a deficiency in voltage with the above batteries. Incidentally, most rechargeable batteries provide 1.2 V and Screws (3) Oxyride batteries, 1.7 V. Main unit Cellophane tape Notes for tightening screws The types of screws used for the supplement are those that carve grooves into the plastic as they are inserted (self-threading). The screwdriver most suited to tightening the screws is the #1 JIS screwdriver. When tightening screws, Circuit board firmly press the provided screwdriver straight against the screws and turn. It is said that 70 percent of the force applied is used for pushing against the screw and 30 percent for turning it. Precision screwdrivers are hard to turn, so use a small screwdriver with a grip diameter of about 2 cm. Electrode Slider panel Speaker Cut out the cardboard (Wrapped in cardboard.) case to use as a back cover.
  • Imagine Your Art As the New Face of Moog Music's

    Imagine Your Art As the New Face of Moog Music's

    IMAGINE YOUR ART AS THE NEW FACE OF MOOG MUSIC’S HEADQUARTERS! WELCOME ALL CREATIVES We are excited to be accepting artist submissions for a design that will be the new face of the Moog factory in downtown Asheville, NC. Locals and visitors of our vibrant city have come to know our factory by the iconic synthesizer mural that has adorned the buildingʼs exterior for more than eight years. Now, weʼre ready to breathe new life into the public artwork that represents who we are and the instruments that our employee-owners build inside these four walls. This is where you come in! 1st PLACE WINNER TOP 5 RUNNERS-UP • Moog One 16-Voice Analog Synthesizer ($8,500 value) • Your Choice: Moog Mother-32, DFAM, or Subharmonicon • Your Artwork Displayed on the Moog Factory • Moog Merch Package HOW IT WORKS 1. Synthesize your best ideas of what represents Moog and our creative community. 2. Download the asset pack for artwork templates and specifications on file type and dimension requirements. 3. Submit your custom artwork at www.moogmusic.com/mural by February 19, 2021. Upload your artwork as a high resolution thumbnail that does not exceed 9MB, print files will be requested if you are selected as the winner. You may submit up to three pieces for consideration. 4. Online voting will be open to the public at www.moogmusic.com/mural from January 11 – February 28, 2021. 5. Weʼll select one grand prize winner and five runners-up, and will announce the winners via our email newsletter. The popular public vote will count toward our teamʼs consideration; make sure to share the voting link to your artwork on your website, social media accounts, etc.
  • Study Guide for the High School Percussionist

    Study Guide for the High School Percussionist

    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1965 Study guide for the high school percussionist Alan Anderson The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Anderson, Alan, "Study guide for the high school percussionist" (1965). Graduate Student Theses, Dissertations, & Professional Papers. 3698. https://scholarworks.umt.edu/etd/3698 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. A STUDY GUIDE FOR THE HIGH SCHOOL PERCUSSIONIST by ALAN J. ANDERSON B. M. Montana State University, 1957 Presented in partial fulfillment of the requirements for the degree of M aster of Music UNIVERSITY OF MONTANA 1965 Approved by: Chairman, Board of Exarqi rs D q^, Graduate School SEP 2 2 1965 D ate UMI Number: EP35326 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT UMI EP35326 Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC.
  • DANSES CQNCERTANTES by IGOR STRAVINSKY: an ARRANGEMENT for TWO PIANOS, FOUR HANDS by KEVIN PURRONE, B.M., M.M

    DANSES CQNCERTANTES by IGOR STRAVINSKY: an ARRANGEMENT for TWO PIANOS, FOUR HANDS by KEVIN PURRONE, B.M., M.M

    DANSES CQNCERTANTES BY IGOR STRAVINSKY: AN ARRANGEMENT FOR TWO PIANOS, FOUR HANDS by KEVIN PURRONE, B.M., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Accepted August, 1994 t ACKNOWLEDGMENTS I would like to extend my appreciation to Dr. William Westney, not only for the excellent advice he offered during the course of this project, but also for the fine example he set as an artist, scholar and teacher during my years at Texas Tech University. The others on my dissertation committee-Dr. Wayne Hobbs, director of the School of Music, Dr. Kenneth Davis, Dr. Richard Weaver and Dr. Daniel Nathan-were all very helpful in inspiring me to complete this work. Ms. Barbi Dickensheet at the graduate school gave me much positive assistance in the final preparation and layout of the text. My father, Mr. Savino Purrone, as well as my family, were always very supportive. European American Music granted me permission to reprint my arrangement—this was essential, and I am thankful for their help and especially for Ms. Caroline Kane's assistance in this matter. Many other individuals assisted me, sometimes without knowing it. To all I express my heartfelt thanks and appreciation. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii CHAPTER L INTRODUCTION 1 n. GENERAL PRINCIPLES 3 Doubled Notes 3 Articulations 4 Melodic Material 4 Equal Roles 4 Free Redistribution of Parts 5 Practical Considerations 5 Homogeneity of Rhythm 5 Dynamics 6 Tutti GesUires 6 Homogeneity of Texmre 6 Forte-Piano Chords 7 Movement EI: Variation I 7 Conclusion 8 BIBLIOGRAPHY 9 m APPENDIX A.
  • El Padre Del Sinte Y, Quizá, El Hombre Más Influyente En La

    El Padre Del Sinte Y, Quizá, El Hombre Más Influyente En La

    Pioneros FM BOB MOOG La gente corriente conoce muy pocos nombres de creadores de instrumentos –Stradivarius, Hammond, Wurlitzer, Fender, Gibson… y por supuesto, Moog OB MOOG, en una revista de electrónica. EL padre del De repente, en plena adolescencia, sintetizador y, “El padre del sinte y, ya estaba haciendo y vendiendo kits con quizá, el hombre su pequeña empresa R.A. Moog Co. más influyente quizá, el hombre más En 1961, siendo todavía un estudiante, en la música publicó un diseño de theremin a durante las transistores del cual vendió más de mil últimas cinco influyente en la música unidades, bien como kits de montaje Bdécadas, murió el pasado 21 de Agosto. de los últimos 50 años” o como instrumentos finalizados. Tenía 71 años –una edad respetable para A partir de entonces, conoció muchos, pero no para él. Cualquiera al pionero de la música electrónica que haya podido compartir algún Raymond Scott, quien producía jingles momento con el entrañable Bob antes para importantes cadenas de TV de que le diagnosticaran un tumor cerebral en disfrutar durante unas horas de su inspiradora, con su enorme muro de equipos electrónicos. Abril de este mismo año, te confirmará que carismática y entrañable compañía. Es posible que aquello le inspirase, porque estaba lleno de energía, humor y vitalidad, así Por no molestar, Moog prefería viajar en tren a principios de los 60, Moog presentó, que es una auténtica pena que no haya podido o en autobús antes que aceptar el ofrecimiento de posiblemente, la mayor revolución de la música seguir algunas décadas más entre nosotros.
  • User's Manual Anisotropic Synth Engine

    User's Manual Anisotropic Synth Engine

    ANISOTROPIC SYNTH ENGINE USER’S MANUAL Animoog is a professional polyphonic synthesizer that carries on Dr. Robert STARTUP PAGE- Startup loads the default preset and displays the X/Y PAD (8x16 Moog's exploration of touch-surface technologies to create new and expressive grid) which corresponds top to bottom with the 8 dynamically evolving waveforms musical instruments. selected in the TIMBRE array page. Active voices are displayed as colored dots with modulation in the X/Y space shown as comet trails. The resulting output waveform is The new Anisotropic Synthesis Engine (ASE) is the heart of Animoog. It is a dynamic displayed on the X/Y PAD in real time. waveform animator comprised of an X/Y grid with 8 TIMBRES containing 16 waveforms each. These TIMBRES include sources derived from Moog synthesizers, the MF-103 12-Stage Phaser, and the MF-105 MURF. The waveform morphs and evolves as ASE is TABS: Touch each of the tabs (X/Y PAD, KB SCALE, ENV/MOD, TIMBRE, and SETUP) modulated throughout the X/Y space, allowing you to see and hear dramatic changes of to display that page's parameters. To the right are MODULES for the FILTER, PATH, timbre in real time. This constantly evolving soundscape is then fed into a traditional and ORBIT (left slot), and DELAY, THICK, and RECORDER (right slot). Touch the up or Moog-style synthesis architecture including classic Moog ladder filters with overdrive. down arrows to cycle through each module. Below the display screen is the PRESET selector. Tap the PRESET bar to open the preset list.
  • Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory

    Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory

    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
  • A Nonlinear Analysis Framework for Electronic Synthesizer Circuits

    A Nonlinear Analysis Framework for Electronic Synthesizer Circuits

    A Nonlinear Analysis Framework for Electronic Synthesizer Circuits Fran¸cois Georges Germain Department of Music Research McGill University Montreal, Canada October 2011 A thesis submitted to McGill University in partial fulfillment of the requirements for the degree of Master of Arts. c 2011 Fran¸cois Georges Germain i Abstract This thesis presents a theoretical and experimental study of the nonlinear behaviour of analog synthesizers’ effects. The goal of this thesis is to evaluate and complete current research on nonlinear system modelling, both in and out of the field of music technology. The cases of single-input and multiple-input effects are considered. We first present an electronic analysis of the circuits of common examples of analog effects such as Moog’s lowpass filter and Bode’s ring modulator, extracting the equations of each system. We then discuss the results of experiments made on these systems in order to extract qualitative information about the distortion found in the system input-output relationship. Secondly, we look at the literature for methods used to model single-input nonlinear systems, and we investigate the opportunities to extend these techniques to multi-input systems. We focus on two different modelling approaches. The black-box approach seeks to model the input-output transfer function of the system as closely as possible without any particular assumption on the system. The circuit modelling approach uses the knowledge of electronic component behaviour to extract a transfer function from the known circuit of the system. The results of both approaches are compared to our experiments in order to evaluate their accuracy, identify flaws and, when possible, suggest potential improvements of the methods.
  • Roland AX-Edge Parameter Guide

    Roland AX-Edge Parameter Guide

    Parameter Guide AX-Edge Editor To edit the tone parameters of the AX-Edge, you’ll use the “AX-Edge Editor” smartphone app. You can download the app from the App Store if you’re using an iOS device, or from Google Play if you’re using an Android device. AX-Edge Editor lets you edit all the parameters except system parameters of the AX-Edge. © 2018 Roland Corporation 02 List of Shortcut Keys “[A]+[B]” indicates the operation of “holding down the [A] button and pressing the [B] button.” Shortcut Explanation To change the value rapidly, hold down one of the Value [-] + [+] buttons and press the other button. In the top screen, jumps between program categories. [SHIFT] In a parameter edit screen, changes the value in steps + Value [-] [+] of 10. [SHIFT] Jumps to the Arpeggio Edit screen. + ARPEGGIO [ON] [SHIFT] Raises or lowers the notes of the keyboard in semitone + Octave [-] [+] units. [SHIFT] Shows the Battery Info screen. + Favorite [Bank] Jumps between parameter categories (such as [SHIFT] + [ ] [ ] K J COMMON or SWITCH). When entering a name Shortcut Explanation [SHIFT] Cycles between lowercase characters, uppercase + Value [-] [+] characters, and numerals. 2 Contents List of Shortcut Keys .............................. 2 Tone Parameters ................................... 19 COMMON (Overall Settings) ............................. 19 How the AX-Edge Is Organized................ 5 SWITCH .............................................. 20 : Overview of the AX-Edge......................... 5 MFX .................................................
  • Immer Wieder Breit Moog Minimoog Voyager Select Series – Monofoner Synthesizer

    Immer Wieder Breit Moog Minimoog Voyager Select Series – Monofoner Synthesizer

    _ g 058 test minimoog voyager select Immer wieder breit Moog Minimoog Voyager Select Series – Monofoner Synthesizer Eigentlich muss man über den Minimoog Voyager nicht mehr viele Worte verlieren. Das Instrument gilt nicht nur unter Freaks als das absolute Sahneteil in Sachen „Analogsound-mitten-ins-Gesicht“. Dass wir diesem Ausnahmefetisch trotzdem erneut ein paar Zeilen widmen, hat damit zu tun, dass das Teil jüngst ein neues Gewand bekommen hat. Und – ach ja! – ein paar Neuigkeiten gibt’s auch zu berichten. text: Dr. Stefan Albus fotos: Dieter Stork, Archiv Im Ernst: Auch wem es völlig egal ist, ob die des Panels zu entzücken weiß (Fire, Blue, Solar, Voyager ist ein kleines, unscheinbares Poti Bässe, mit denen er seinen Groove dahermal- Lunar und Jade). Die Story hinter diesem opti- rechts neben der Tastatur, das der Regelung der men lässt, aus einem Renderer oder aus echter schen Update ist schnell erzählt: Bereits 2004 Hintergrundbeleuchtung dient. Seine Wirkung Elektronik kommen, der dürfte seinen Hut zie- brachte Moog eine „Electric Blue“ getaufte, sei hier nur trocken umrissen: Bei Rechtsdre- hen ob der Jahre, die der Minimoog Voyager schwarz-blaue Gary-Numan-Style-Variante der inzwischen auf dem Buckel hat. Fünf Lenze: Das Maschine heraus. Folge: Gib den Leuten den profil ist schon was in einer Branche, und manche kleinen Finger und ... Jedenfalls hofft man bei Keyboarder fragen sich, ob sie eigentlich noch Moog, dass mit den neuen „Selects“ die vielen Hersteller / Vertrieb: Instrumente oder Fashion-Items spielen. Anfragen nach individuell eingetönten Instru- Moogmusic / Und sicher auch ein legitimer Grund, dem Voyager menten erst mal abebben.