Moog SYSTEM 15 User manual
Instruction Manual
for
MOOG Synthesizer
System 15
•Introduction
•Module Functions
•Initial Setup
•Basic Definitions
•Instructional Sequences
INTRODUCTION
Welcome to the creative medium of Electronic Music. Your Moog Synthesizer 15 is a pro-
fessional modular system, made with the same high quality, precisely-engineered components
as the largest Moog studio synthesiers. Its compactness and convenience make it ideal for
live performace on location, yet it is expandable into a studio system of any size. It combines
functional simplicity and logical layout with the versatility necessary for producing a full
range of sounds and effects. We of Moog Music, Inc. have applied our capabilities and expe-
rience to give you an instrument that will serve you well in your music producing and teach-
ing activities.
But before you begin, join us on an introductory quided tour through your Synthesizer 15.
First, you will learn a few fundamental rules and concepts of synthesizer operation. Next you
will explore the basic capabilities of the Synthesizer 15 through a sequence of illustrated in-
structions. Once you acquire hands on familiarity with your instrument, you will want to in-
crease your understanding of its more advanced capabilities by studying the module applica-
tion notes.
While on this tour, you are always encouraged to experiment and devlop your own ways of
using your instrument. By listening carefully and critically, you will learn just about all this
tour has to offer. No technical training is needed. If you have a good musical ear and a
knowledge of basic physical terms, then you will have no trouble keeping up. You will soon
develop a feel for your instrument, the same sort of feel that any good musician develops after
working with his own instrument over a period of time.
Now to being our tour . . .
(signed) Robert A. Moog
P.S. Be sure to fill out the Warranty Registration card and send it to us, if your dealer has not
already done so.
Copyright 1974
Moog Music, Inc.
Printed in U.S.A.
MODULE FUNCTIONS
921A Oscillator Driver
Allows one set of control voltages to determine the pitch and rectangular waveform widths of
the 921B’s.
921B Oscillator
Produces the basic waveforms for audio or control purposes, with expanded facilities for
modulation and synchronization.
921 Oscillator
Produces the basic repetitive waveforms for audio and control purposes, with expanded fa-
cilities for triggered waveform clamping and waveform level variation.
923 Filters / Noise Source
•Lowpass Filter - Attenuates that portion of the signal’s frequency spectrum that lies
above the cutoff frequency.
•Highpass Filter - Attenuates that portion of the signal’s frequency spectrum that lies
below the cutoff frequency.
•Noise Source - Produces white and pink sound for audio and control purposes.
902 Voltage Controlled Amplifier
Shapes the amplitude of a signal in response to any control signals.
904A Voltage Controlled Lowpass Filter
Attenuates that portion of the signal’s frequency spectrum that lies above the cutoff fre-
quency. Cutoff frequency responds to changes in control signals.
907 Fixed Filter Bank
Divides the audio spectrum into ten separate bands, and allows individual attenuation of each
band.
911 Envelope Generator
Produces a wide range of transient control contours whenever it receives a trigger signal.
952 Keyboard Controller
Produces two independent control and two independent trigger signals in response to de-
pressed keys.
995 Attenuators
Permits any signal to be reduced in amplitude.
Mixer Panel
Combines audio or control signals, and produces two complementary outputs.
Reversible Attenuator
Permits any signal to be reversed in polarity and varied in magnitude.
INITIAL SETUP
Set the synthesizer on a table 27 to 29 inches high, at least 24 inches deep. Avoid placement
near drafts, direct sunlight, heaters and the like. For permanent installation, put a 5 inch plat-
form (or the keyboard cover) under the module cabinet to allow easy accessibility to the con-
trols and jacks at the bottom.
Place the KEYBOARD CONTROLLER in front of the synthesizer. Insert the keyboard cable
plugs in the socket at the rear of the module cabinet marked CONTROLLER I & 2. Align the
plugs properly and screw the retaining ring on carefully.
Insert the line cord in the 3-prong line power receptacle at the rear of the module cabinet.
Plug the other end into a 110/130 volt, 50/60 cycle AC wall outlet. If your line voltage is over
130 volts, you must use a step-down transformer of 60 volt-ampere rating. If your wall socket
is the two prong type, use a three-prong adaptor. It is good practice to attach the free wire of
the adaptor to a good ground such as a cold water pipe. If the line voltage in your building
undergoes unusually large fluctuations, the synthesizer may occasionally produce a buzzing
sound or waver in pitch. In this case, you may have to use a line power, voltage regulating
transformer of at least 60 volt-ampere rating such as the Sola 20-13-060-2 (available at most
electronic components distributors).
Controllers
1/2 A 1.5 A
Trunk Lines
1&2
3
From Wall Outlet
21
Slo-Blo
Line input
Amplifier or Tape Recorder
for additional cabinet
DC PowerFrom Keyboard
From Additional Controller
Run an audio cord from the jack at the rear of the module cabinet marked TRUNK LINE 1 to
the input of your sound system. The nominal audio output level of the Synthesizer 15 is 0
dBm (0-8 volt) at 600 ohm output impedance, unbalanced. The output of the Synthesizer 15
can be directly connected to the line input of a tape recorder or high level input of a monitor
amplifier with an appropriate interconnecting cord. For most monitor amplifiers use a cord
with a 1/4" phone plug on one end and an RCA phone plug on the other.
Your Synthesizer 15 is now ready to use.
BASIC DEFINITIONS
Here are some definitions of terms that we will use:
VOLTAGE: An electrical quantity analogous to pressure.
SIGNAL: A voltage variation that carries information. Signals are carried between modules
by PATCH CORDS. An AUDIO signal varies rapidly enough to be discernable by the human
ear. When amplified and fed to a speaker, it is heard as a tone. A module’s functions may be
controlled either manually or by externally applied CONTROL signals. For example, a signal
applied to the CONTROL INPUT jack of an oscillator will cause the pitch of the oscillator’s
output to rise one octave per volt increase in control signal. A TRIGGER signal initiates a
module’s function.
MODULE: A separate, replaceable unit. Modules of the synthesizer may GENERATE,
MODIFY, or CONTROL. All audio signals emanate from GENERATING modules. A
MODIFIER alters a signal in a specific manner. CONTROLLERS produce control voltages
for manipulating other module functions. For example, the KEYBOARD CONTROLLER
produces a control signal which depends on the keys depressed.
OUTPUT JACK: A receptacle on the face of a module at which a signal is available.
INPUT JACK: A receptacle on the face of a module which accepts a signal.
•An AUDIO INPUT JACK receives an audio signal for processing.
•A CONTROL INPUT JACK receives a control signal for determining the operating
point of a module.
•A TRIGGER INPUT JACK is a two-prong socket for accepting trigger signals.
MULTIPLE or MULT: A group of interconnected jacks used for "splitting" a signal so it
can be fed to more than one input.
MIXER: An instrument for controlled combining of signals.
PATCH CORDS and TRIGGER CABLES: Patch cords have standard 1/4" diameter phone
plugs on both ends. The patch cords are color-coded according to length. Trigger cables have
a two-prong connector on each end. The following cords and cables are supplied with the
Synthesizer 15.
10 - 1 foot patchcords
8 - 2 foot patchcords
1 - 12 inch switch trigger cable
1 - 18 inch switch trigger cable
1 - switch trigger Y-cable
Patch cords are used to route signals among modules. Audio signals are routed from generat-
ing modules to modifying modules (if any) and then to the monitor or tape recorder. Control
signals from a source such as the KEYBOARD CONTROLLER are routed to a module’s
control input using patch cords. The trigger cable has a two-prong socket on one end and a
two-prong plug on the other end. It is used only for patching switch triggers (S-trig) such as
produced by the KEYBOARD CONTROLLER when a key is depressed. An S-trig initiates
the action of the 911 ENVELOPE GENERATOR and the CLAMPING POINT of the 921
VOLTAGE CONTROLLED OSCILLATOR.
Patching rules:
1. Connect outputs to inputs.
2. To "split" a signal for feeding to two or more inputs, patch from the output to be split
to the MULTIPLE. The remaining MULTIPLE jacks are now outputs.
3. Combine module outputs with a MIXER.
4. Control signals may not be patched into the audio signal path. However, audio signals
may be used as control signals.
5. Patch only audio signals into signal input jacks. Exception: the 902 VOLTAGE
CONTROLLED AMPLIFIER, the 923 LOWPASS FILTER, and the lower panel
MIXER and REVERSIBLE ATTENUATOR, are capable of processing slowly-
varying control signals.
INSTRUCTIONAL SEQUENCES
This section contains instructional sequences designed to give you "hands on" familiarity
with the basic patching procedure of the Synthesizer 15. Think of each set of interconnecting
patches as a map that provides a clear graphic indication of the signal flow paths. You will
quickly discover that the control settings are of paramount importance in determining the na-
ture of the resultant sound material. Each control is related to a musical value. Experiment
freely with a wide variety of sound setting combinations.
After you begin to feel "at home" with the simpler patching and control setting procedures,
you will want to become familiar with the more sophisticated capabilities of each module.
The next section contains complete technical information on each of the modules.
AThe Audio Generators
BUsing the Keyboard to Determine Pitch
CUsing the Keyboard to Articulate the Sound
DUsing Both 921B Oscillators and the 921 Voltage Controlled Oscillator
EFilters
FUse of Two Envelope Generators and the Reversible Attenuator
GThe 921 Voltage Controlled Oscillator
HThe 921 Voltage Controlled Oscillator Clamping Point
ISynchronization of Oscillators
JModulation of the Oscillator Bank
KAttenuators Panel
A. THE AUDIO GENERATORS
995 904A 902 902
921A 921B 923 921 911 911921B
MIXER REV CONTROLLERS TRUNK
907A
550
550
00
8’
50
1. Turn on the power switch. This supplies power to the entire instrument. Turn all controls
and switches to the positions shown in the drawing. Turn on the monitor amplifier.
2. Locate a 921B OSCILLATOR. Patch from the RECTANGULAR output to TRUNK LINE
1. The oscillator’s rectangular waveform output is being fed directly to the monitor system.
Adjust the monitor amplifier gain so that the tone sounds comfortably loud.
3. Remove patch cord from the RECTANGULAR output and insert it in the SAWTOOTH,
TRIANGULAR, and SINE. Notice the different tone qualities of each waveform.
The Synthesizer 15 contains 3 modules (921 Series) that generate these 4 wave forms.
4. Remove the patch cord from the 921B OSCILLATOR and plug it into the WHITE NOISE
output of the 923 NOISE SOURCE. This signal contains all audible frequencies in a random
mixture. Next plug the patch cord into the PINK NOISE output. This signal has more low fre-
quency and less high frequency content than white noise signal.
Every sound source on the instrument has now been heard in its raw form. In the remaining
exercises, these signals will be mixed, modified, and controlled by the remaining modules of
the system.
B. USING THE KEYBOARD TO DETERMINE PITCH
995 904A 902 902
921A 921B 923 921 911 911921B
MIXER REV CONTROLLERS TRUNK
907A
00
8’
50
6
1. Patch from the RECTANGULAR output of a 921B OSCILLATOR to a SIGNAL INPUT
on the 902 VOLTAGE CONTROLLED AMPLIFIER, and from a SIGNAL OUTPUT on a
902 VOLTAGE CONTROLLED AMPLIFIER to TRUNK LINE 1. A tone should be heard.
The signal generated in the 921B is being amplified and sent to the trunk line. To control vol-
ume, vary the FIXED CONTROL VOLTAGE control on the 902.
2. Vary the FREQUENCY control and the RANGE switch on the 921B. These controls
change the frequency (pitch) of the tone.
3. Vary the FREQUENCY control on the 921A. This control changes the frequencies of both
921B OSCILLATORS simultaneously. Flip the SEMITONE-OCTAVE switch and note that
the effect of the FREQUENCY control changes accordingly.
4. Vary the WIDTH OF RECTANGULAR WAVE control on the 921A. Note the change in
tone color which accompanies waveform width change. This control only affects the RECT-
ANGULAR outputs on the 921B’s.
5. Patch from the CONTROL VOLTAGE 1 output of the CONTROLLER OUTPUTS to one
of the FREQUENCY control inputs on the 921A. Play the keyboard. The keyboard pitch con-
trol signal depends on the last key depressed. It is applied to the 921B through the 921A,
thereby controlling the pitch of the tone. Note that the SCALE control on the keyboard varies
the size of the intervals, while the RANGE control on the keyboard transposes the pitch. Note
further that the GLIDE control slows down the changes in keyboard pitch voltage when the
GLIDE switch is on.
C. USING THE KEYBOARD TO ARTICULATE THE SOUND
The audio generators are always on. In order to articulate tones, a 902 VOLTAGE CON-
TROLLED AMPLIFIER is used in conjunction with a 911 ENVELOPE GENERATOR.
995 904A 902 902
921A 921B 923 921 911 911921B
MIXER REV CONTROLLERS TRUNK
907A
00
8’
50
6
1. Patch from the output jack on a 911 ENVELOPE GENERATOR to one of the CONTROL
INPUTS on a 902. Using an S-trig cable patch from CONTROLLER OUTPUTS TRIGGER
1 to the S-trig input on the 911. Turn the FIXED CONTROL VOLTAGE control on the 902
to 0. Play the keyboard. The trigger cable allows the keyboard to trigger the 911 ENVELOPE
GENERATOR when ever a key is depressed. Patching from a 911 to a 902 CONTROL IN-
PUT allows the voltage contour produced by the 911 to control the amplification of the 902
just as it was controlled manually by turning the FIXED CONTROL VOLTAGE control.
2. Vary the controls on the 911 ENVELOPE GENERATOR, one at a time, while playing the
keyboard. The 911 is producing a voltage contour of this general shape:
Output Voltage
Onset of Trigger
Key Depressed
Time
Initial Decay Time
T2
T1
Rise Time Final Decay Time
T3
Release of Trigger
Key Released
Esus
Sustain Level
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