PATCH KIM BJØRN PATCH& TWEAK with Moog Become a true master of your moog synthesizer PATCH & TWEAK provides an opportunity for new and experienced users to become true masters of their modular systems. In addition to a select & history of modular synthesis, this book systematically covers core concepts, real-world applications and creative possibilities of specific modules and TWEAK techniques, as well as how to get started using software, semi-modular, or pre-configured systems. Dive into topics such as Harmonics, Voltage control, VCOs, Drums and percussion, Samplers, VCFs, Waveshapers, VCAs, LPGs, Mixers, Effects, Envelope generators, LFOs, Random sources, CV modifiers, Rhythm pattern generators, Logic functions, Sequencers, Controllers, and more. 100+ tips, exclusive interviews and a vintage synth timeline Including Colin Benders, Caterina Barbieri, Hans Zimmer, Robert Rich, with Moog Bana Haffar, Richard Devine, Junkie XL, Russell E. L. Butler, Ian Boddy, NODE, Robin Rimbaud, Todd Barton, Make Noise, Endorphin.es, Noise Engineering, 4ms Company, Rossum Electro-Music, Erica Synths, Bastl with Moog Instruments, and Music Thing Modular. Others includes Doepfer, Buchla, Serge, Moog, and Synthesizers.com. KIM BJØRN 9 788799 999514 FOREWORD BY PUBLISHED BY BJOOKS · BJOOKS.COM HANS ZIMMER MIXING SOUND SOURCES The Mixers Mixing waveforms – what does it look like? Overdrive and feedback The Mixer section on the Grandmother Above is an example of two oscillators being mixed. The Mixer section on the Grandmother and and Matriarch has separate inputs, which The shape of the audible waveform (in red) results Matriarch has the ability to overdrive the signals means you can replace any sound source in a new combination of harmonics and a different when turned up sufficiently. This clips the waveform with another Eurorack 10V peak-to-peak sound. Note how the triangle waveform is clipping asymmetrically and introduces harmonic details audio signal. because it is being overdriven in the mixer. often defined as ‘warm’ or ‘saturated’. You can While the Subharmonicon and DFAM enhance the effect even further by simultaneously also have level knobs for their sound Dynamic mixing of sound sources patching the output of an oscillator directly into sources, the DFAM adds a dedicated You can also use modulation to control the level of the mixer in place of the noise source, effectively noise level CV input. This lets you control your sound sources dynamically or rhythmically. This doubling it: it with any modulation voltage source. technique requires a VCA – our ‘pipeline’ for the audio – and a CV input. You can use either the mix section on the Mother-32 or, as in the example be- As the Mother-32 has two low, an attenuator on the Matriarch. The lfo controls the level of the noise coming from the modulation mixers, you can mix its TIP Grandma’s record noise section. The output of the attenuator can be mixed two oscillator waveforms Set the VCA to drone mode. and the noise source in into the mixer’s Noise input or directly to a filter, or a Turn down oscillator 1 and 2 in the various amounts. Here, VCA input, or... mixer, and Noise all the way up. the vc mix knob adjusts Patch the output of the mixer into the balance between osc 1 in and turn up the volume. noise and the vco saw, You’ll start to hear the noise getting and the mix knob then more arbitrary until hitting the controls the balance sweet spot around 3–4 o’clock. between the vc mix and Voilá: that old record noise! Going the vco (set to pulse). full volume cancels out the sound. Noise: it’s not only a sound source More sounds: audio-rate LFO and resonance TIP Think about levels over time Noise can also be a great modulation source in A common trick is to use a modulation source Create dynamic or evolving sounds by using a VCA itself. For example, on the Mother-32, try patching running at audio rate as a sound source. This and envelopes or LFOs to control the levels of your the noise output into the vco 1v/oct. For a more means that you can use the LFO or a looping sound sources at different stages of the duration percussive sound, tweak the filter and envelope set- envelope (p. 93) to create an extra oscillator if of the sound. Think like this: how should this sound tings and make sure the vco wave needed. As the low-pass filter source change over time? Examples include adding is set to pulse. You can also modu- can also self-resonate, it’s also FM only to the attack of your sound using a short late the filter frequency with noise, usable as a sound source (p. decaying envelope, modulating the filter with an which is already a normalled 60). We’ll look more into these LFO, fading in a second oscillator with a slow attack, connection on the DFAM, as this options in their dedicated or adding waves of noise below your oscillators with is great way to achieve percussive chapters. an LFO controlling the noise level. sounds. See p. 135 for some noisy delay effects. 41 P&T_MOOG_BOOK.indb 41 14/09/2020 03.49 LEFT-HAND CONTROLLER (Continued) OCTAVE TRANSPOSE The Transport Buttons can also be used to shift the pitch of the keyboard up or down in one-octave increments. This allows TIP Less muddy reverby bass the range of the keyboard to be extended without changing TIP Shimmer’s verb the settings of individual oscillators. To transpose the keyboard When playing lower notes on the Grand- by octave units, simply press and hold the [SHIFT] button, Experiment with two different and then press the [<KB] button (down one octave) or [KB>] mother, the Spring Reverb may muddy the button (up one octave). The transpose range is up or down signals into the vca in and final sound. To let bass notes cut through two octaves. the reverb in. For example, more clearly, or simply to lighten up the re- NOTE: Press the HOLD, PLAY, and TAP buttons at the same time set the first Oscillator to 16' verb, mult the output of the filter to make two to reset Matriarch to its default octave. Press and hold these same and the second to 2', patch three buttons for one second to utilize the MIDI Panic function versions – one for the high-pass filter going and silence any stuck notes. the wave out of Oscillator 2 to the reverb in, and one directly back to the to the reverb in, and dial up vca in. This way, only the higher harmonics of PITCH the shimmering ambience. The PITCH wheel (Pitch Bend) provides an intuitive method for quickly bending the the sound are sent into the Spring Reverb. pitch of the oscillators up or down during live performance. Setting the mixer level of On the Matriarch, the Stereo Delay is set Oscillator 2 to zero creates a NOTE: The PITCH wheel is spring-loaded and will return to center position as soon as it is released. to a bright tone by default. However, you more pronounced effect, as can change this to a more vintage-sounding the higher-octave notes are low-pass filtered tone in the Global Settings. then only heard through the Explore the dark side! reverb. VARIATION: Faux reversed delay Crunchy, noisy, tape warble delay A variation of the Grandmother patch Modulate the CV inputs on the shown below is to use the Modulation Matriarch stereo delay with noise sectionMOD without patching directly to the from the modulation section to get The MOD wheel (Modulation) provides an expressive way to introduce and control filter.modulation Turn the while performing.Mod wheel At up,minimum set the position, no modulation is applied. As the new flavors of delay. A few starters: cutoffMOD amount wheel’s position to noon, is raised, and more patch modulation the is introduced. At its uppermost position, the amount of modulation is equal tokb the maximum values set using the gatePITCH to theAMT sync(Oscillator in to Pitch), make CUTOFF the waveform AMT (Filter Cutoff Frequency), and PULSE Tape Warble: Noise into Time 2 in WIDTH AMT (Pulse Width Modulation [PWM]) knobs in the Modulation module. start with every note. Choose the ramp waveformNOTE: Unlike for the a PITCH reverse wheel, effect, the MOD or wheel the is saw not spring-loaded, and will remain in Nostalgic Crunch: Noise into fb cv in position until it is moved again. wave for a normal delay effect. Set filter cutoffTIP: You at noon,can patch and from usethe MOD a simple WHL OUT AD jack am on the- Matriarch rear panel to any available Noisy Interference: Noise into mix in destination for a more expressive and expansive performance. plitude envelope with a long Decay. Turn MOD up the reverb, play long notes, and adjust Set all knobs to noon, sync off, and Mod wheel and controls to taste. ping pong on, then play around with the controls – as usual, right? 12 135 P&T_MOOG_BOOK.indb 135 14/09/2020 04.13 TAMING THE MODULAR WILD CARD Interview with Hannes Bieger, producer, mixing engineer, and musician Hannes Bieger was a Moog lover from the begin- Early influences “I would say that a lot of the later Beatles and all ning, and he always knew what he wanted in his rig. Exposed to synthesizers at a very early age, the Pink Floyd classics are electronic music, because “My first synth was a Moog ogue,R which I Hannes has poured his earnings into collecting a they really played the studio as an instrument, using bought in 1997.