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SECTION 1 INTRODUCTION Thank you for choosing the Moog" Taurus II Synthesizer. The Taurus II is a very powerful, unique instrument. It combines a foot pedal control with a versatile synthesizer featuring a logically laid out front panel and the famous "fat" Moog sound. This manual serves as an introduction to the instrument and explains the basics of synthesizers using the Taurus II as a working model. Each of the following three sections takes a different approach to understanding the instrument.
SECTION 2% CONTENTS Initial Setup 3 Amplification 5 Trying Out Some Sounds 5 Sound Charts 7 Getting to Know Taurus II 19 A Starting Patch 19 Tuning 20 . / C3lide 20 Pitch Wheel 21 Modulation Wheel „ 21 Oscillator Octaves 22 Oscillator Waveform 22 Oscillator 2 Interval 23 Osc 2 Sync (Osc 2 to Osc 1) 23 Contoured Sync 24 Contour Generator . . _ _t-;>^ 24 Attack (Rise) . . ; .'"T.TT^. . 24 Decay (Fall) Sustain VCA Mode . .Filter Section 25 .....]...[]..
SECTION 3 INITIAL SET UP Now that you have unpacked the Taurus II, save the shipping cartons and packing materials in case any long distance transporting is required. First check to see that you have all the components: Pedal board Synthesizer Module Stand Power Supply 5 Pin Connector Cable Gig Bag Step 1: Take the stand and carefully screw Step 2: Attach the synthesizer module to Step 3: Connect the 5-pin connector cable the end with the larger thread into the the stand.
Step 4: Plugihe 24 volt power supply cord into the POWER IN jack on the rear of the synthesizer module, plug the other end in the power outlet, then turn on the power switch on the front panel. AMPLIFIER Step 5: Using a 1/4" jack audio cord, connect the AUDIO OUT on the rear of the Taurus II to your amplifier or monitoring system. Always allow at least 10 minutes for any synthesizer to warm up prior to tuning up. If no sound is heard, first check that all connections have been made properly.
SECTION 4 AMPLIFICATION To get the best sound reproduction for Taurus II Taurus II is a powerful monophonic synthesizer. Many of you will use it primarily for bass sounds, however it will produce a wide range of pitch and tone color just like any other synthesizer. If you are going to use Taurus II for bass synth work only, a bass amplification system will suffice.
a!) ci Tip •These sound charts are designed to guide you toward a particular sound. After setting up the patch, experiment by moving one or two controls. By making several adjustments, you might find a sound you prefer. Suggested controls to experiment with are: 1. Cutsdff slider in the Filter section. (This controls the brightness of the sound.) 2. Octave switch in the Oscillator section. (This switch selects the overall pitch of the instrument.) 3. Attack and Decay sliders in the Contour Generator.
ORIGINAL TAURUS VOICE ATTACK nnoog- DECAY SUSTAIN OSC 1 OUT .3 SYNC 30 SHAPE OCTAVE OSC 32* 16* a 81 OFF 0N 32* 16' CONTOUR ru 8' POWER O - WAVEFORM ILJ MASTER ' BYPASS VOLUME KEYED CONTOUR a ru -v IN VCA MODE OSC 2 TO OSC 1 RATE (H2> ON OFF ON CONTOURED V V TUNE 10- GENERATOR CUTOFF EMPHASIS AMT — 10 AUTO TRIG PITCH a-«v TaurusTJ n 0 OFF NOISE 10 * UNISON ON OSC 2 O5C 2 VCF MOO OFF OSC 1 10 OCTAVE 7\> ON 10 INTERVAL GLIDE .
BASS II -*, DECAY maog SUSTAIN OSC 1 OUT V\ TUNE SYNC OSC 2 TO OSC 1 RATE (HZ) OSC 32* 16* off AUTO TRIG PITCH 32' B' 16' A CONTOUR OJ ^^*\ MOD Tauruin H 8* IU KEYED UNISON OFF 0 ON OFF OCTAVE* ' BYPASS GENERATOR CUTOFF EMPHASIS AMT 10 OSC 1 OSC 2 NOISE A A r> 7 V ON 10 GLIDE POWER io MASTER VOLUME M/.
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BASSV ATTACK ITtEJOg SUSTAIN OSC OUT SYNC OSC 2 TO OSC 1 SHAPE 32' OSC 16* 32' OFF 8* 16' A CONTOURV OJ VOLUME KEYED 8' PITCH GENERATOR CUTOFF EMPHASIS AMT VCF UNISON ON OFF 10 OSC 1 OSC 2 NOISE M A r> 10 osc a MOO OFF POWER 10 MASTER ' BYPASS —10 AUTO TRIG \ 0 0 - WAVEFORM CONTOUR A (U -V IN VCA MODE OCTAVE RATE (HZ) TUNE ON OFF ON CONTOURED — 5 OCTAVE ON —0 INTERVAL CONTRO LLERS OSCILLATORS MODULATION BASS VI DECAY ATTACK 10- SUSTAIN O
BASS VII ATTACK 10 — OSC 1 OFF ON ON CONTOURED OUT 7\ SYNC .3 OSC 2 TO OSC 1 30 SHAPE 0 OCTAVE RATE (HZ) 32* OSC 16' IN VCA MODE WAVEFORM A 8' CONTOUR RJ KEYED POWER 10 MASTER BYPASS VOLUME CONTOUR'. GENERATOR. a ru -v 0FF 0M 32'^ 16' B' IU CUTOFF EMPHASIS AMT —10 OSC S AUTO TRIG UNISON I OFF 0 ON OFF ON 0 10 INTERVAL GLIDE ' 1 _ KEYBOARD TRACK modulation; i CONTROLLERS: . OSCILLATORS' BASS VIII mexog SUSTAIN OSC 1 OFF ON OUT SYNC .
BASS IX -•& DECAY ATTACK ITTEOg 10- OSC 1 .
SOLO II ATTACK meog OECAV 10 — OSC 1 V V SYNC OSC 2 TO OSC 1 30 SHAPE 32' OSC 16' OFF IN 0 WAVEFORM 6' a CONTOUR ru A 0N RJ POWER 10 MASTER BYPASS KEYED CONTOUR a ru -v ON VCA MODE OCTAVE RATE (HZ) Ma ci§) OFF ON CONTOURED OUT .3 10- SUSTAIN VOLUME GENERATOR CUTOFF EMPHASIS OSC 1 AMT OSC 2 NOISE —10 OSC S AUTO TRIG PITCH ^fc. -«w MOD UNISON OFF TaurtfsH n 0 ON OFF OCTAVE ON 10 INTERVAL GLIDE KEYBOARD TRACK CONTROLLERS ■ - OSCILLATORS- .
SOLO IV DECAY ATTACK 10- 10 — OSC 1 OUT 7 \ .3 SYNC OSC 2 TO OSC 1 30 TUNE SHAPE OSC 32' 16' A 8' CONTOUR fll KEYED CONTOUR A IU-V °rF ON 32* A 16' IN V \ VCA MODE WAVEFORM OCTAVE RATE (HZ) AI/. OFF ON CONTOURED IU o ' BYPASS VOLUME GENERATOR CUTOFF EMPHASIS AMT OSC 1 OSC 2 NOISE n r\ n —10 ^.
SOLO VI DECAY ATTACK 10— OSC 1 OFF ON [3] /\ SYNC OSC 2 TO OSC 1 30 32* SHAPE >6* IN VCA MODE 0 OCTAVE RATE (HZ) ON CONTOURED OUT .3 10- SUSTAIN WAVEFORM 8* A CONTOUR fU KEYEO .
SOUND EFFECTS II DECAY ATTACK rrwog SUSTAIN 10 — r—i OSC 1 \ OUT SHAPE 32' OSC 16* IU -V OFF AUTO TRIG PITCH A«v ON 32' A 8* 16' Taurus/7 n A 8' UNISON ON OFF CONTOUR RJ IU BYPASS KEYED POWER to MASTER VOLUME GENERATOR CUTOFF EMPHASIS AMT OCTAVE ON KEYBOARD INTERVAL GLIDE TRACK OSCILLATORS MODULATION CDNTROLLERB o 0 - osc a VCF MOD OFF V V VCA MODE WAVEFORM CONTOUR A IN 0 - OCTAVE RATE (HZ) ON OFF ON CONTOURED SYNC OSC 2 TO OSC 1 TUNE 10 SO
SOUND EFFECTS IV OECAY ATTACK maog 10 — AI 7 \ .
Permission is given to copy for non-commercial purposes. ON CD .
SECTION 5 GETTING TO KNOW TAURUS II One of the best ways to become familiar with an instrument is to experiment with it. So rather than explain in detail how each control works, let's just look at each function of the front panel and listen to the influence it has on the sound. A STARTING PATCH DECAY ATTACK moog* 10 — 10 — OSC 1 OUT .
TUNING -?4 Once you have set up the starting patch: OSC 1 1. Set the INTERVAL control at UNISON and, • OFF ON CONTOURED CD if needed, adjust it until Osc 2 is tuned to SYNC OSC 2 TO OSC 1 Osc 1. (No beating should be heard.) 2. If you wish to tune Taurus II to another instrument, adjust the TUNE control accordingly (again no beating effect should be heard). CD CD 0PF CD ON 0N 16' UNISON T 1. Starting Patch. 2.
PITCH WHEEL Expression is a very important aspect of producing music on a musical instrument. nraog* With the synthesizer, expression can be introduced by using the Pitch and Modulation wheels. Experiment - get to know the feel of the wheel, how far it should be moved. TUNE 1. Starting Patch. 2. The wheel has a neutral center notched position. Check to feel the wheel is in its center position. 3. Moving the Pitch Wheel upwards bends the pitch up; moving the wheel 7.
5. Now switch OFF the VCF switch and turn ON the OSC switch. This is pitch modulation (vibrato). 6. Switch SHAPE from ( A )Triangle to ( JT ) Square Wave. Listen to the difference. Now move the 3-position switch to ( yH. ) Random Waveshape. This is a popular sound effect "sample and hold." While leaving this effect on, switch the AUTO TRIG switch to ON. The sample and hold effect will now play continuously. 7.
OSCILLATOR 2 INTERVAL 1. Set up the Starting Patch. 2. Turn the INTERVAL control from UNISON to OCTAVE. (This moves the pitch of OSC 1 OFF ON CONTOURED CD OSC 2 one octave above OSC 1.) Gently moving the control, listen until the SYNC beating effect disappears. Fine tuning will ensure a perfect octave interval. OSC 2 TO OSC 1 OCTAVE 3. Now experiment with finding intervals between UNISON and OCTAVE. Setting the oscillators at intervals enriches the tone quality.
CONTOURED^YNC Look at the Contour Generator section. The ATTACK and DECAY sliders will affect the tone color in this exercise. repeatedly depress and release a pedal. Notice that trie tone color'changes automatically. 3. Experiment with different settings. ;to- SUSTAIN • .1. First, listen to the original sound. 2.
CONTOUR GENERATOR (Continued) DECAY (Fall) ATTACK l.a) Starting Patch. b)Set Contour controls and filter as shown: 10 — SUSTAIN OUT 2. Depress and immediately release a pedal. Notice the sound takes IN VCA MODE some time to fade away. This length of time is called decay time. CONTOUR > KEYEO BYPASS CONTOUR GENERATOR 3. Experiment with different settings of the DECAY slider. ~ 4.
VCA MODE 1. Starting Patch. 10 — CD OUT ATTACK and DECAY sliders. CONTOUR FILTER SECTION CUTOFF (Brightness) 1. Starting Patch. 2. Depress the low C pedal. 3. Move the CUTOFF slider to 10 and listen to the sound become much brighter. Cutoff acts like a tone control for brightness. Experiment with different settings. AMT — 6 —0 KEYBOARD TRACK both the loudness and brightness of the sound.
EMPHASIS .CONTOUR GENERATOR CUTOFF EMPHASIS AMT 1. Starting Patch. 2. Depress a pedal. 0 3. Move the EMPHASIS slider to 5, then 7.5. Notice how the sound becomes 1 _ KEYBOARD TRACK thinner and more nasal. 4. Watch your volume setting if you move the EMPHASIS slider between 7.5 and 10. At this level the filter feeds-back to produce a high-pitched whistling (just like a microphone feedback). Actually, what has happened is the filter has become another sound source, producing a very pure sound.
KEYBOARD DECAY ATTACK 10 — SUSTAIN ' CD 1. Starting Patch. OUT 2. Set the AMT slider to 0. 3. Depress the lowest then the highest pedal. Note the even tone color. highest pedals and now notice the difference in brightness between the low and high notes. It is often desirable to boost the brightness of high notes in order to make them stand out more for melodic reasons. / ' 1. Starting Patch. 2. Move OSC 1 slider to 0. Depress a pedal and you will hear only OSC 2. 3.
NOISE ATTACK DECAY SUSTAIN ON (~qj) 1. Set both OSC 1 and OSC 2 sliders to 0 and raise the NOISE slider OUT to 5 as indicated: IN VCA MODE POWER 2. Depress a pedal and you will hear a non-pitched sound. MASTER VOLUME 3. By moving the CUTOFF slider, wind or surf-like effects can be CONTOUR GENERATOR CUTOFF achieved {see example, Sound Effects III). Also, other percussive EMPHASIS AMT OSC 1 . ■ sounds can be created using the Attack and Decay sliders in conjunction with the filter.
SECTION 6 •< A CLOSER LOOK AT TAURUS II How are the functions of Taurus II organized? The best way to think of any synthesizer's functions is to think of the whole thing as a modular instrument. A module may best be defined as an individual part that has its own special purpose. To understand and use a synthesizer correctly, you need only to understand each of its modules. The "connecting" of one module to another is easily done with the switches and controls on Taurus II.
To begin with, there are four basic modules on every synthesizer: 1. Audio Generators (oscillators, noise generator) 2. Modifiers (filter and modulation sections) 3. Articulators (contour generator and voltage-controlled amplifier) 4. Performance Controllers (pedalboard, pitch bend wheel) What are audio generators? The audio generator portion of Taurus II consists of two oscillators and a noise generator.
THE AUDIO GENERATORS VOLTAGE CONTROLLED VOLTAGE CONTROLLED >OUT AMPLIFIER FILTER MOD SELECT SWITCHES VCA I J MODE SWITCH MOD WHEEL I CONTOUR GENERATOR MODULATION PITCH CONTROL PITCH BEND WHEEL DECAY \ I / OUT - - 7^ IN VCA MODE CONTOUR^ RATE (HZ) SHAPE CD a ru -v CD 0N The shading on the above panel shows the location of the audio generator portion of Taurus II.
What are the modifiers? There are two types of modifiers used on Taurus II, and since each has a very separate purpose, it would be best to look at them one at a time. 1. Filter This module changes the tone color of the sound produced by the audio generators. It does so by adding or reducing the amounts of high frequencies present in the signal. This is controlled by the CUTOFF slider.
• V f -» 2. Modulators^ Modulation means change. The use of the modulators will give you unusual changes in the outputs of the audio generators or filter. As the performer, you will be able to control the amount of these changes, the speed of the changes, and the portions of the synthesizer that may be affected by these changes.
THE MODIFIERS VOLTAGE CONTROLLED AUDIO GENERATORS AMPLIFIER MOD ■►out A SELECT T SWITCHES I 1 j VCA I I MODE SWITCH CONTOUR GENERATOR PITCH CONTROL PITCH BEND WHEEL tz 0 POWER The shading on the above diagram indicates the modulation and filter portions of Taurus II.
What are artictfjators? The articulators are those portions of a synthesizer that allow the musician to control the loudness of the instrument, the duration and shape of each tone, and the phrasing desired. On Taurus II, the contour generator controls articulation. It is put into operation each time you depress a pedal on the pedal board or when triggered by the AUTO TRIG function. Sliders allow control of both the attack and decay times. These may be set from fast (0) to very slow (10).
THE ARTICULATORS VOLTAGE CONTROLLED AUDIO GENERATORS VOLTAGE CONTROLLED FILTER ■►out AMPLIFIER MOD SELECT SWITCHES VCA r- i i MODE SWITCH MOD WHEEL 1 ^CONTOUR GENERATOR^ MODULATION PITCH CONTROL PITCH BEND WHEEL meog ATTACK / OSC 1 SHAPE OSC CD CD a ru -v o^ AUTO TRIG ^^^ MOD ■ i :■:■ ?£ 0 POWER RATE (HZ) TUNE PITCH OECAY CD OFF OH on OSC 1 OSC 2 NOISE n r\ r\ VCF CD OFF Taurdsfl n ON INTERVAL MODULATION OSCILLATORS The shading on the above diagram show
What are the controllers? The two primary controllers on Taurus II are the pedalboard and the pitch wheel. Each of these will change the frequencies (and therefore the pitches) of the oscillators in the audio portion. The pedalboard can also be used to alter the cutoff of the filter. This is controlled by the KEYBOARD TRACKING knob on the filter section. The pedalboard is also directly connected to the articulation portion of the instrument so that pitch and articulation are controlled simultaneously.
THE CONTROLLERS VOLTAGE CONTROLLED AUDIO GENERATORS VOLTAGE CONTROLLED FILTER AMPLIFIER >OUT MOD SELECT b SWITCHES I .r r- 1 VCA J j 1 MODE ■ SWITCH MOD WHEEL I m MODULATION CONTOUR GENERATOR PITCH CONTROL TRIGGER DECAY ATTACK 10 — OFF ON OCTAVE 32' SHAPE OSC CD CD OFF 0N WAVEFORM 16' 8' A CD 32* 16' IN VCA MODE OSC 2 TO OSC 1 30 a ru -v UT SYNC RATE (HZ) 10 — CD CONTOURED CD /"v .3 SUSTAIN CONTOUR " KEYED CD e1 a .
SECTION 7 ■"* INTERFACING Taurus II has a number of connectors on the rear panel which can be used to interface Taurus II with synthesizers, sequencers and other instruments which are voltage controlled. Interfacing can work in both directions. Taurus II can control or be controlled by another instrument. When interfacing a Taurus II with another instrument, two connections are normally required: a control voltage (CV) and a trigger or gate. EXAMPLE 1: Interface a Taurus II to a Source.
EXAMPLE 2: Interface a Taurus II with a Moog Liberation. Taurus II would be the slave, the Liberation the master or controller. Reason for interface: to use the synthesizer module as an expander unit for the Liberation. MOOG LIBERATION MOOG TAURUS II AUDIO AUDIO TRIG KEYBOARD OUT IN IN/OUT IN/OUT o -UNBALANCED USE STEREO PLUG ONLY The Liberation's control voltage output must be scaled and ranged.
EXAMPLE 3:Mnterface a RS-09 Roland Synth with a Taurus II. Taurus II would be the slave, the RS-09 the controller. Reason for interface: to use the strings and organ of the RS-09 and produce a brass sound via the Moog filter. ROLAND RS-09 MOOG TAURUS II AUDIO AUDIO OUT IN TRIG IN/OUT KEYBOARD IN/OUT SUSTAIN O O PEDAL ORGAN GATE RAWSIG O OUTPUT PHONES O V-TRIG IN ON RING UNBALANCED USE STEREO PLUG ONLY TO AMPLIFIER CONTROL VOLTAGES The CV supplies information about pitch, e.g.
TRIGGERS A trigger/gate sends a signal which turns ON or OFF the Contour Generators of an instrument. Moog has customarily used S-triggers (switch triggers). When an S-trigger occurs, the voltage (around 12 volts) goes from +12 to ground. Acting as a switch in the circuit, this causes the Contour Generators to turn on. Taurus II also has a V-trigger otherwise known as a gate. A V-trigger occurs when the voltage (at 0 volts) goes from 0 to +10 volts.
S-TRIG IN TIP (FEMALE CINCH-JONES CONNECTOR) S-TRIG OUT (MALE CINCH-JONES CONNECTOR) Some other brands of synthesizers (and some newer Moog instruments) may not use the Cinch-Jones connectors. Consult the instrument's owner's manual for proper procedure.
V-TRIG V-TRIG/GATE RING Example only. The wiring of these jacks will depend on the connector they are being plugged into. Refer to a wiring diagram, if available. AUDIO IN Any audio signal can be processed by Taurus ITs filter section. (The Audio IN connector routes the signal to the filter.) The signal impedance level should be around 18K. Most HI LEVEL audio signals are within this general range. The Taurus II filter will act as a sophisticated tone control.
EXAMPLE:.*, 1 • Take the GATE OUT from the RS-09 and connect it to the V-GATE IN of the Taurus IL 2. Route the Audio Output of the RS-09 through Taurus II via the AUDIO IN. 3. Set the OSC 1 and OSC 2 sliders of Taurus 11 to 0. 4. Play the R5-09. Remember that envelopes of both instruments will be functioning. The envelope with the shortest cycle will dictate when the sound ceases. Therefore, long decay, sustain and release times work best with this example.
SPECIFICATIONS Voltage Controlled Low Pass Filter Type: 24dB/Octave cutoff slope, with variable height resonant Keyboard Description: 18 note C to F low-note priority Glide Time: Linear, continuously variable from 5 msec to 2.3 sec (Bottom to top of Keyboard) Sample & Hold Drift: 4mV/sec maximum peak at cutoff frequency Range of Cutoff: 20Hz to 40kHz Keyboard Tracking: Continuously variable, zero to full keyboard voltage Sweep of cutoff frequency by contour generator: Continuously variable, zero to 6.
INDEX Amplification 5 Assembly 3 Articulators 36,37 Auto Trig Audio Generators ; v 34, 36 31, 32 Audio In 45 Audio Out : 4 Contour Generator 24,25 Contoured Sync 24 Controllers . 38, 39 Control Voltages 42 Filter Cutoff Frequency * 26 26 Emphasis 27 KB Track 28 Contour Amount 27 Glide 20, 38 Interfacing . .-rfTx.
SUPPLEMENTARY INFORMATION A Gig Bag is provided for convenient handling of the instrument. 1. Insert the stand in the long narrow pocket which runs the length of the Gig Bag. (The stand will act as a support.) 2. The synthesizer module fits in the left side pocket of the Gig Bag. 3. The cable and power supply fit in the smaller pocket on the right side of the bag. 4. The two small straps of the Gig Bag then attach to the two strap posts located at the top of the pedal unit.
MOOG MUSIC INC 2500 Walden Avenue Buffalo, New York 14225 J93-045481-001 Copyright 1982 Moog Music Inc. Printed in U.S.A. - T.G.
