Download Moog Taurus 3 Specifications
Transcript
e 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. "Trying Out Some Sounds" consists of sound charts which enable you to familiarize yourself with the front panel and the sound capabilities of the instrument. "Getting to Know Taurus II" introduces you to each front panel control by way of experimenting with it. At this stage, you learn how to use the instrument. "A Closer Look at Taurus II" is a more involved explanation of the Taurus II and explains the basics of the synthesizer. Once you are familiar with the controls of the Taurus II, you'll be ready to create your own sounds. Part of the excitement in makingonusic is experimenting with your instrument finding new sounds and new playing techniques. There is always something else to discover and that's what makes mastering a musical instrument such an enjoyable continuing experience. Val Podlasinski x 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 .....]...[]..][[ 25 26 26 Cutoff (Brightness) 26 Emphasis AMT (Amount) Keyboard Track 27 . 27 . . . 28 Mixer Section 28 Noise 29 Overdrive 29 Master Volume 29 A Closer Look at Taurus II 30 Basic Synthesizer Flow Chart . . . 30 The Audio Generators 32 The Modifiers 35 The Articulators 37 The Controllers 39 Interfacing 40 Control Voltages 42 Triggers 43 Audio In Compatibility of Control Voltages Specifications Index ." 45 46 47 48 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. Underneath the synthesizer module to the rear of the pedalboard and rear of the adapter in the center of the pedal board. there is an adapter which mates with the thread synthesizer module. of the stand. The thread is long in order to make a sturdy connection so several turns of the module will be required to make a tight fit. 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. Check the 5-pin connectors at each end. Check that the power supply is pushed in all the way in the power outlet. Check the power-in jack plug, at the rear of the synthesizer module, to see if it is inserted correctly. The power light above the power-on switch should be glowing. Check the audio cord by substituting it for another. Alternatively, turn the amplifier volume to a low level, disconnect the audio cord from the Taurus II and touch the end of the jack plug. If a hum is heard, the cord is O.K. If you have any problems with the Taurus II, you should first contact the dealer you purchased it from. Any technical problems usually can be solved by the dealer. Service centers and our own Service Department are also on hand to assist you. Information on the service center nearest you can be obtained by contacting: Moog Service Department 2500 Walden Avenue, Buffalo, NY 14225; (716) 681-7242 •: .■*'• 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. However, if you intend to continually use a variety of contrasting sounds, try to use an amplification system which is designed for synths/keyboards. Your Moog dealer will be able to advise you on this subject. TRYING OUT SOME SOUNDS OECAY ATTACK SUSTAIN 10— OSC 1 CD 7 \ .3 30 OCTAVE SHAPE 32' OSC CD a ru -v OUT SYNC OSC 2 TO OSC 1 RATE (HZ) CD 0FF ott 16' 16' lU -CD 6' 7 - IN AUTO TRIG ^^-^ MOD a CONTOUR CONTOUR iu ' BYPASS KEYED GENERATOR CUTOFF EMPHASIS AMT TaurUs/T n CONTHOLLEnS 7\ 0 CD OFF ON OSC 2 VCF CD OFF ON 10 INTERVAL GLIDE MODULATION KEYBOARD TRACK OSCILLATORS Taurus II sound charts are line drawings of the instrument's front panel. Positions for placing toggle switches, rotary controls and sliders are indicated by dots. To help you remember your own front panel settings (patches) we have included two blank sound charts on page 18. We suggest you photocopy them to have a supply of blanks. If you create a sound you wish to use again (especially when you're experimenting or recording) write it down. You'd be surprised how easy it is to forget that hot patch. 0 POWER MASTER VOLUME —10 PITCH ON 10 A CD- 32' M/ VCA MODE WAVEFORM 8' 1O- CD OFF ON CONTOURED OSC 1 OSC 2 NOISE r\ o r\ 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. (These control the rise and fall of the loudness and the filter.) O.K. You're eager to start playing the Taurus II. Set up these patches and get an idea of the many sounds Taurus II can produce. 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 . CONTROLLERS -■ OSCILLATORS} .MODULATION Note: Detune Osc 2 slightly i Ttp Detuning helps to get a richer, fatter sound. Only a small amount is enough to get the desired effect. BASS 1 ATTACK ON OSC 1 OFF ON CONTOURED OUT 7 V SYNC .3 OSC 2 TO OSC 1 30 OCTAVE RATE (HZ> TUNE SHAPE 32* OSC WAVEFORM a 16' ru 0 ~\ CONTOUR^ KEYED CONTOUR 0N A fU "V 32' 16' IN VCA MODE fU 8' - ' BYPASS VOLUME CUTOFF EMPHASIS AMT PITCH ^^'"K OSC S VCF MOD UNISON OFF Taurdsfl n CONTROLLERS 0 ON OFF 10 INTERVAL GLIDE — s OCTAVE ON 7\ KEYBOARD TRACK MODULATION OSCILLATORS Note: Detune Osc 2 slightly POWER 10 GENERATOR -—10 AUTO TRIG 0 MASTER —0 OSC 1 OSC 2 NOISE 10 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/. oscs VCF V V o WAVEFORM CONTOUR a ru -v IN VCA MODE OCTAVE SHAPE ON OFF ON CONTOURED INTERVAL KEYBOARD TRACK CONTROLLERS MODULATION OSCILLATORS Note: Detune Osc 2 slightly BASS III DECAY SUSTAIN M/. OSC 1 OFF ON OUT '4 V .3 SYNC 0 OCTAVE SHAPE OSC 32* 16' WAVEFORM 8' A CONTOUR^ IU KEYED CONTOUR A HI -V OFF AUTO TRIG 0N 32* 16' 81 (U VCF UNISON OFF Taurus/J n CONTROLLERS 0 ON OFF \\/. 10 GLIDE INTERVAL MODULATION 7 V KEYBOARD TRACK oscillator: Note: Watch the Master Volume on this patch 8 . BYPASS POWER 10 VOLUME GENERATOR CUTOFF OCTAVE /\ MASTER EMPHASIS AMT OSC 1 10, ON ON IN VCA MODE OSC 2 TO OSC 1 30 RATE (HZ) TUNE \tv CONTOURED OSC 2 NOISE 00 CN 0) o 4-1 Z ^ < o 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 OSC 1 OUT 7.V .3 SYNC OSC 2 TO OSC 1 30. RATE (HZ) TUNE SHAPE 321 16' 0 - A B' IU CONTOUR KEYED CONTOUR A OJ-V 0FF AUTO TRIG 0M 16' B1 nj UNISON 4O CONTROLLERS 0 OFF ON OFF OCTAVE ON 10 INTERVAL GLIDE MODULATION KEYBOARD TRACK BYPASS EMPHASIS POWER MASTER VOLUME GENERATOR CUTOFF VCF PITCH • ^^"N M0D TaurusHlI 32* IN VCA MODE WAVEFORM OCTAVE OSC ON OFF ON CONTOUREO AMT 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 .3 SHAPE 32P OSC 16' 8' A RJ CONTOUR^ KEYED CONTOUR a ru -v 0FF 0N 32' 16' 'IN 0 WAVEFORM OCTAVE ON VCA MODE OSC 2 TO OSC 1 30 RATE (HZ) 10- CONTOURED OJ 8' /\ POWER 10 MASTER BYPASS VOLUME GENERATOR CUTOFF EMPHASIS AMT OSC 1 OSC 2 NOISE ^ ^ r\ OSC 2 OCTAVE OFF ON OFF ON KEYBOARD TRACK MODULATION 11 BASS IX -•& DECAY ATTACK ITTEOg 10- OSC 1 .3W OFF ON CONTOURED SYNC OSC 2 TO OSC 1 30 RATE (HZ) TUNE SHAPE WAVEFORM OCTAVE OSC 32' SUSTAIN 16* A 6' 7 V 0 - CONTOUR flJ 32* AUTO TRIG PITCH 16* A osc e VCF MOD Taurusf/ n 6' UNISON V OFF ON OFF OJ VOLUME KEYED CONTOUR A fUV POWER MASTER GENERATOR CUTOFF EMPHASIS AMT —10 M/ OSC 1 101 OSC 2 OVEP NOISE DRIVE 5 — OCTAVE- ON §—" INTERVAL OSCILLATORS MODULATION SOLO I frraog ATTACK l/\t7N DECAY SUSTAIN 0FF On .3 SYNC OSC 2 TO OSC 1 30 OCTAVE RATE (HZ) TUNE SHAPE 32* OSC 16' At/ CONTOURED OUT 7\ 10~ IN VCA MODE o a POWER 10 MASTER WAVEFORM 8' ON VOLUME ru CONTOUR 'GENERATOR a ru -v- off on 32' 16' A 81 IU CUTOFF EMPHASIS AMT — 10 AUTO TRIG PITCH MOO Tauri/sfJ H UNISON /\ 0 OFF ON OFF . OCTAVE ON 10 INTERVAL GLIDE MODULATION 12 OSC 2 VCF 7V: KEYBOARD TRACK OSC 1 OSC 2 NOISE A A n OVER DRIVE ■ 10 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- . MODULATION SOLO III DECAY ATTACK maog 10—( OSC 1 10- OUT 7 V -7 V- ,3 SYNC OSC 2 TO OSC 1 30 RATE (HZ) ' SHAPE OCTAVE 32" OSC 16' 0FF 0N 32- 16' 8' -7 V o WAVEFORM 8" IN VCA MODE A RJ CONTOUR KEYED CONTOUR a ru -v ON OFF ON CONTOURED A OJ BYPASS VOLUME GENERATOR CUTOFF EMPHASIS AMT OSC 1 ^ -«s MOD OCTAVE OFF Taurtfs 0 ON OFF OSC 2 OVER osc a PITCH POWER 10 MASTER NOISE ORtVE — 6 5- ON 10 GLIDE MODULATION ■-<&■■ 13 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 ^.-«\ 10 osc a AUTO TRIG PITCH POWER io MASTER MOD OFF ' ON OFF ON Tauru's KEYBOARD TRACK INTERVAL OSCILLATORS MODULATION CONTROLLERS' SOLOV DECAY ATTACK msxrj 10 — 10 — OSC 1 OUT 7.V .3 SYNC OSC 2 TO OSC 1 30 TUNE SHAPE 32' OSC 16' -7 \* o 0 - A 8' IN VCA MODE WAVEFORM OCTAVE RATE (HZ) AlA OFF ON CONTOURED 111 CONTOUR^ POWER io MASTER ' BYPASS VOLUME KEYED CONTOUR GENERATOR a ru -v 0FF 0M 32* 16' A 8" IU CUTOFF EMPHASIS AMT —10 osc a AUTO TRIG PITCH A--v — 5 MOD OFF ON OFF ON i Taurus" II CONTROLLERS KEYBOARD TRACK MODULATION OSCILLATORS * Tune to a perfect fifth 14 OSC 1 OSC 2 NOISE n r\ rs ■ OVER DRIVE ■ 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 . POWER 10 MASTER BYPASS VOLUME CONTOUR' GENERATOR A flJ-V 0FF ON 32*" 16* 8' IU CUTOFF EMPHASIS n 1Oi AUTO TRIG PITCH VCF UNISON OFF ON OFF NOISE - o_ drive 5 — OCTAVE ON 0 TaurusH II oven OSC 2 ^^"\ M0D OSC 2 OSC AMT 0— KEYBOARD INTERVAL GLIDE TRACK oscillators: MODULATION CONTROLLERS:: SOUND EFFECTS I DECAY ATTACK meog SUSTAIN OSC 1 OUT 7\ SHAPE 32' OSC 16' 0 WAVEFORM A 8' [U CONTOUR^ KEYED CONTOUR A IUV PITCH ^^-^ MOD Tauruln n CONTROLLERS AIA otl 32' 16' 8' IU ' BYPASS 0 VOLUME GENERATOR CUTOFF AUTO TRIG osc a VCF UNISON ON OFF 10 EMPHASIS AMT OSC 1 OSC 2 NOISE m fr r> I DVER DRIVE ■ 10 5 — OCTAVE ON 0 — INTERVAL GLIDE POWER 10 MASTER 10 OFF " 0FF IN VCA MOOE OCTAVE HATE <HZ» ON OFF ON CONTOURED SYNC OSC 2 TO OSC 1 TUNE 10 — -0 KEYBOARD TRACK MODULATION OSCILLATORS 15 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 SOUND EFFECTS III DECAY ATTACK meog 10 — \\A OSC 1 OFF ON OUT .3 SHAPE 32' OSC 16' 0 WAVEFORM OCTAVE A 8' RJ CONTOUR> KEYED CONTOUR a ru -v 0FF ON 32' 16' 8' IN VCA MODE OSC 2 TO OSC 1 30 RATE (HZ) ON CONTOURED SYNC TUNE 10- SUSTAIN A IU o - VOLUME GENERATOR CUTOFF EMPHASIS OSC 1 AMT -10 AUTO TRIG PITCH A**t QSC B VCF MOD UNISON OFF Taurus/7 H ^CONTROLLERS ON OFF -s OCTAVE ON —0 INTERVAL GLIDE KEYBOARD TRACK MODULATION' POWER 10 MASTER BYPASS IOi OSC 2 NOISE ■ 10 SOUND EFFECTS IV OECAY ATTACK maog 10 — AI 7 \ .3 OSC 1 (5 OFF ON CONTOURED OUT SYNC OSC 2 TO OSC 1 30 SHAPE 32" OSC 16' AIA ) IN VCA MODE WAVEFORM OCTAVE RATE (HZ) TUNE 10 — SUSTAIN A 8" CONTOUR fU KEYED o POWER io MASTER ' BYPASS VOLUME CONTOUR GENERATOR a ru -v 0FF 0N 16" IU 8' CUTOFF EMPHASIS AMT OSC 1 OSC 2 NOISE OSC S AUTO TRIG ■>v 32' MOO OFF Taurus// II 0 ON OFF ON 10 KEYBOARD GLIDE TRACK O8CI1XATQRB' CONTROU-ERB SOUND EFFECTS V DECAY ATTACK rrwog 10 — OSC 1 OFF ON SYNC .3 SHAPE WAVEFORM OCTAVE 32' OSC 16' IN VCA MODE OSC 2 TO OSC 1 30 RATE (HZ) TUNE ON CONTOURED OUT 7 V 10- SUSTAIN A 8" fll CONTOUR> KEYED POWER MASTER ' BYPASS VOLUME CONTOUR GENERATOR a ru -v 0FF 0N 32" 16' IU 81 CUTOFF EMPHASIS AMT OSC 1 OSC 2 NOISE r\ n n ... osc 2 AUTO TRIG PITCH OCTAVE ^^"^ MOO TaurSW II CONTROLLERS V v 0 OFF ON OFF ON 10 GLIDE MODULATION OSCILLATORS * Switch ON Auto Trig to introduce repetitive effect Use pedals to vary pitch 17 Permission is given to copy for non-commercial purposes. ON CD .3 TUNE 30 32' OSC CD CD fU -V OFF ON 16' A 8' 16» A CONTOUR VOLUME GENERATOR CUTOFF ILJ EMPHASIS 1 AMT —10 PITCH MOO Tauru'sJT II / v Vm" VCF CD CD ON OFF UNISON NOISE 110 — 5 OCTAVE ON —0 KEYBOARD INTERVAL TRACK OSCILLATORS MODULATION CONTROLLERS OSC 2 10 ■ osc a AUTO TRIG OFF ' 0 POWER 10 MASTER ASS RJ ■CD 8' 0 0 - O - WAVEFORM CD- 32' IN VCA MODE OCTAVE SHAPE A OUT SVNC OSC 2 TO OSC 1 RATE (HZ) $ $ CD OFF ON CONTOURED SUSTAIN CD /\ .2 TUNE PITCH MOD 30 OSC CD CD 0FF 0N AUTO TRIG VCF CD CD OFF ON OFF TaurifsfJ II CONTROLLERS 16* 16' A MASTER CONTOUR -.GENERATOR CUTOFF III EMPHASIS —5 OCTAVE ON —0 .KEYBOARD TRACK OSC AMT —10 UNISON 0 POWER VOLUME flJ ■CD 8' INTERVAL ^.MODULATION 0 - A 8" CD- 32' 0 - WAVEFORM OCTAVE 32' IN VCA MODE OSC 2 TO OSC 1 SHAPE a ru -v OUT SYNC RATE (HZ) S£ CD OFF ON CONTOURED 10 OSC 2 NOISE 10 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 .3 SYNC OSC 2 TO OSC 1 30 RATE (HZ) TUNE SHAPE 321 16' 0FF 0N 32' 16' -7 V o WAVEFORM B' A III CONTOUR KEYED CONTOUR A RJ -V IN VCA MODE OCTAVE OSC ON OFF ON CONTOURED 8' OJ BYPASS VOLUME GENERATOR CUTOFF EMPHASIS AMT —10 AUTO TRIG PITCH Taurite77 n UNISON It ON OFF OSC 2 NOISE 10 — 5 OCTAVE ON INTERVAL GLIDE controllers. OSC 101 osc a VCF MOO OFF POWER io MASTER 7K j —0 KEYBOARD TRACK MODULATION OSCILLATORS Here is a patch to provide a convenient starting point. The control panel is laid out in six separate sections: 1. Controllers 4. Contour Generator 2. Modulation 5. Filter 3. Oscillators 6. Mixer and Final Output ftp Remember, if you get stuck, return to the Starting Patch and try again. 19 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. Set the GLIDE control to 5, play a high note and while holding TUNE this note down depress the lowest pedal. Note how the pitch glides down to the pitch of the lowest note. 3. Using the same pedal techniques, experiment with different settings. PITCH Taur CONTROLLERS 20 OCTAVE' OSCILLATORS GLIDE on the pedal board. A ON Check that the pitch wheel is in its center notched position. fU ■CD 8* MODULATION it's a good idea to sit down for this exercise as you'll need both feet A 6' CD — 32' CD OFF 16- osc a|.^fV VCF AUTO TRIG OFF 32 OSC a ru -v WAVEFORM OCTAVE RATE 1H2| SHAPE IU 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. V Taur downward bends the pitch down. GLIDE carvrraoLLERB 4. Return the wheel to its center position. Moving the Pitch Wheel just small amounts can bend the pitch in subtle expressive ways. Small pitch glides can also be achieved using the Pitch Wheel. Even rocking the Pitch Wheel around its notched central position can produce interesting modulation of pitch. Large continuous movements of the Pitch Wheel will create sound effects. You can even transpose melody lines by leaving the wheel set at a desired interval. MODULATION WHEEL The Modulation Wheel works in conjunction with the various controls in the Modulation section. rraxj* 1. Starting Patch. ^' O' t 2. Moving the Mod Wheel upwards introduces modulation. Play a note n and listen to the following effects: 7\ TUNE 3. Adjusting the RATE (Hz) control (at the top of the Modulation section) will speed up or slow down the modulation rate. P.TCH 4. Leave the Mod Wheel in a central position, and switch OFF the OSC switch. You now have only filter (VCF) modulation or tremolo. Taur GLIDE CONTROLLERS MODULATION 21 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. Experiment trying out different combinations of switches, varying degrees of Mod amount from the Mod Wheel and varying amounts of RATE. OSC 1 OFF ON CONTOURED CD SVNC Remember, if you get stuck, return to the Starting Patch and try again. OSC 2 TO OSC 1 . OCTAVE ^ 32* 161 WAVEFORM a 8'- OSCILLATOR OCTAVES s 321 The oscillators are the heart of a synthesizer. This is where pitched sound is generated. I61 A 8*> osc a ^-—v. UNISON OCTAVE 1. Set up the Starting Patch. OCTAVE is at 16\ INTERVAL 2. Move the switch left to 32\ Notice the pitch of the Taurus II OSCILLATORS is now an octave lower. 3. Moving the OCTAVE switch to the right to 81 will raise the pitch two octaves. (The OCTAVE switch controls the pitch of both oscillators.) OSC OFF ON CONTOURED CD SYNC OSC 2 TO OSC 1 OCTAVE OSCILLATOR WAVEFORM 32' >. Move the WAVEFORM switch to the right. Note the different tone color. j. The WAVEFORM switch controls the waveform for both oscillators. 8' CD- 32' I. Set up the Starting Patch. 16' 16' ru ■CD 8' OSC E OCTAVE UNISON INTERVAL IU 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. Settings of a perfect fifth or fourth 32* 16' 8' CD 32* 16' a* are frequently used because of the organ-like tone colors created. Moving the Interval control left of UNISON will give OSC 2 intervals below the pitch of OSC 1. OSCILLATORS // i up Remember to return the Interval control to UNISON when completing this exercise. Notice once more that the "beating effect" will disappear when the two oscillators are exactly in tune. However, slow beating (slight detuning) does produce a fatter sound. OSC SYNC (OSC 2 TO OSC 1) 1. Set up the Starting Patch. OSC The OSC SYNC switch has three positions. In the OFF position, the Oscillators are not synchronized and may be detuned as above. WAVEFORM OCTAVE 2. Move the switch to ON (the second position). 32' 3. No difference will be heard until you turn the INTERVAL control. Notice the 32 ■ changing tone color while moving this control. Experiment with different settings. 4. Return the INTERVAL control to the UNISON position. (An exact position is not required at this stage.) 5. Now move the SYNC switch right to CONTOURED. (Refer to Contoured Sync 16' A a* CD16' fU IU 8' oscs OCTAVE UNISON INTERVAL OSCILLATOR! section on the following page.) 23 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. Now move the ATTACK slider upward halfway to "5" and I-"* DECAY " ATTACK 16' WAVEFORM CD 32' 16' a 8' OUT i OSC2 TO OCTAVE 32' CD OfF O« CONTOUREO ■*- CONTOUR ru CD A 8" IN VCA MODE KEYED CONTOUR flJ GENERATOR CUTOFF EMPHASIS AMT # 1-10 OBC S UNISON — 5 OCTAVE 4. Now leave the ATTACK at 0 and try out different settings with the DECAY slider. Listen for the different changes of tone color. —0 KEYBOARD TRACK INTERVAL OSCILLATORS By now you will realize these controls affect the timing of tone changes. * Filter AMT slider should be at 10 for maximum effect. After using the INTERVAL control with SYNC, don't forget to retune after placing the SYNC switch in the OFF position. CONTOUR GENERATOR DECAY ATTACK (Rise) OUT 1. a) Starting Patch. CONTOUR> CONTOUR GENERATOR CUTOFF 3. Move the ATTACK slider to 10 and depress a pedal. The note takes longer to build its volume. 24 ' BVPASS KEYED as soon as the pedal is released, the note stops sounding. 4. Now experiment by setting the ATTACK control in various positions. IN VCA MODE b) Set Contour controls and filter as shown: 2. Depress a pedal and listen to the way the note builds in volume; 10 — SUSTAIN Ow 1 KEYBOARD TRACK EMPHASIS AMT 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. Now combine different settings of ATTACK and DECAY until you feel confident about the affect these controls have on the sound. SUSTAIN 1. Starting Patch. 2. Switch off the SUSTAIN switch. ATTACK DECAY 10 — 3. Depress a pedal and listen to the sound. IN VCA MODE 4. Now switch in SUSTAIN and listen to how the note holds loudness and brightness at its peak while the pedal is depressed and then falls off at the Decay time when the pedal is released. Try maximum DECAY time (10) to emphasize this example. 5. Experiment with different Decay levels. CD' BYPASS 0A 0 - CONTOUR^ KEYEO CONTOUR GENERATOR CUTOFF M/. - EMPHASIS AMT —10 —5 ;/\N j KEYBOARD TRACK 25 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 —10 Move the switch back to the KEYED position to stop the notes In the CONTOUR modTth?ATTACK and DECAY sliders control GENERATOR CUTOFF 4. In the third position BYPASS, the notes will continuously sound. -<Ht * Otoi Tip IN O - a pedal is held down. from playing. 10 — SUSTAIN 2. In the Contour position, the Attack and Decay times are controlled by the 3. Move the switch to KEYED center position. Play and release low C. This note ends abruptly. In this mode, a note will only sound as long as DECAY ATTACK 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. This source itself may be useful for certain effects. See Sound Effects II and V. 5. Set up the following patch on the filter. CONTOUR GENERATOR 6. Depress low C and move the CUTOFF slider. Notice it controls the pitch of the sound. 7. Play top C and notice the pitch is also controlled by the pedal board. To obtain an exact tuning from bottom C to top C, the KEYBOARD TRACK control may have to be adjusted. 8. Now experiment with various CUTOFF and EMPHASIS settings. These two controls interplay to produce subtle to obvious tone changes. They play an important part in the overall sound quality. AMT (Amount) 1. Starting Patch. 2. Depress a pedal. CONTOUR 3. Move the AMOUNT slider to 0. Notice how the tone color drastically changes, AMT 7 V* i 4. Move the AMOUNT slider to 10. Now play various notes and experiment with the EMPHASIS I3 just like it did with the Cutoff slider. The AMOUNT slider adjusts the amount of Contour controlling the Cutoff (brightness). Therefore, the Attack and Decay sliders and the Sustain switch affect the filter (tone color). GENERATOR CUTOFF _ KEYBOARD TRACK Attack and Decay sliders in the Contour Generator section. 27 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. Move OSC 2 slider to 0 and return OSC 1 slider to 7.5. Now only OSC 1 will be heard. The level of each oscillator can be mixed to achieve the balance you require. 4. Moving OSC 1 or OSC 2 sliders to 10 will introduce a small amount of distortion to produce a "beefier" (fatter) sound. 28 IN VCA MODE 0- CONTOUR KEYED CONTOUR 4. Turn the KEYBOARD TRACK to maximum 10. Play the lowest and MIXER SECTION 10~ BYPASS "- GENERATOR 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. Experiment. KEYBOARD TRACK OSC 2 OVER NOISE DRIVE ■ 10 *** OVERDRIVE ON This circuit is similar to the Minimoog mixer section where setting Oscillator level controls 0 at maximum also produces overdrive, a slight distortion, a desirable addition to fatten the sound even more. POWER 1. Set the sliders for OSC 1 and OSC 2 in the Mixer section to 5 and set the MASTER VOLUME to 10. Play low C and listen to the sound. 2. Set the sliders for OSC 1 and OSC 2 to 10 and set the MASTER VOLUME to 8. Play low C and notice the sound has more power because of the distortion. This fat sound is very popular with the Minimoog and is used on many recordings. ON o MASTER VOLUME POWER MASTER VOLUME This control sets the overall loudness of the instrument. For best results, try to use the individual Oscillator level controls as high OSC1 OSC 2 NOISE as possible and then set the MASTER VOLUME level, to optimize the quality of sound. 29 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. BASIC SYNTHESIZER FLOW CHART VOLTAGE CONTROLLED AUDIO GENERATORS VOLTAGE CONTROLLED AMPLIFIER FILTER MOD SELECT SWITCHES | £ VCA r- I MOD WHEEL MODULATION PITCH CONTROL PITCH BEND WHEEL CONTOUR GENERATOR I MODE SWITCH >OUT 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 oscillators produce electrical waveforms with variable shapes and frequencies that you can control for different tone colors or pitches. The noise generator produces a non-pitched signal that can be used for percussion, wind or surf-like sounds and many other effects. Both oscillators produce sawtooth waveforms ( wave ( |~LJ /[/]/ ). Oscillator one also produces a square ) and oscillator two produces a narrow pulse wave ( fl I )• The octave switch provides a 3-octave range for both oscillators. In addition, oscillator two may be tuned up to one octave higher than oscillator one. The "detuning" of oscillator two is done by first switching the SYNC switch OFF, then turning the INTERVAL knob to the desired position. When the SYNC switch is turned ON, the pitch of oscillator two will be locked in synchronization to that of oscillator one. When the SYNC switch is turned to CONTOURED, the settings on the contour generator will change the spectrum of oscillator two. However, since the two oscillators are locked in synchronization, this frequency sweeping will cause a rapid change in the output waveform, creating unusual "screaming" effects. This is a unique sound on Taurus II; it can be heard clearly on the Bass III Sound Chart on page 8, and the Bass VII Sound Chart on page 11. 31 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. CUTOFF EMPHASIS VOLUME AMT OSC 1 n U POWER MASTER KEYED OSC 0FF ^ BYPASS 0N OSC 2 NOISE ■ 10 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. In addition, EMPHASIS may be added to increase the effect of the filter's function, and the CUTOFF can be controlled further by the pedalboard and contour generator. EMPHASIS amplifies a narrow band of frequencies surrounding the cutoff point. Raise the AMOUNT slider to increase the effect of the contour on the filter CUTOFF. The KEYBOARD TRACK control may be adjusted from "0" (no effect of the notes played on the pedalboard is heard in the filter) to "1" (full control of the filter by the pedalboard). A great many unusual tone colors may be produced using the filter, and a complete understanding of its function will give you control over an almost infinite variety of musical sounds. 33 • 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 modulation section of Taurus II provides such effects as vibrato, tremolo, automatic repetition and sample-and-hoid The actual modulation is produced by a low-frequency oscillator (LFO) built into Taurus II. You can control its repetition rate with the RATE knob and its waveshape with the 3-position SHAPE switch. You may then select to apply this modulation effect to either the two oscillators for vibrato or the filter (VCF) for tremolo, or both, • Note: The amount of modulation (amplitude) is controlled by the MOD WHEEL. If the wheel is in its lowest position, no modulation effects will be heard. AUTO TRIGGER will trigger the contour generator at each complete cycle of the LFO when turned ON. For sample-and-hold patterns, select the RANDOM ( "r[/r ) shape, turn AUTO TRIGGER to ON, route the modulation to OSC and/or VCF and raise the MOD WHEEL fully. 34 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. 35 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). * A SUSTAIN switch holds maximum loudness while a key is depressed. The contour may be used to control the filter cutoff. This effect is created by raising the AMOUNT slider in the Filter section. A 3-position switch labeled VCA MODE applies the contour directly to Taurus ITs amplifier in position 1, in center position allows the amplifier to be turned ON and OFF by the pedalboard alone, and leaves the amplifier ON at all times in position 3. ♦Specific attack and decay times are listed in Taurus II Specifications in the back of this manual. 36 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 shows the location of the articulation portion of Taurus II. 37 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. A GLIDE control allows theaddition of portamento (sliding from note to note) when playing on the pedals. The speed of the glide is adjustable. The TUNING knob controls both oscillators simultaneously. The MIXER allows different levels of each oscillator and/or noise to be combined into the final output (MASTER VOLUME control). Note: When placed at the upper level (7.5 - 10) the mixer will automatically go into overdrive. This is a distortion circuit built into the instrument. Overdrive creates a driving sound similar to, but less dramatic than, that of a fuzz box or other guitar processors. It also helps to create a fatter sound. For normal oscillator sound set MIXER at approximately 5. 38 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 .CD," BYPASS 0 - RJ CONTOUR (LJ GENERATOR CUTOFF EMPHASIS AMT —10 AUTO TRIG CD OFF ON VCF CD OFF UNISON OCTAVE —5 ON o INTERVAL IM i KEYBOARD —0 TRACK canrmDLLERB MODULATION OSCILLATDRS The shading on the above diagram shows the locations of the controllers on Taurus II 39 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. Taurus II would be the master, the Source the slave. Reason for interface: bigger sound because of two synths playing plus programmability of The Source. MOOG THE SOURCE MOOG TAURUS II AUDIO OUT. O AUDIO TRIG KEYBOARD IN IN/OUT IN/OUT Or© Or-9 UNBALANCED FINE TUNE •USE STEREO PLUG ONLYOUT ON TIP OUT ON TIP to G- AUDIO KB-CV S-TRIG OUT IN/OUT IN/OUT CASSETTE ' IN ON RING. IN ON RING INTERFACE 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. Scaling makes sure intervals are correct on both instruments and ranging ensures unisons are correct. The proper procedure is as follows: 1. Check that the Taurus II is in tune with Liberation. 2. Make all interface connections. 3. Set volume of Taurus II and Liberation so you can hear both instruments clearly. 4. Depress top C on Liberation and adjust range until Taurus II is in tune with Liberation (zero beats). 5. Play low F on Liberation and adjust scale so both instruments are in tune (zero beats). 6. Repeat steps 4 and 5 until perfect tuning is obtained. The two interface controls contain all control voltages necessary for performance. The voltages for the ribbon, force sensor, modulation and keyboard are all summed together, so the slave instrument now becomes as versatile as Liberation. 41 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., the higher the voltage the higher the pitch. Moog synthesizers use a CV of 1 volt per octave. Many other manufacturers use this system. Control voltages enter and leave Taurus II at the synthesizer module In/Out connector which is a stereo jack. KEYBOARD IN/OUT OUTPUT TIP RING 42 INPUT 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. Taurus (I will accept input voltages from +3v to +10 volts as V-triggers. TRIG IN/OUT The TRIG IN/OUT connector is a stereo TIP S-TRIG jack and acts as either an input or output. Tip is the S-trigger RING ^ Ring is the V-trigger/gate V-TRIG/GATE The cables required to interface Taurus II with other Moog products are available from Moog's Service Department at a small cost. Alternatively, you can make up these cables yourself as follows: CV OUT TIP CVIN RING 43 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. 44 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. When the bypass switch is ON, the filter is controlled by manually adjusting the CUTOFF, EMPHASIS or AMOUNT sliders. Alternatively, with the VCA Mode switch in CONTOUR, the filter can be controlled by depressing a pedal and using the ATTACK and DECAY controls to open and close the filter. Modulation of the filter can also be introduced via the MODULATION WHEEL. Patching a guitar through the AUDIO IN will enable you to control the tone color, but will not cause Taurus II to play. A pitch to voltage device would be required to achieve this. Using the AUDIO IN can produce some very interesting effects in conjunction with CV and Trig; e.g., utilizing the Moog filter with a Roland RS-09. 45 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. When the RS-09 is played, it will control the VCF of Taurus II. Result, the RS-09's audio signal will be passing through the Moog filter, with its full contouring control and the famous Moog sound. COMPATIBILITY OF CONTROL VOLTAGES The CV in Taurus II comes from the pedalboard. The bottom pedal is 0 volts, the top pedal will give 1.5 volts. If the bottom note of the instrument being interfaced to the Taurus II is C, only a small scale and range adjustment will be necessary to match both instruments. In most cases, it is the slave instrument that should be recalibrated. For bottom notes which are other than C, larger adjustments or modification may be required. Refer to a Service Manual or consult a Moog Dealer or Service Center for correct retuning procedures for interfacing. 46 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 6.3 octaves Modulation Low Frequency Oscillator Rate: Continuously variable from 0.26Hz to 31 Hz Contour Generator Wave Shapes: Triangle, Square, Random (Sample & Hold) Type: Retriggerable unconditional ASR Amount (Square Wave): Oscillator, Zero to 18 Semitones; Filter, Zero to 4 Octaves Attack Time: Continuously variable from 4 msec to 4 sec ■ Auto Trig: Triggers contour generator at LFO rate Decay/Release Time: Continuously variable from 10 msec to 15 sec Sustain Level: Switchable, zero or 100% of peak contour Pitch Wheel Range greater than ± perfect fifth Voltage Controlled Amplifier (VCA) Audio Output Level: OdBm Oscillators Operating Modes: Number: Two Reference Frequency: By-Pass - VCA fully on Osc 1 - Sawtooth, square Octave Footages: 32', 16', 8' Rear Panel KB Control Voltage In: Octave Error: .2% Maximum KB Control Voltage In: Scale Factor Error: 2% Maximum S-Trigger In: Switch closure to ground triggers contour generator Range Drift due to Temperature: 10°C to 38°C less than .05%/°C Osc 2 Interval Range: 16 semitones, ± 3 semitones Oscillator Synchronization In the Sync Mode Oscillator 2's sawtooth wave can be reset by itself or by the reset pulse from Oscillator 1. This locks the fundamental frequency of Oscillator 2 to Oscillator 1, generating a complex waveform. In the "Contoured" sync mode, control voltage from the contour generator is routed only to Oscillator 2. Contoured Sync range: 4.0 Octaves maximum, ± 2 Octaves Noise Type: Pseudorandom digital pink noise ■* fully off when key is released Low C — 32.7Hz + 0.5Hz Osc 2 - Sawtooth, narrow rectangular (Duty Cycle 85% ± 5%) > Contour - VCA is controlled by contour generator Keyed - VCA fully on when key is depressed, Master Tuning Control: + 2.8 semitones Waveforms: , 1 V/Octave + 1%. Input impedance: 100Mft 1 V/Octave ± 1%. Output impedance: .O2£2 S-Trigger Out: Trigger on is switch closure to ground V-Trigger In: 3 V in Minimum; 60K H Input impedance V-Trigger Out: 10 Volts out; 20K Q. Output impedance Nominal Audio Input Level: OdBm (Input impedance = 18K SI) Nominal Audio Output Level: OdBm (Output impedance = 1K £2 unbalanced) Burn In (Aging) Before final calibration, units are burned in for 24 hours at ambient of approximately 72°F Power Requirements 24V AC External Power Supply Power Consumption: 6 Watts Mixer When the Oscillator level sliders are set at 5 or higher, the Oscillators over drive the filter input, producing a small amount of intermodulation distortion the "Overdrive11 sound. Mixer settings below 5 produce normal sound. 47 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. Procedure ' 40, 41 1 Control Voltage 40 42 Scaling 46 Range 46 Triggers (IN/OUT) 43 Cables 43 Interval Keyboard IN/OUT LFO Maintenance Master Volume Mixer '.."..• Modifiers Modulation 23 42 : , . . . .• 34 4 29 28,38 • 33-35 21, 22, 34 Mod Wheel Mod Shape Mod Rate LFO Routing 21» 34 21> 34 21 34 34 Oscillator 2 Interval 23, 31 Noise Oscillators Octaves Osc Sync (Osc 2 to Osc 1) 29>31 22» 31 22 23> 31 Tuning Waveform Overdrive Pedalboard Pitch Wheel Sample & Hold Sawtooth Waveshape Setup Sound Charts Specifications 20 22> 31 29>38 36> 38 21> 38 34 3^ 3 y-18 4^ Sustain Sync 25»36 23^ Square Waveshape Tremolo Triggers Tuning Interval Rate LFO VCA . . . ^ Vibrato Waveforms 22, 31 34 43 20>31 23 21' 34 26 34 3^ 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. The whole assembly can then be carried by the handle at the rear 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.-1000