This manual is a living document that will be updated frequently. Please visit www.moogmusic.com/moogone to find the most up to date manual. If you are having trouble finding specific information about your Moog One in this manual please email: moogonemanual@moogmusic.com for assistance. THIS VERSION WAS PUBLISHED ON 1/10/19.
“M usic al instruments provide the most ef ficient and refined inter face between human and m a c h i n e of a ny th i n g we k n ow. - Dr.
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.
TABLE OF CONTENTS 07 UNPACKING AND INSPECTION 07 SETUP AND CONNECTIONS 08 09 09 MOOG ONE OVERVIEW Presets, Synths, And Performance Sets Voice Architecture 10 10 17 19 PILOTING MOOG ONE Front Panel Keyboard And Left Hand Controller Rear Panel 22 22 29 31 33 40 46 51 53 57 61 63 67 78 82 96 112 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 Lef
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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.
MOOG ONE Designed to exceed every expectation, Moog One is the first polyphonic instrument from Moog in decades. From the original napkin sketches to the day we boxed the first 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.
OVERVIEW By design, Moog One is both intuitive and efficient. The iconic angled Front Panel groups singlefunction 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.
VOICE ARCHITECTURE (Continued) Hard Sync is available on Oscillator 2 and Oscillator 3, with Oscillator 1 being the default source of sync. Oscillator-derived ring modulation, a multi-mode noise generator, and external audio signals are also available as sound sources. In the Mixer module, each sound source can be routed to either a pair of State Variable Filters (SVF), the Ladder Filter, or both.
KNOBS AND BUTTONS In this manual, when referring to a specific 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 first letter is Capitalized – for example: the Cutoff frequency, the Shift state, the Preset Library, etc.
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.
As notes are played on the keyboard, key range indicators will flash 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.
SAVE The SAVE button begins the Save process that allows you to store the current settings of the instrument as a Preset. During the Save process, you will also have the ability to add names to the individual Timbres (1, 2, and 3) that are contained within the Preset. NOTE: A full explanation of the save process can be found in the “Saving A Preset” section on page 118.
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 specific 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).
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.
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.
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 specified 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.
REAR PANEL The Moog One Rear panel is equipped with a full complement of audio jacks, communication ports, MIDI connectors, and pedal ports – plus configurable 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.
REAR PANEL (Continued) EXT INPUT Moog One provides an External Audio Input featuring a Neutrik connector, capable of accepting either a balanced XLR cable, a balanced 1/4” TRS cable, or an unbalanced 1/4” TS cable. The TRIM knob can adjust the input gain from -9 dB to +65 dB. There is also a Line Level (LINE) input equipped with a 1/4” balanced TRS jack that can accept a balanced 1/4” TRS cable, or an unbalanced 1/4” TS cable.
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 USB HOST port 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 classcompliant MIDI device (one that requires no additional software drivers) into Moog One operations.
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 fluctuations 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.
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.
OSCILLATORS (Continued) SAW (SAWTOOTH MODE) With the WAVE button set to SAW (the SAW LED will be lit), rotating the WAVE ANGLE knob will continuously vary the reset time of the Sawtooth wave. Rotating the knob hard left will produce a classic Moog Sawtooth wave with a 6µs (microsecond) reset time. As the WAVE ANGLE knob is rotated to the right, the reset time of the Sawtooth wave is increased, creating a darker and less aggressive timbre. The Wave Angle range is from 6µs to 1 ms.
OSCILLATORS (Continued) The sound can become aggressive, metallic, or even exhibit elements of comb filtering. Adding modulation to the frequency of a sync’d Oscillator can greatly enhance this effect. Moog One sets Oscillator 1 as the Master Oscillator by default. Use the HARD SYNC button to force the selected Oscillator(s) to sync to Oscillator 1.
OSCILLATORS (Continued) VCO MODE (SAWTOOTH, TRIANGLE) This parameter shows the status of the WAVE button on the front panel. This function can also be controlled here. PITCH TRACKING (0 to 200%) 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.
OSCILLATOR COMMON PARAMETERS Just below the Oscillator section is a set of controls that affect all three of the oscillators in the active Synth. These parameters are instantly available and are conveniently hard-wired to commonly-used modulation applications. PITCH MODULATION These modulation parameters affect the pitch of all three oscillators. LFO 1 AMT (0 to 10) Turning this knob will determine the amount of LFO 1 being applied as a modulation source to the pitch of all three Oscillators.
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 to 10) 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.
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 ATTACK knob, a variable RELEASE knob, and a SUSTAIN button that allows the Noise generator to continue to sound as long as a note is held.
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.
MIXER The Moog One Mixer module provides six input channels and two output busses. The first five inputs – OSC 1, OSC 2, OSC 3, RING MOD, and NOISE – have dedicated hardware Mixer controls on the Front Panel. NOTE: Pressing the Mixer MORE button provides access to the sixth channel – the External Audio Input. One of the Mixer output busses feeds into the State Variable Filter (SVF), the other into the Moog Ladder Filter.
MIXER (Continued) NOISE Use the NOISE knob to set the level of the Noise Generator signal as it enters the Mixer. Press the associated SVF and LADDER buttons to specify which FILTER(s) the Noise Generator is being routed to. When each button is lit, it is On, and that filter path is enabled. MIXER MORE PAGE (EXTERNAL INPUT CHANNEL) Pressing the triangular MORE button in the upper right corner of the Mixer module will reveal additional Mixer parameters.
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 configuration is determined by their parameter settings. The third filter 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.
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.
FILTERS (Continued) MODE (HP, LP) Pressing the MODE button toggles between the two Ladder Filter 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.
FILTERS (Continued) ROUTE (PAR, SER) Pressing the ROUTE button cycles through the available Filter Routings. The associated LED will light to indicate your selection. PAR (PARALLEL) When Parallel Routing is selected, the SVF and Ladder Filter operate individually, side by side. SER (SERIES) When Series Routing is selected, the output of the SVF feeds into the input of the Ladder Filter, forming a continuous “filter chain.” MIX The balance between the two Filter outputs is controlled using the MIX knob.
FILTERS (Continued) LADDER MOD (ON/LIT, OFF/UNLIT) When this button is lit, the EG AMT, LFO 2 AMT, and FM AMT knobs will 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.
FILTER MORE PAGE Pressing the triangular MORE button in the upper right corner of the Filter Module will reveal a second level of parameters that can be accessed and modified 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 filter modules. The right pane shows the current value of the Front Panel hardware parameters for this module.
FILTER MORE PAGE (Continued) SVF KEY TRACK (-200% to +200%) Keyboard Tracking allows the Cutoff Frequency of the Filter to track the keyboard in the same way an Oscillator would. In this way, higher notes on the keyboard will be filtered differently than lower notes. At 100%, the Filter is tracking the keyboard at the same rate as the default Oscillator tracking. At 0%, the SVF KEY TRACK parameter is effectively Off, and not tracking the keyboard at all. Below zero, tracking has a negative (inverse) value.
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-finish profile is known as the envelope of a sound. In synthesis, the Envelope Generator (EG) is one of the most useful and versatile modulation sources.
ENVELOPES (Continued) ATTACK (1 M-SEC to 10 SEC) The ATTACK knob determines the amount of time required for the control signal to rise from zero to its maximum level once a key is pressed or a gate is initiated. Rotating the knob to the right will increase the Attack Time. DECAY (1 M-SEC to 10 SEC) The DECAY knob determines the amount of time required for the control signal to fall from the maximum level achieved by the Attack stage before reaching the Sustain Level when a key is held or a gate is open.
ENVELOPES (Continued) MULTI TRIG (ON/LIT, OFF/UNLIT) This setting provides improved articulation while playing in the MONO or UNISON Modes. With the MULTI TRIG (Multiple Triggering) button set to Off, a new note played while one is still being held on the keyboard (legato style) will not initiate a new Envelope cycle; instead the new note will sound at the current position of the active Envelope. Multiple Triggering (MULTI TRIG button On) begins a new Envelope cycle with each new note played.
ENVELOPES (Continued) DEST The DEST (Destination) button provides an intuitive and simple shortcut for establishing a modulation route using this Envelope 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.
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.
ENVELOPES (Continued) ATTACK CURVE (100% LOG to LINEAR to 100% EXP) Each Envelope can specify a particular type of curve for each stage. With a value of 100% LOG, the Attack curve will have a Logarithmic shape. When the value reaches LINEAR, the resulting Attack curve will be a straight line. With a value of 100% EXP, the Attack curve will take on an Exponential shape. DECAY CURVE (100% LOG to LINEAR to 100% EXP) Each Envelope can specify a particular type of curve for each stage.
LOW FREQUENCY OSCILLATORS Just as the Oscillator is the primary sound source found in a synthesizer, the Low Frequency Oscillator (LFO) is often the primary source for adding modulation. Whenever one synthesizer module influences the behavior of another module, that is modulation. As the name suggests, LFOs are Oscillators that have a low-frequency operating range.
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.
LOW FREQUENCY OSCILLATORS (Continued) The onscreen MORE page parameters are 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.
LOW FREQUENCY OSCILLATORS (Continued) SAWTOOTH (SAW / RAMP) The relationship between a Sawtooth Wave and Ramp Wave is based on the ratio of rise time to fall time. The Sawtooth has an immediate rise and a slower fall, the Ramp Wave has a gradual rise and an immediate fall. The transition from Sawtooth (0%) to Ramp (100%) is determined by the VARIATION parameter.
LOW FREQUENCY OSCILLATORS (Continued) DELAY TIME (OFF, 0ms to 10s) This parameter sets up a timing delay, or interval, before the LFO signal begins. FADE IN TIME (OFF, 0ms to 10s) This parameter controls how much time is need for the LFO intensity to rise from zero to its maximum level. The Fade In time begins after the Delay Time is complete. FADE OUT TIME (OFF, 0ms to 10s) This parameter controls how much time is need for the LFO intensity to fall from its maximum level to 0.
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.
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.
OUTPUT The Output module contains two volume knobs, one to control the MASTER VOLUME (MAIN L/R outputs), and one to control the HEADPHONES output level. Each knob functions independently; turning the MASTER VOLUME down and the HEADPHONES level up allows Moog One settings and sounds to be cued up, or auditioned privately without the need to change any external mixer settings or connections. The MASTER VOLUME and HEADPHONES knobs are global for the entire Moog One.
OUTPUT (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.
OUTPUT (Continued) INSERT 2 - SYNTH 1 (OFF, ON) Setting this parameter to On will route Synth 1 to the INSERT 2 buss. INSERT 2 - SYNTH 2 (OFF, ON) Setting this parameter to On will route Synth 2 to the INSERT 2 buss. INSERT 2 - SYNTH 3 (OFF, ON) Setting this parameter to On will route Synth 3 to the INSERT 2 buss. INSERT 3 - SYNTH 1 (OFF, ON) Setting this parameter to On will route Synth 1 to the INSERT 3 buss.
OUTPUT (Continued) UNDERSTANDING INSERTS Inserts are unique in that they can function as both outputs and inputs at the same time. As outputs, they provide a way of allowing each Synth to have its own dedicated output - either for recording and monitoring purposes, or to independently access an external effect processor such as a stereo chorus unit. The inserts also provide an input path, or return, from such an external processor.
PERFORMANCE SET A chosen Performance Set makes up to 64 Presets available with just a button press (or two) on the Front Panel. This is a must for live performance, and can be equally useful for organizing sounds at a session. Moog One contains a virtually unlimited number of Performance Sets, but only one Performance Set can be active at any time. Choose a Preset from the active Performance Set by pressing one of the 8 BANK buttons (A - H) and one of the 8 PRESET buttons (1 - 8) on the Front Panel.
PERFORMANCE SET (Continued) PERFORMANCE SET MORE PAGES Pressing the triangular MORE button in the upper right corner of the PERFORMANCE SET module will open the CURRENT SET page. The additional BROWSE SETS and ARRANGE SETS pages can be selected using the Soft Buttons above the screen. When in Arrange Sets, An EDIT soft button allows editing of the Name and Notes for the current/selected set.
PERFORMANCE SET (Continued) ARRANGE SETS Use the ARRANGE SETS Soft Button to open this screen. Here you can add, delete, and rearrange Performance Sets. The left pane shows a list of all Performance Sets. The current Performance Set is highlighted, and appears as the Selected Set in the right pane. MOVING A PERFORMANCE SET Holding SHIFT while turning the Master Encoder allows the highlighted Performance Set to be moved to a new location in the list.
ENTERING TEXT Moog One allows you to enter names and text directly from the keyboard. The white keys (naturals) enter the characters; certain black keys (accidentals) have specific functions. • Keys C#1 - D#2 select the character set. • Key F#4 removes the current name and randomly generates a new name. • Key G#4 clears all the characters in the screen. • Key A#4 deletes the character to the left of the cursor.
MASTER CLOCK The Master Clock provides a base tempo for the entire Moog One, and is measured in BPM (Beats Per Minute). The Master Clock provides a reliable tempo that can be shared amongst various Moog One modules as well as external devices via MIDI and USB. The values of many Moog One parameters are set using units of time – the Arpeggiator speed, the Sequencer tempo, LFO rates, Envelope times, Effect times, etc.
MASTER CLOCK MORE PAGE Pressing the triangular MORE button in the upper right corner of the Master Clock module opens a second level of parameters that can be accessed and modified using the interactive portion of the Center Console. The current tempo is displayed in the center of the screen and can be changed by rotating the Master Encoder. Turning the Master Encoder in SHIFT mode allows for finer adjustments.
VOICE ALLOCATION (HOLD/CHORD/POLYPHONY) Moog One uses a number of sophisticated elements to make the most of the available voices. Grouped together in one area of the Front Panel, these features include the HOLD button, the CHORD functions, and the POLYPHONY module. HOLD The HOLD button behaves in much the same way as a sustain pedal – but with a few important differences. When the HOLD button is set to On (lit), notes being held when the button was pressed will continue to sound.
POLYPHONY It is polyphony that allows Moog One to play multiple keys at the same time and have them all sound. All polyphonic synthesizers – including Moog One – have a finite number of voices. This module controls the ways to maximize performance by allocating voices effectively. But it’s not only about polyphony. Monophonic, or single-note-at-a-time synthesizer playing, has a style all its own, and parameters found here can make the most of those performances as well.
POLYPHONY MORE PAGE Pressing the triangular MORE button in the upper right corner of the POLYPHONY module will reveal a second level of parameters than can be accessed and modified using the interactive portion of the Center Console. The left pane shows the width of the Detune Amount, as determined by the DETUNE knob on the Front Panel. The right pane shows the current values of the Front Panel parameters for this module. Tweaking these panel controls will update their values here.
POLYPHONY MORE PAGE (Continued) VOICE STEALING MODE (NO STEALING, OLDEST NOTE, QUIETEST NOTE, NEWEST NOTE) This parameter specifies how voices will be sacrificed and reallocated when the active Synth reaches its polyphony limit. NO STEALING This is effectively the Off position for this parameter. No new notes are played until voices become available. OLDEST NOTE Here, the note that has been sounding the longest is the first to be stolen when a new note is played.
MODULATION In basic terms, modulation allows a control signal from one module to influence the value of a parameter in another module. A modulation path needs both a source and a destination. In a truly modular world, each modulation pathway is created by connecting a separate patch cord from the modulation source to the destination – often side stepping along the way to invert the value, to add a controller, or to use a multiple (Mult.) jack to carry the signal to multiple destinations.
MODULATION (Continued) QUICK ASSIGN MODULATION Specific modulation sources and modulation expression controllers can be assigned on the fly. DEST Pressing the DEST (Destination) button found in the lower right corner of any Low Frequency Oscillator (LFOs 1, 2, 3, or 4) or in the lower right corner of any EG (Filter Envelope, Amplitude Envelope, Modulation Envelope) will instantly create a new Modulation pathway using that LFO or EG as the source.
MODULATION (Continued) Four Soft Buttons are labelled at the top of the screen. CANCEL Pressing the CANCEL Soft Button will exit the Quick Assign window without saving the new modulation path. EDIT MODULATIONS Pressing the EDIT MODULATIONS Soft Button opens up a special case of the Modulation Matrix screen that is filtered by source, showing only the modulation paths that have the same source as this newly created path; again in this case, LFO 1.
MODULATION (Continued) MODULATION MATRIX The Modulation Matrix is the nexus for all modulation paths assigned to the active Synth. This includes assignments made here, and those made using the Quick Assign method; they all are part of one Modulation Matrix. Pressing the MOD button in the Center Console opens the Modulation Matrix screen. Each modulation path is placed in a numbered slot for ease of access and editing. Rotate the Master Encoder to select a modulation slot.
MODULATION (Continued) CONTROLLER TOP ROW: Controller BOTTOM ROW: Controller Value: -100 to 0 to +100% The modulation source can be applied directly to the modulation destination, or the amount of modulation can be articulated using an assignable controller such as Aftertouch. The amount of modulation can also be attenuated by using another mod source as a controller, such as an LFO or EG. Use the Controller Soft Knob to select a controller, or simply select NONE.
MODULATION (Continued) DELETING A MODULATION PATH To delete an existing modulation path, select the appropriate modulation slot by rotating the Master Encoder and press the DELETE button in Center Console. The modulation path will be deleted, and the existing modulation paths residing in higher numbered slots numbers will move to fill the gap. So if the modulation path in slot 4 is deleted, the path that was in slot 5 will become the new number 4, etc.
MODULATION (Continued) SAVING AND LOADING A MODULATION MATRIX Once a complete Modulation Matrix has been created, it can be saved for future use. When a Modulation Matrix is recalled, it can be used as is, or edited and re-saved under a new name, without having to rebuild the entire Modulation Matrix from scratch. This way, if there are particular routings that you are fond of using, these settings can be kept readily at hand as a saved Modulation Matrix preset.
MODULATION (Continued) LOADING A MODULATION MATRIX Pressing the LOAD Soft Button will open the LOAD Modulation Matrix Browser screen. A list of saved Modulation Matrix presets is shown in the left pane. The upper right pane shows any performance notes that were saved with the Modulation Matrix preset, and the lower right pane provides a timestamp of the saved data. The four Soft Buttons across the top are EDIT NOTES, LOAD (ADD), LOAD (REPLACE), and EXIT.
MODULATION (Continued) MODULATION MATRIX APPENDICES Here you can find the complete list of all available Sources, Controllers, Transforms, and Destinations that can be used to create a path in the Modulation Matrix.
MODULATION (Continued) DESTINATIONS PITCH LFO 1 MOD COLOR MIX DELAY PITCH EG MOD ATTACK ATTACK TRIANGLE LFO 3 MOD SUSTAIN HOLD PULSE LFO 3 MOD RELEASE DECAY FM MOD MIXER SUSTAIN PITCH OFFSET OSC 1 LEVEL RELEASE OSCILLATOR 1 OSC 2 LEVEL TIME SCALE FREQUENCY OSC 3 LEVEL EG 2 BEAT RMOD LEVEL DELAY SAW NOISE LEVEL ATTACK TRIANGLE EXT LEVEL HOLD PULSE VCA DECAY MIX LEVEL SUSTAIN OSCILLATOR 2 PAN RELEASE FREQUENCY FILTERS TIME SCALE BEAT SVF/LADDER MIX EG 3 SAW S
MODULATION (Continued) DESTINATIONS LFO 1 LFO 3 LFO 4 RATE RATE RATE RATE (SEMITONES) RATE (SEMITONES) RATE (SEMITONES) VARIATION VARIATION VARIATION DELAY DELAY DELAY FADE IN TIME FADE IN TIME FADE IN TIME FADE OUT TIME FADE OUT TIME FADE OUT TIME LFO 2 RATE RATE (SEMITONES) VARIATION DELAY FADE IN TIME FADE OUT TIME 77
ARPEGGIATOR At its most basic level, an arpeggiator scans the notes being held down on the keyboard and plays them one at a time in a cyclic and rhythmic fashion. This description doesn’t even begin to come close to describing the Moog One Arpeggiator. Octave Order, Pendulum Mode, and Random patterns allow this Arpeggiator to become an extra set of hands, create an electronic counterpoint, generate cascades of notes, and to form the solid base of a rhythmic groove.
ARPEGGIATOR (Continued) PENDULUM (ON/LIT, OFF/UNLIT) Pendulum changes the way the pattern is repeated. When the PENDULUM button is set to On, once the entire arpeggiator pattern has played through, the Pendulum function will play the entire arpeggiator pattern again in the reverse order, and then the pattern will play again normally, etc. This back and forth motion is similar to that of a pendulum. When the PENDULUM button is Off, the pattern plays in its usual order.
ARPEGGIATOR (Continued) PATTERN (UP, DOWN, ORDER, RANDOM) It is this parameter that specifies the pattern in which the arpeggiated notes are played. UP Notes are arpeggiated from the lowest pitch to the highest pitch. DOWN Notes are arpeggiated from the highest pitch to the lowest pitch. ORDER Notes are arpeggiated based on the order in which they were played.
ARPEGGIATOR (Continued) SYNC (OFF, ON) When SYNC is Off, the Arpeggiator is free to run at its own speed and clock rate. When SYNC is On, the Arpeggiator and Master Clock are synchronized, and the Master Clock determines the Arpeggiator tempo. NOTE: When SYNC is selected here, rotating the Arpeggiator RATE knob on the Front Panel will select quantized clock divisions (see below) of the Master Clock.
SEQUENCER Although their function is pretty straight forward, sequencers are fairly remarkable. As the name implies, they are responsible for memorizing, saving, and replaying a sequence of notes – either in a continuous loop, or as a one-time event. The sequencer is one of the founding elements of electronic music production; playing a series of pitches with clockwork precision, leaving the performer free to continually modify the timbre and tweak countless parameters.
SEQUENCER (Continued) RETURN TO ZERO Pressing the |t RTZ button resets the sequencer to the first step. START/STOP (RUNNING/LIT, STOPPED/UNLIT) This u|| START/STOP button acts as a toggle, either setting the Sequencer to run, beginning at the first step, or stopping the Sequencer at the current step.
SEQUENCER (Continued) REST (ON/LIT, OFF/UNLIT) Pressing the REST button toggles a musical rest on or off for the current sequence step. If there is a rest assigned to the current step, then any notes entered on that step will not play. NOTE: As the sequence plays, the REST button will light to indicate that the current step has been designated as a rest.
SEQUENCER (Continued) NOTE TRIG (ON/LIT, OFF/UNLIT) The Note Trigger function sets up an alternate play mode for controlling the sequence playback. When the NOTE TRIG button is On, the sequence will begin as soon as one (or more) keys are pressed; playback will stop when all keys have been released. This can be an excellent performance tool. NOTE: The Note Trigger play method and the Start/Stop play method are mutually exclusive; selecting one will disable the other.
SEQUENCER (Continued) RECORDING NOTES & ADDING LANES If it is not already selected, press the NOTES Soft Button at the top of the screen. Press the RECORD button on the Front Panel (the button will light). Notice how the Step Indicator has turned to red, showing that the Record mode is On. Notes may be entered using the keyboard. Once a note is played, the sequence will advance to the next step and wait for the next note, and so on.
SEQUENCER (Continued) TYPES OF NOTE DATA (NOTES, TIES, RESTS, RATCHETS) Each sequence step can be entered as a Note, a Tie (creating a pair of Tied Notes), or a Rest. These designations – and the Ratchet Count – can be reassigned while editing. NOTES Entering a Note creates a box that sits within the sequence grid for that specific step. The Note name is displayed as well.
SEQUENCER (Continued) EDITING NOTE DATA The Velocity, Gate Time, Ratchet Count, and Note can be edited for every sequence step. In addition, the Tie and Rest status of each note in every step can be reassigned. Note data can be edited in the Step Edit screen, whether the Record function is On or Off. NOTE (OFF, C0 to G10) From the Step Edit screen, turn the Master Encoder to select individual notes in a step. Once selected, the Note parameter will display at the bottom of the screen.
SEQUENCER (Continued) ENTERING MODULATION DATA (Step Edit Mode) Each step of the sequence can also be assigned a number of modulation routings. Moog One handles these modulation values by creating an offset value that is combined with other values affecting the same parameters. This allows the performer to manually sweep a knob value, without the Sequencer constantly interrupting the sweep with absolute values stored for each step.
SEQUENCER (Continued) ENTERING MODULATION DATA IN STEP TIME While not as convenient as the Step Mod method, the manual entry mode allows you to address each step individually, and to assign modulation destinations that do not have a corresponding Front Panel knob – SVF Filter Spacing, for example. Here you will have to set up a Modulation lane, select a Sequencer step, and dial in an offset value. If it is not already selected, press the MODULATIONS Soft Button at the top of the screen.
SEQUENCER (Continued) STEP EDIT MODULATION APPENDIX CONTROLLERS CATEGORY/DESTINATION NONE ALL OSCS SVF FILTER MOD WHEEL PITCH 1 LFO CUTOFF PITCH WHEEL PITCH EG MOD RESONANCE PAD X TRIANGLE LFO 3 MOD SPACING PAD Y PULSE LFO 3 MOD EG AMOUNT PAD PRESSURE FM AMOUNT LFO 2 AMOUNT PAD GATE OSC 1, 2, 3 FM AMOUNT VELOCITY OCTAVE LADDER FILTER AFTERTOUCH FREQUENCY CUTOFF KEY PITCH BEAT RESONANCE KB GATE SAW EG AMOUNT SUSTAIN TRIANGLE LFO 2 AMOUNT EXP 1 PULSE FM AMOUNT EXP 2
SEQUENCER (Continued) SEQUENCER MORE PAGE Pressing the triangular MORE button in the upper right corner of the Sequencer module will reveal a second level of parameters than can be accessed and modified using the interactive portion of the Center Console. The left pane represents the sequenced data. The right pane shows the current values of the Front Panel parameters for this module. The additional MORE parameters are displayed in the bottom portion of the screen.
SEQUENCER (Continued) LENGTH (1 to 64) By changing the Length, the sequence can be set to contain any number of steps, from 1 to 64. Combined with the CLOCK TIMING parameter, it is possible to generate sequences of differing lengths, feels, and time signatures. FOLLOW SWING (OFF, ON) The Master Clock includes parameters related to adding swing to the beat. When Sync’d to the Master Clock, the Sequencer can either follow this swing information, or ignore it and play strictly to the BPM setting.
SEQUENCER (Continued) ONE SHOT (OFF, ON) Once the sequence begins to play, it can play to the end and stop (One Shot On), or it can play to the end and then loop around and restart from the beginning (One Shot Off). This looping behavior is the way most sequencers operate, but the addition of the One Shot option allows an intricate sequence pattern to be launched at will, anywhere in the song, and play through only once – although the One Shot playback can be launched numerous times.
SEQUENCER (Continued) SAVING A SEQUENCE Once you have finished creating and/or editing your Sequence, press the SAVE Soft Button at the top of the screen. Here you can name your edited Sequence. When the SAVE screen opens, the NAME Soft Button will already be selected, and the screen prompt will ask you to name the current sequence. ENTERING TEXT Moog One allows you to enter names and text directly from the keyboard.
EFFECTS Moog One offers an extensive array of digital effects. Up to three individual Synth Effects (one per Synth), and up to two Master Effects can all be operating at once. The Master Effects include a number of premium studio-grade effects created by and licensed from renowned audio processing pioneer, Eventide®.
EFFECTS (Continued) SYNTH EFFECT MORE PAGE Pressing the triangular MORE button in the upper right corner of the SYNTH EFFECT module will open the Synth Effect MORE page. Using the Soft Buttons at the top of the screen, you can open a list of EFFECT TYPES, LOAD a previously saved Synth Effect Preset; adjust the EFFECT PARAMETERS (PARAMS) of the current Synth Effect; and SAVE your edits as a Synth Effect Preset.
EFFECTS (Continued) 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.
MASTER EFFECTS UNDERSTANDING MASTER EFFECTS ON (ON/LIT, OFF/UNLIT) The ON button toggles the SYNTH EFFECT module On and Off; when the button is lit, the Synth Effect is On. SEND 1 AND SEND 2 KNOB Unlike the Synth Effects, which are applied per Synth, Master Effects are available to any and all Synths within the active Preset. The SEND 1 and SEND 2 knobs located on the Front Panel determine how much signal from each individual Synth is being fed into the Master Effect Buss.
EFFECTS (Continued) MASTER EFFECTS MORE PAGE Pressing the triangular MORE button in the upper right corner of the MASTER EFFECTS module will open the Master Effects MORE page. Using the Soft Buttons at the top of the screen, you can open a list of EFFECT TYPES, LOAD a previously saved Master Effect Preset; adjust the EFFECT PARAMETERS (PARAMS) of the current Master Effect; and SAVE your edits as a Master Effect Preset.
SELECTING AND LOADING A MASTER EFFECT If it is not already selected, press either the EFFECT 1 TYPE or EFFECT 2 TYPE Soft Buttons at the top of the screen. The left pane shows a list of all the different Effect Types; the right pane shows all of the available Effect Presets of that Type. NOTE: There is only one EFFECT TYPE list when the MASTER BUSS MODE is set to STEREO.
EFFECTS (Continued) SAVING AN EDITED EFFECT Once you have made all of your edits to the Effect, press the SAVE Soft Button at the top of the screen. Here you can name your edited Effect Preset. ENTERING TEXT Moog One allows you to enter names and text directly from the keyboard. The white keys (naturals) enter the characters; certain black keys (accidentals) have specific functions. • Keys C#1 - D#2 select the character set. • Key F#4 removes the current name and randomly generates a new name.
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EFFECTS APPENDIX NOTE: When the Sync parameter is set to On, the value of certain time-based parameters will automatically switch from absolute and variable ms values to clock-division values based the Master Clock. Fractional clock-division values will be presented in three different versions, 1/4T, 1/4, and 1/4., for example. In the first Triplet version, the timing is modified to play at 2/3rds of the Straight value. The second version is the Straight Value.
PING PONG (Dual Tap Digital Delay Line; Cubically Interpolated with Alternating Stereo Spatialization) MIX AMOUNT OF DELAY SIGNAL IN THE OUTPUT 0% to 100% CTRL 1 FEEDBACK DELAY SIGNAL FED BACK TO THE INPUT 0% to 100% CTRL 2 TIME LEFT DELAY TIME FOR THE LEFT SIDE 0.1ms to 2000ms TIME RIGHT DELAY TIME FOR THE RIGHT SIDE 0.
ECHO (Single Tap Delay with Spring-Style Diffusion) MIX AMOUNT OF DELAY SIGNAL IN THE OUTPUT 0% to 100% TONE LPF TONE CONTROL 0% to 100% TIME DELAY TIME 0.1ms to 2000ms FEEDBACK FEEDBACK PARAMETER FOR ECHO 0% to 100% ROOM SPACE CONTROL FOR DIFFUSION TANK 0% to 100% DECAY DECAY TAIL FOR DIFFUSION TANK 0% to 100% MOD RATE RATE OF MODULATION 0.
DUAL CHORUS (Dual Tap Digital Chorus; Bi-Phase Implementation) MIX AMOUNT OF CHORUS SIGNAL IN THE OUTPUT 0% to 100% CTRL 1 FEEDBACK CHORUS SIGNAL FED BACK TO THE INPUT -100% to +100% CTRL 2 TIME TIME OFFSET 3ms to 60ms DEPTH LFO DEPTH OF MODULATION 0% to 100% RATE LFO RATE OF MODULATION LOW, MED, HIGH TONE LPF CUTOFF CONTROL 0% to 100% VIBRATO RATE RATE OF VIBRATO 0.
6 STAGE PHASER (Six All Pass Filter Stage Phaser (MF-103 Style)) MIX AMOUNT OF PHASER SIGNAL IN THE OUTPUT 0% to 100% FEEDBACK PHASER FEEDBACK EMULATION 0% to 100% SWEEP PHASER ZERO POINT 0% to 100% RATE LFO RATE OF MODULATION 0.
BIT CRUSHER (Crossover Filter for Dual Bit Crushing) MIX AMOUNT OF EFFECT SIGNAL IN THE OUTPUT 0% to 100% CTRL 1 DEPTH BIT DEPTH 2-BIT to 24BIT CTRL 2 RATE SAMPLE RATE 128Hz to 48kHz GAIN GAIN STAGE OF THE PROCESSED SIGNAL 0% to 100% RESONATOR (Resonant Filterbank) MIX AMOUNT OF EFFECT SIGNAL IN THE OUTPUT 0% to 100% CTRL 1 RESONANCE RESONANCE FOR THE THREE FILTERS 0% to 100% CTRL 2 CUTOFF LOW CUTOFF/CENTER FREQUENCY OF FILTER 1 (DEFAULT VALUE = 500Hz) 10Hz to 22kHz CUTOFF MID CUTO
EVENTIDE® ROOM (Eventide parametric room reverb.) REFLECTION DENSITY, SPREAD, AND TIME MACRO FOR EARLY REFLECTION DELAY TAP NETWORK THIS EFFECT HAS 20 DETENTS AS FOLLOWS EARLY 10 + LATE 0 (0), EARLY 10 + LATE 1 (0.05), ......, EARLY 10 + LATE 10 (0.5), EARLY 9 + LATE 10 (0.55), ..........
EVENTIDE® PLATE (Master Plate Effect) DISTANCE DELAY TIME FOR EARLY REFLECTION TAP NETWORK 0 - 100 DIFFUSION FEEDBACK COEFFICIENT FOR EARLY REFLECTION NETWORK 0 - 100 MOD LEVEL MODULATION DEPTH OF DELAY TAP IN EARLY REFLECTIONS 0 - 100 TONE CUTOFF FOR LPF AT INPUT -100 - 100 HIGH DAMP GAIN COEFFICIENT INSIDE HIGH ALL PASS RING TANK 100 - 0 LOW DAMP GAIN COEFFICIENT INSIDE LOW ALL PASS RING TANK 100 - 0 PRE DELAY PRE DELAY TIME BEFORE THE REVERB TAIL BEGINS 0ms-1500ms SIZE PERCEIVED SIZ
EVENTIDE® BLACKHOLE (Master Blackhole Effect) PARAMETER NAME PARAMETER DESCRIPTION RANGE MOD DEPTH MODULATION DEPTH FOR EARLY REFLECTION STAGE 0 - 100 MOD RATE MOD RATE FOR EARLY REFLECTION STAGE 0 - 100 FEEDBACK FEEDBACK SIGNAL FOR EARLY REFLECTIONS 0-100 (0.
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LEFT HAND CONTROLLER FUNCTIONS The Left Hand Controller panel contains a variety of dynamic, hands-on features that can bring higher levels of expression and articulation to any Moog One performance. The scope of these controllers can be tailored to the performer’s taste – or to a particular sound and song – using the MORE page parameters. These settings can be saved separately with each Synth.
LEFT HAND CONTROLLER FUNCTIONS (Continued) PITCH WHEEL The spring-loaded PITCH wheel can bend the musical pitch up or down by an assignable number of semitones for each direction (UP or DOWN) of the wheel’s travel. Set using parameters found on the LHC MORE page, these values are added to the BEND UP OFFSET and BEND DOWN OFFSET parameters found in the individual Oscillator MORE pages, allowing for exacting control.
LEFT HAND CONTROLLER FUNCTIONS (Continued) X/Y PAD Sliding a finger across the X/Y PAD controls two individual parameters at the same time, in different amounts. One is assigned to the X axis, the second to the Y axis. There is also a third axis that can sense pressure on the pad. Also, anytime the pad is touched, a gate signal is created that can be used as a Modulation Matrix source/controller or as a CV Out source. The current X and Y values can be frozen using the X/Y HOLD button.
LEFT HAND CONTROLLER FUNCTIONS (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.
LEFT HAND CONTROLLER FUNCTIONS (Continued) VELOCITY CURVE (SOFT, MEDIUM, HARD, COMPRESS, EXPAND) By providing selectable curves to interpret how the keys are played, Moog One can provide a better measure of playing technique and velocity response. NOTE: There are situations where you may wish to apply a different Velocity curve to two different Synths, even if you are playing the same keys inside a single Preset.
LEFT HAND CONTROLLER FUNCTIONS (Continued) GLISSANDO (OFF, ON) As an alternative to the smooth continuous change provided by Glide, there is Glissando. When the GLISSANDO parameter is set to On, the transition from one note to another will move through all of the intervening notes in a stepped, staircase fashion. It is the equivalent of sliding your finger down a fretted bass neck (Glissando) as opposed to a fretless bass (Glide). LOAD SAVED POS.
THE BROWSER Presets and Timbres are loaded from memory via the Browser. Before opening the Browser, note that the HOME screen shows the name of the current Preset, plus the names of the individual Timbre(s) that comprise that Preset. Remember that each Preset can contain up to three individual Synths. If the Preset is assigned to the current Performance Set, the SET, BANK, and PRESET fields will show its location.
USING THE BROWSER Press the BROWSE PRESETS Soft Button at the top of the HOME screen to open the Browser. Every Preset must have a unique name in order to be saved, but the same Synth (or a Synth using the same name) can be saved within multiple Presets. The Browser lets you look within every Preset to see the individual Synth Timbres that they contain, so that you can load individual Timbres from any Preset into any active Synth.
USING THE BROWSER (Continued) SAVING PRESETS AND TIMBRES Presets and Timbres are saved to memory using the SAVE button on the Front Panel. Pressing the SAVE button will reveal the Preset Save screen. The four Soft Buttons across the top of the screen will read NAMES, NOTES, SAVE PRESET, AND SAVE PRESET AS. When the screen opens, the NAMES Soft Button will already be selected, and the Preset Name will be highlighted.
USING THE BROWSER (Continued) SAVING TIMBRES From the SAVE / NAMES screen, you can rotate the Master Encoder and highlight any Timbre contained in the current Preset. The selected Timbre can be given a new name using the same naming method defined in the SAVE AS section above, and then saved with the current Preset under this new name by pressing the SAVE PRESET Soft Button at the top of the screen.
EDITING AND SAVING When creating sounds and delving deep into the world of analog synthesis and creative sound design, few things are as important as saving your edits before they are lost forever. Fortunately, Moog One is equipped with a number of thoughtful features to ensure your critical work is easy to manage.
EDITING AND SAVING (Continued) ENTERING TEXT Moog One allows you to enter names and text directly from the keyboard. The white keys (naturals) enter the characters; certain black keys (accidentals) have specific functions. • Keys C#1 - D#2 select the character set. • Key F#4 removes the current name and randomly generates a new name. • Key G#4 clears all the characters in the screen. • Key A#4 deletes the character to the left of the cursor.
SETTINGS SETTINGS Pressing the SETTINGS button opens the door to a host of under-thehood functions that control Moog One global parameters, configure hardware controls and connections, manage libraries, and administer firmware updates. Three Soft Buttons at the top of the screen open the GLOBAL, LIBRARY, and TUNING pages, respectively. The left pane shows the Settings Category; the right pane shows the individual parameters of that category.
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HARDWARE SETTINGS These parameters specify how the panel hardware behaves, the intensity of the LEDs, and other factors relating to interaction with your Moog One. KNOB MODE (ABSOLUTE, PASS THROUGH, RELATIVE) Having hardware knobs on a programmable synthesizer means that once a new Preset is loaded, a knob will no longer reflect the current value of that parameter. Knob Mode determines how a knob should respond when it is tweaked.
HARDWARE SETTINGS (Continued) DUPLICATE NAMES ON IMPORT (IGNORE, OVERWRITE, AUTO RENAME, MANUAL RENAME) This parameter lets you tell Moog One how to proceed when importing an item from a USB memory device in the case when there is already a similar item in memory using the same name. IGNORE When this value is selected, items with identical names will not be imported. OVERWRITE When this value is selected, the imported item will replace the item of the same name in memory by rewriting the data.
HARDWARE SETTINGS (Continued) SET DATE/TIME This is a special case parameter. When this parameter is selected, press down on the Main Encoder to access the additional Set Date/Time parameters. TIP: Having an accurate clock setting will be of great benefit when reviewing Snapshots and other time-stamped data.
MIDI CONTROL Moog One MIDI and CV implementation will be greatly expanded over the coming weeks. New features are actively in development and will be ready soon. These will include: analog clock input and output, CV Pitch/Gate functionality, MIDI Clock output, and full MIDI CC and NRPN input and output. Please register your instrument at www.moogmusic.com/register to receive the latest firmware updates as they become available.
MIDI I/O These MIDI Input/Output parameters dig a little deeper into how Moog One configures MIDI communication with other MIDI devices and instruments, including Channelizing and Merging, the use of DIN and/or USB ports, etc. LOAD FROM PRESET (OFF, ON) The MIDI I/O settings made here can be saved as part of the current Preset. By setting the LOAD FROM PRESET parameter to On, these settings will be restored each time the Preset is loaded.
MIDI I/O (Continued) MIDI OUT ROUTE (ALL SYNTHS, PER SYNTH) When set to ALL SYNTHS, outgoing MIDI data from all three Synths in the current Preset will be sent on a single channel, as specified by the MIDI IN CHANNEL ALL parameter that will be present and available.
CV INPUTS Moog One MIDI and CV implementation will be greatly expanded over the coming weeks. New features are actively in development and will be ready soon. These will include: analog clock input and output, CV Pitch/Gate functionality, MIDI Clock output, and full MIDI CC and NRPN input and output. Please register your instrument at www.moogmusic.com/register to receive the latest firmware updates as they become available.
CV INPUTS (Continued) SYNTHS (SYNTH 1, SYNTH 2, SYNTH 3, SYNTH 1 & 2, SYNTH 1 & 3, SYNTH 2 & 3, ALL SYNTHS) This parameter specifies which Synth the CV signal is being applied to. It can be applied to all three Synths, an individual Synth, or any combination of two Synths. NOTE: This parameter is unavailable and will default to the All Synths option when the FUNCTION parameter is set to INPUT TO MOD MATRIX. VOLTAGE MIN (-5.00V to +5.
UTILITIES The Utilities offer access to parameters and information that directly affect the operation of your Moog One. Here you can update the firmware, restore the default settings, verify the build version and date, view the IP address, and activate the Moog One Light Show. LIGHT SHOW (OFF, ON) The Light Show feature is included because it’s fun and sure to impress your friends.
UTILITIES (Continued) FIRMWARE VERSION Selecting this option displays the current Firmware version. This is not an editable parameter. UI VERSION Selecting this option displays the current version of the User Interface (the screens, buttons, and commands accessed through the Center Console). This is not an editable parameter. BUILD DATE Selecting this option displays the Build Date for the Moog One operating system. This is not an editable parameter.
LIBRARY (Continued) EDIT USER SPACE From this screen, you can edit the name of a User Space, Copy a User Space, or Add a new User Space. CREATING A NEW USER SPACE Rotate the Master Encoder to highlight the +++ option from the list in the right pane. Pressing the MASTER ENCODER will open a new screen where you can name your new User Space, using the keyboard entry method.
LIBRARY (Continued) EXPORT Using the EXPORT command, you can selectively copy any and all Moog One data to an external USB drive for safe storage and for transfer to another unit. Be sure a portable USB drive is available and securely inserted into the USB Type A (USB HOST) port in the COMM section of the rear panel. Once EXPORT is selected in the left panel, press down on the Master Encoder to move the red-colored cursor to the right pane.
LIBRARY (Continued) IMPORT (Continued) Once you have selected the type of data to import, press the IMPORT Soft Button at the top of the screen. Now the screen will show a list of all of the data of that type that has been saved to the USB drive. So selecting Presets will show a list of all of the Presets, selecting Sequences will show Sequences, etc. In front of each individual item is a hollow check box.
LIBRARY (Continued) EDITING CATEGORIES To add a new Category, rotate the Master Encoder to highlight the +++ option from the list in the right pane. Pressing the MASTER ENCODER will open a new screen where you can name your new Category, using the keyboard entry method. Once you have completed naming the Category, press the OK Soft Button; the previous screen will be recalled, and the new Category you created will appear on the list.
TUNING While on the SETTINGS page, press the TUNING Soft Button at the top of the screen to open the TUNING page. From the TUNING page, you can adjust the Moog One’s MASTER FREQUENCY and FINE TUNE. Use the Soft Knobs at the bottom of the screen to set the value of the MASTER FREQUENCY and MASTER FINE TUNE parameters. MASTER FREQUENCY (400 Hz to 480 Hz) This parameter controls the base frequency for equal-tempered tuning of the Moog One.
SPECIFICATIONS SYNTHESIZER TYPE: Polyphonic, Tri-timbral Analog Synthesizer SOUND ENGINE: Analog (Digital Effects can be bypassed to maintain 100% analog signal path) POLYPHONY: 8 or 16 voices KEYBED: 61 full-size keys with Velocity and Aftertouch (Fatar TP-8S) CONTROLLERS: Pitch Wheel, Modulation Wheel, X/Y Pad (with pressure-sensing and hold), Sustain Pedal input, EXP 1 Pedal input, EXP 2 Pedal input – all pedal functions are assignable PANEL CONTROLS: 73 knobs and 144 buttons; LCD screen OSCILLATORS (x3)
SPECIFICATIONS PERFORMANCE SETS: Create, save, and manage up to 128 Performance Sets offering single-button access to up to 64 PRESETS SETTINGS: Access to pages for managing Libraries, Tuning features, plus Utilities such as updates, configuring ins and outs, etc.
SERVICE AND SUPPORT INFORMATION MOOG’S STANDARD WARRANTY Moog warrants its products to be free of defects in materials or workmanship and conforming to specifications at the time of shipment. The Warranty Period is one year from the date of purchase. If, in Moog’s determination, it has been more than five years since the product shipped from our factory, it will be at Moog’s discretion whether or not to honor the warranty without regard to the date of the purchase.
