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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. Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or

near a swimming pool or the like.

3. This product, in combination with an amplier and headphones or speakers, may be capable of producing sound

levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or

at a level that is uncomfortable.

4. The product should be located so that its location does not interfere with its proper ventilation.

5. The product should be located away from heat sources such as radiators, heat registers, or other products that

produce heat. No naked ame sources (such as candles, lighters, etc.) should be placed near this product. Do not

operate in direct sunlight.

6. The product should be connected to a power supply only of the type described in the operating instructions or

as marked on the product.

7. The power supply cord of the product should be unplugged from the outlet when left unused for a long period

of time or during lightning storms.

8. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.

There are no user serviceable parts inside. Refer all servicing to qualied personnel only.

NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device,

pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful

interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy

and, if not installed and used in accordance with the instructions, may cause harmful interference to radio

communications. However, there is no guarantee that interference will not occur in a particular installation. If this

equipment does cause harmful interference to radio or television reception, which can be determined by turning

the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following

measures:

—Reorient or relocate the receiving antenna.

—Increase the separation between the equipment and receiver.

—Connect the equipment to an outlet on a circuit different from that to which the receiver is connected.

—Consult the dealer or an experienced radio/TV technician for help.

CAUTION: Please note that any changes or modications made to this product not expressly approved by

Moog Music Inc. could void the user’s authority granted by the FCC to operate the equipment.

OPERATING CONDITIONS AND STORAGE:

For optimal performance you should use your Moog One between 50 – 95 degrees Fahrenheit or 10 – 35 degrees

Celsius. Safe operating conditions are within the range of 50 – 110 degrees Fahrenheit or 10 – 43 degrees Celsius.

Your Moog One should be stored in temperatures above 32 F (0 C) but never greater than 135 F (57 C). Do not

leave your Moog One in a vehicle on a hot day with the windows closed. Temperatures in a vehicle can exceed

175 F or 80 C.

THIS MANUAL IS A LIVING DOCUMENT THAT WILL BE UPDATED.

Please visit www.moogmusic.com/moogone to nd the most up-to-date manual.

If you are having trouble nding information about your Moog One please email:

moogonemanual@moogmusic.com or chat with us in real-time at the Moog Factory

during our operating hours (M-F, 9am-5pm EST) on www.moogmusic.com.

Registering your Moog One ensures that you receive the latest rmware and manual updates.

- D r . R o b e r t M o o g -

M u s i c a l i n s t r u m e n t s p r o v i d e

t h e m o s t e f f i c i e n t a n d r e f i n e d

i n t e r f a c e b e t w e e n h u m a n a n d

m a c h i n e o f a n y t h i n g w e k n o w .

“

THANK YOU FROM ALL OF US AT MOOG MUSIC,

With sincere pride and gratitude, we thank you for purchasing our agship polyphonic

synthesizer, the Moog One. Over ve years in development, more than 60 person-years

invested, and more than thirty years from the last polyphonic instrument from Moog, the

Moog One delivers a synthesizer experience unlike any other Moog instrument.

Before Bob Moog passed away in 2005, he encouraged us to be thoughtful about the

timing of introducing an analog poly. His advice stemmed from many years of personal

experience as he watched his company and his contemporaries exhaust their nancial and

engineering resources on the development of a polyphonic analog synthesizer. Following

Bob’s guidance, we spent many years developing new technologies through instruments like

the Minitaur and Sub Phatty – building both the condence and the capabilities to take on a

project as demanding as the Moog One.

Looking back, it is clear that the instrument our team has delivered is truly amazing.

At the original kick-off for this project, code name LAS (Long Awaited Synth), I told the team

this would be their legacy project – that there would never be another project as important or

as impactful to you (our community) as this one. I believe they have taken that to heart and

delivered the best polyphonic synth in the world.

Treasure this instrument. It will foster a lifetime of creative pleasure; spark your imagination

like nothing else; and become your musical companion for years to come. Enjoy the ride, and

know that Moog Music is here to support you on every step of your journey.

From all the employee-owners here at Moog Music, thank you.

Mike Adams

President / CEO

Moog Music Inc.

TABLE OF CONTENTS

UNPACKING AND INSPECTION

SETUP AND CONNECTIONS

MOOG ONE OVERVIEW

Presets, Synths, And Performance Sets

Voice Architecture

PILOTING MOOG ONE

Front Panel

Keyboard And Left Hand Controller

Rear Panel

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

Left Hand Controller

THE BROWSER

Loading A Preset

Loading A Timbre

Saving Presets And Synth Timbres

EDITING AND SAVING

Compare

Snapshot

Autosave

SETTINGS

Global

Hardware Settings

MIDI Control

CV Inputs

CV Outputs

Utilities

Library

Tuning

SPECIFICATIONS

SERVICE AND SUPPORT

APPENDIX A: WORKING WITH A USB KEYBOARD

APPENDIX B: MIDI LEARN

112

118

119

120

122

123

124

125

128

131

132

133

134

139

140

142

143

144

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:

Power adapter and connecting power cord

Owner’s Manual

Registration Card

SETUP AND CONNECTIONS

Before you begin exploring your Moog One, you will need to provide the instrument with power, and

connect it to an audio monitoring system so that you can hear it.

WHAT YOU WILL NEED

A stand or table capable of supporting Moog One (which weighs about 45 lbs.)

A properly wired and grounded AC outlet

Two 1/4” balanced TRS to TRS or TRS to XLR cables for connecting Moog One to an

audio monitoring system, or stereo headphones outtted with a 1/4” TRS (Tip/Ring/

Sleeve) plug may be used in either of the front Headphone jacks.

NOTE: Moog One is equipped with balanced outputs, so use either 1/4” TRS to 1/4” TRS cables or 1/4” TRS

to XLR cables for the best results. Unbalanced 1/4” TS to 1/4” TS instrument cables may also be used, but are

not recommended.

CONNECTING THE POWER SUPPLY

Moog One uses a universal power supply that can accommodate AC power sources ranging from 100

to 240 volts, and either 50 or 60 cycles (Hz). The included power supply features a detachable IEC-

style power cable.

Connect the included IEC power cable to the Moog One power supply.

Connect the power supply cable to the 19-volt DC locking connector on the rear panel

of Moog One.

Connect the other end of the power cable to a suitable AC wall outlet with a protective

earth ground connection.

Finally, use the power switch on the rear panel to turn on your new Moog One.

NOTE: The power supply connects to your Moog One using a locking connector. To release this connector

from the instrument, simply press the locking tab at the base of the connector and gently slide out the

connector plug. Never pull on the cable, only the plug.

AUDIO MONITORING

With the Moog One MASTER VOLUME knob turned all the way down, connect one 1/4” cable to the MAIN L

output, and the other 1/4” cable to the output, then connect the opposite ends to a pair of L/R MAIN R

inputs on an amplied speaker system or mixing console. Adjust the Moog One volume level by slowly

turning the MASTER VOLUME knob clockwise while playing the keyboard.

If you’re using headphones, turn the knob all the way down before plugging them into HEADPHONES

either of the two headphone jacks (located on the front edge of the Left Hand Controller panel). Adjust the

volume level by slowly turning the knob clockwise while playing the keyboard. HEADPHONES

NOTE: It may take up to 5 minutes for Moog One to warm up before Oscillator tuning has stabilized,

especially if it has been outside in a car on a cold night. (Although its Oscillators are very stable,

Moog One is an analog synthesizer, after all.)

MOOG ONE

Designed to exceed every expectation, Moog One is the rst polyphonic instrument from Moog in

decades. From the original napkin sketches to the day we boxed the rst 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. Realizing the Moog One vision

has been a journey of collaboration and discovery; a sharing of ideas between the Moog Team and

countless artists, sound designers, and synthesizer enthusiasts from around the globe. In crafting

Moog One, it was paramount to keep the interface intuitive and tactile. The hope is that your sonic

explorations will transcend the separation of artist and instrument, allowing Moog One to be the

conduit for your own creative voice.

Moog One is an analog, polyphonic, programmable, and multitimbral synthesizer; each of these terms

carries its own signicance and its own legacy.

ANALOG

The heart of the Moog One sound is its analog signal path. Since the development of the rst Moog

Synthesizer in 1963, Moog analog circuits have been renowned for their rich harmonic qualities and for

the organic nature of their expression.

POLYPHONIC

Synthesizers changed forever with the advent of polyphony. As a polyphonic synthesizer, Moog

One can independently articulate numerous voices simultaneously; up to 8 or 16, depending on the

conguration of your instrument. This voice-count designation is stamped on the serial number label

on the underside of your Moog One.

PROGRAMMABLE

Moog One is a wonderland for sound designers and tweakers, with a Front Panel hosting over two

hundred knobs and buttons. The status of each knob and button – plus countless below-the-surface

parameter settings – are stored and saved in memory in near limitless numbers of Presets. Find your

favorites using the searchable Browser. These saved Presets can also be assigned to the Front Panel’s

Performance Set for instant recall.

MULTITIMBRAL

As a three-part multitimbral instrument, Moog One is capable of playing up to three distinct Synths

simultaneously – split, layered, or zoned across the keyboard – all from within a single Preset. With each

Synth able to access its own sound parameters, MIDI channel note range, arpeggiator, and sequencer,

Moog One can create its own ensemble performances or deliver a richly layered arsenal of sound.

OVERVIEW

By design, Moog One is both intuitive and efcient. The iconic angled Front Panel groups single-

function 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. The interactive LCD center panel provides quick access to global settings

and reveals a second level of sound-creation parameters via the button located in the top right MORE

corner of most modules. This uid combination of hands-on control and precision parameter editing

establish Moog One as both a powerful performance instrument and a serious sound-design station.

And, of course, there’s more. Moog One provides 61 expressive keys that respond to both velocity

and aftertouch. The enhanced Left Hand Controller (LHC) features a unique three-axis touchpad,

and a pair of aluminum pitch and modulation wheels. Two control pedal inputs and a sustain pedal

jack offer further opportunities for real-time expression. Onboard sequencing, arpeggiating, and

effects processing – including premier reverbs from Eventide® – add depth and motion to your sonic

creations. Best of all, Moog One can communicate with your other gear via MIDI, USB, and through

analog Control Voltage (CV) inputs and outputs. Finally, Moog One encourages you to dive deeply

into the world of music synthesis with a programmable Matrix Modulation page connecting dozens of

modulation sources and destinations – in various amounts – using a virtual patchbay. Purists can even

bypass the entire digital Effects section to achieve a 100% analog audio path - from the Oscillators,

Filters, and Amplier, to the nal analog output jacks.

PRESETS, SYNTHS, AND PERFORMANCE SETS

Moog One allows every Preset to contain up to three separate Synths. These Synths can be split and

layered across the keyboard, while maintaining multitimbral MIDI control, and the total number of hardware

voices can be allocated between them at will. Each Synth is equipped with its own Arpeggiator and

Sequencer. Either (or both) can be easily synced to the Master Clock, or allowed to run freely. In addition,

each Synth contains its own distinct sound settings, note range, voice count, MIDI Channel, and more.

Collectively, these settings and parameters that dene an individual Synth are referred to as a Timbre.

There are two types of audio effects in Moog One: Synth Effects and Master Effects. Each Synth has

a dedicated Synth Effect that can be applied to the currently selected Synth voice only. Unlike Synth

Effects, Master Effects can be accessed by all three Synth voices simultaneously through dedicated Send

level controls located in the Master Effects module.

NOTE: Master Effects work similarly to the Send/Return architecture found on a traditional mixing console.

Timestamped, Auto-Saved “Snapshots” keep track of your in-progress edits, and prevent accidental loss

of any modied data. Moog One can store thousands of Presets. As a way of providing quick access to

specic Presets in a live performance or session environment, Moog One allows the building and saving

of up to 128 Performance Sets, which are shortcuts that select specic collections of Presets within the

vast Moog One memory. Functionally similar to traditional Bank and Preset selection, each Performance

Set offers instant access to up to 64 Presets through the 8x8 matrix of assignable Bank ( ) and A - H

Preset (1 - 8) buttons found in the Performance Set module.

VOICE ARCHITECTURE

Moog One provides three incredibly agile and advanced Voltage Controlled Oscillators (VCO). These

uniquely Moog Oscillators offer creative access to increased wave-generating dexterity and rich

harmonic content. Each Oscillator simultaneously generates a variable-width Pulse wave, plus a Saw

or Triangle (switchable) wave, also with variable shape control. Selecting Triangle allows continuous

change of the wave’s rise and fall times via the WAVE ANGLE knob -- sweeping from a Sawtooth to a

symmetrical Triangle to a Ramp (Reverse Sawtooth) wave. Selecting Saw varies the reset time of the

wave. Individually each wave offers a diverse palette of tonalities. The MIX knob sets the blend between

the Triangle/Sawtooth wave and the variable-width Pulse wave, creating a world of new and complex

wave shapes not traditionally found on an analog synthesizer. Each Oscillator is highlighted by an OLED

screen that displays a static image of the resultant wave.

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. The SVF and Ladder lters can operate in series or

parallel with one another, while a dedicated MIX knob species the output balance between Filters.

In addition, each Synth also has access to four Low Frequency Oscillators (LFO) and three Envelope

Generators (EG) per voice, each equipped with a wealth of extended functions that greatly expand

the synthesis capabilities of Moog One. Commonly used modulation routings are hardwired through

dedicated front-panel controls. Further assignments can easily be made via the DEST (Destination)

buttons located within each LFO and Envelope module.

From the central LCD panel, modulation routings can be tweaked and reassigned using the vast potential

of the Modulation Matrix. Assignments can stand alone, or can be mapped through a controller (such as

the MOD WHEEL, X/Y PAD, and AFTERTOUCH). Assignable modulation modiers called Transforms

can also be utilized to morph the source signal, providing even greater creative control over modulation.

PILOTING MOOG ONE

As with the Minimoog and Memorymoog before it, Moog One features an angled control panel for

improved visibility and ease of operation. This Front Panel provides immediate access to the Moog One

sound engine and all of its synthesis parameters. Below the Front Panel you will nd an ultra-playable

61-note velocity-sensitive keyboard with aftertouch, and an expressive Left Hand Controller that

further extends the dynamic playability of this powerful analog instrument. Around back, the Moog

One Rear Panel is home to a vast array of audio, analog control voltage, and expression input and

output jacks, as well as MIDI, USB, and Ethernet ports.

FRONT PANEL

The Front Panel is divided into three sections – the Left Panel, the Center Console, and the Right Panel.

The Front Panel is always active, in that turning a knob or pressing a button will have an immediate

effect. Because Moog One is a fully programmable instrument, however, the position of the Front Panel

knobs and buttons will rarely match their currently loaded values. The exceptions are the MASTER

VOLUME and HEADPHONES knobs, which are unaffected by the loading of Presets and Timbres.

NOTE: The response behavior of the Front Panel knobs can be specied using the HARDWARE settings

in the GLOBAL menu.

LEFT AND RIGHT PANEL CONTROLS

The Left and Right Panels are populated with dedicated single-function hardware knobs and buttons

that offer immediate control of the Moog One sound engine. These controls are grouped together by

module, and modules are grouped together by type. Contained in the Left Panel are the Oscillators,

Low Frequency Oscillators (LFO), Noise Generator, Ring Modulator, Arpeggiator, Sequencer, Master

Clock, Chord, and Polyphony modules. A distinctive feature of each Oscillator module is the dedicated

OLED window, which provides a graphic representation of the composite waveform being output to

the Mixer. Contained in the Right Panel are the Mixer, State Variable Filters, Ladder Filter, Envelope

Generators (EG), VCA, and Output modules. Also found in the Right Panel are the Synth Effect

parameters and the Master Effect sends, which provide access to numerous studio-grade effects,

including acclaimed reverbs from Eventide®.

With the exception of the MASTER VOLUME, HEADPHONES, and MASTER CLOCK controls, all of the

parameters available on the Left and Right Panels will control the currently selected Synth(s) only.

KNOBS AND BUTTONS

In this manual, when referring to a specic 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 rst letter is Capitalized – for example: the Cutoff frequency, the Shift state, the Preset Library, etc.

KNOBS

There are three different types of knobs found on

Moog One. Traditional knobs have a xed functional

destination and rotational limitations. Soft Knobs,

which change assignment based on the currently

selected item on the LCD screen, can be rotated

innitely and are only found below the Center

Console Display. Finally, there is a large Master

Encoder located in the Center Console that allows

for scrolling and selection (by pressing the knob).

BUTTONS

Pressing a translucent button will toggle its function On (LED lit) and Off (LED

dark), while pressing a solid red button selects a function, state, or option as

indicated by a lit LED on the panel.

Nearly every module is equipped with a triangular MORE button located in its

upper right corner. When a MORE button is pressed, the Center Console Display

screen reveals additional parameters specic to that module. These additional

parameters are accessed and controlled using the Center Console knobs and

buttons.

NOTE: Pressing an illuminated MORE button will close that parameter window and

recall the HOME screen.

DEST

The four LFOs and three EGs each feature a dedicated DEST (Destination)

button that provides a simple shortcut for assigning that LFO or EG as a

modulation source to a particular destination. Once the DEST button is pressed, a

modulation routing screen will open in the Center Console Display; the next Front

Panel parameter that is touched or tweaked will become the new modulation

destination. As soon as the assignment is made, the modulation amount and

additional parameters will appear on the screen.

Traditional

Master Encoder

Soft

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.

Additionally, there is a large Master Encoder that can be used to scroll through lists and make selections

by pushing down on the knob momentarily. In general, parameters are displayed above their respective

Soft Knobs in groups of four. Here, values can be edited using the four Soft Knobs. If more than four

parameters are available, rotating the Master Encoder will call up the additional rows. Together, the Soft

Buttons, Soft Knobs, and Master Encoder provide effortless navigation of the graphic interface.

Surrounding the Master Encoder

are eight dedicated buttons.

HOME

Pressing the button calls up the HOME HOME screen, which displays the name

of the active Preset, the names of the Timbres within the Preset, the respective

keyboard ranges and On/Off status of Synth 1, 2, and 3, and the current Master

Clock tempo.

Soft Buttons

Soft Knobs

Master Encoder

As notes are played on the keyboard,

key range indicators will ash 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.

MOD

The MOD button opens the Modulation Matrix screen, where any possible

modulation source can be freely routed to any possible modulation destination,

and in any amount. A controller, such as the wheel, may also be assigned MOD

in order to add articulation and expression to a modulation assignment.

Additionally, Transforms can be inserted to place high and low limits on the

modulation source signal, or to square or cube the modulation source control

signal to further expand the variation and expressivity of the powerful Moog

One modulation engine.

NOTE: When editing or creating a Modulation Matrix, pressing down on the Master Encoder will toggle

back and forth between two sets of parameters (upper and lower) available for each modulation routing.

DELETE

The DELETE button is used to remove a modulation routing row, eliminate

sequence data, and more. Its specic function is contextual, and is determined

by the currently selected screen and parameter.

SNAPSHOT

Pressing SNAPSHOT performs a “micro-save” of the current data as you are

editing. Each Snapshot is time stamped, so there is no need to keep saving the

data manually under a new Preset name while you are editing. Any Snapshot

can be recalled, auditioned, or designated as the “ofcial” version of a Preset

when you are saving the data. To view the Snapshots saved with the current

Preset, hold the + buttons on the Front Panel.SHIFT SNAPSHOT

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.

NOTE: The SAVE button will light dimly if any parameters have been altered from their originally saved

value, reminding you to save your changes if you wish to make them permanent.

COMPARE

Pressing the button places a copied version of the current Preset COMPARE

parameter settings in a separate buffer, so you can tweak one version of a

Preset and always compare it to the saved version as you edit.

NOTE: COMPARE Pressing SHIFT and simultaneously ( ) creates SHIFT + COMPARE

a new initialized Preset using the Moog One default sound parameters and settings.

SHIFT

The button is most often used in conjunction with another controller or SHIFT

function. For example, holding the button while operating a Soft Knob SHIFT

parameter allows the value to be edited at a ner level of resolution. SHIFT

operations can be performed by holding down the button as you operate SHIFT

the controls. Alternatively, you can enter mode by pressing and releasing SHIFT

the SHIFT button. The button will blink, and any operation performed will

behave as if the SHIFT button is being held. Moog One will remain in this state

until the button is pressed again, and the blinking has stopped.SHIFT

WORKING WITH SYNTHS

Tweaking knobs and pressing buttons has a direct effect on the sound of Moog One. But what exactly

is the Front Panel controlling? Remember, a Preset is comprised of up to three Synths -- and one Synth

(or more) is always assigned to the Front Panel.

The active Synth is selected using the SYNTH 1, and buttons in the Panel Focus module, which 2 3

allows the Front Panel knobs and buttons to only affect the currently selected Synth(s). Pressing any

SYNTH SYNTH button by itself will select just that one Synth. Holding one button while pressing

additional SYNTH buttons will select multiple Synths, and allow any tweaks or edits to be applied to all

of the selected Synths simultaneously.

NOTE: When multiple Synths are selected, the MORE pages and the sound engine status LEDs in the

LFO, Sequencer, and Arpeggiator modules will reect the status of the most recently selected Synth.

This buttons will be lit SYNTH button will be illuminated at full brightness, while the initially held SYNTH

at a lesser brightness.

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 specic 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). Next press the HIGH RANGE button

(the LED will light) and press a key on the keyboard to set the highest playable note for the selected

Synth (the LED goes dark). Additional visual conrmation is provided on the HOME page, where the

keyboard range for each Synth is shown in red if Keyboard Control is , and grayed-out if it is Off.ON

TIP: Pressing both the LOW RANGE button and the HIGH RANGE button at the same time will expand

the zone of the active Synth to its full note range of G0 to C10 (MIDI Note 0 - 127).

TIP: Press any SYNTH button while holding SHIFT to solo the selected synth. Repeat to return to

standard behavior.

ADDING EXPRESSION

The Expression Assign buttons provide a convenient way to instantly assign a controller as a

modulation source to a specic parameter. Simply press any Controller button in the Expression Assign

module, and then tweak a knob or press a button to link the selected controller to that parameter.

Once a modulation path has been created, the Quick Assign modulation screen will appear in the

Center Console Display. Additional parameters may be accessed here.

The available controllers are:

• MW (Mod Wheel)

• PAD X (Pad Position X Axis - horizontal motion)

• PAD Y (Pad Position Y Axis - vertical motion)

• KB (Keyboard Note Value)

• VEL (Keyboard Velocity)

• AT (Aftertouch)

• EXP 1 (Expression Pedal input 1)

SELECTING A PRESET

Moog One can store a nearly innite

number of Presets that may be searched

and ltered in a variety of ways. From

the HOME screen, press the BROWSE

PRESETS Soft Button at the upper left of

LCD to open the Preset Browser.

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. Tags narrow the list of available selections, making it easier to

nd a specic or appropriate Preset.

The four Soft Knobs at the bottom of the screen can choose which Presets will be displayed according

to TYPE, CATEGORY, MOOD, and GROUP. All tags are user denable, with the exception of TYPE.

Only TYPE has xed options - SINGLE, LAYER, SPLIT, and MULTI. Generally, one would use SINGLE

for a Preset using a single Synth. SPLIT for multiple Synths playing in different areas of the keyboard,

LAYER for multiple Synths stacked on the same keys, and MULTI for a Preset combining SPLITS and

LAYERS, etc.

Presets in Moog One can also be instantly recalled using Performance Sets; the current Performance

Set is always accessible from the lower Right Panel. Each Performance Set can recall up to 64 Presets,

that are arranged in eight Banks ( ) of eight Presets ( ). Performance Sets allow you to have A - H 1 8-

select Presets ready and on tap for instant access during a live performance - or even a studio session.

To assign the active Preset to the currently loaded Performance Set, simply press the Bank ( ) A - H

button of your choice, then press and hold the desired Preset ( ) button for 1 second. The Preset 1 9-

button will blink rapidly to let you know your Preset is now assigned to that location.

NOTE: The Performance Set does not itself provide storage of Presets; instead, the Performance Set

saves “pointers” that direct Moog One to recall a specic Preset from its memory banks.

To select a Preset from a Performance Set, simply press a Bank button ( ), and then press a A H -

Preset button ( ) to choose a Preset from your selected Bank.1 8 -

NOTE: Buttons that are dimly lit indicate that there is a Preset assigned to that button. Buttons that

are completely dark indicate that no Preset has been assigned.

TIP: There is a SHOW BANK PREVIEW option

available (under SETTINGS - GLOBAL -

HARDWARE SETTINGS). When this function

is On, pressing a Bank button will open a

screen showing all of the Presets assigned

to that Bank.

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.

OCTAVE

The OCTAVE buttons allow the keyboard to be shifted up or down

by octave. Pressing both OCTAVE buttons at the same time will reset the

keyboard to its Default Octave.

NOTE: Press and hold both OCTAVE buttons to send a MIDI Panic (All Notes

and Controllers Off) message.

GLIDE

Glide delivers a smooth, continuous change in pitch when moving from

one note to the next. In addition to the knob and the GLIDE RATE GLIDE

ON button, Moog One offers three types of Glide, as well as additional

parameters for Legato, Glissando, and Gated Glide. Pressing the MORE

button on the Left Hand Controller brings these parameters into view in the

Center Console Display.

X/Y PAD

The X/Y PAD is a highly expressive, multidimensional touch surface

whose X and Y axes can be easily assigned to a variety of musically useful

destinations. There is also a third assignable axis that can sense Pressure

on the surface of the pad. The can operate in either a latching or X/Y PAD

non-latching manner as determined by the state of the X/Y HOLD button.

If the button is illuminated, the held value of the X/Y HOLD X/Y PAD

can be saved as part of a Preset, similar to the wheel amount. Pad MOD

pressure also sends a Gate On signal, available as a Control Source in the

Mod Matrix.

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 specied 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. In

the case of the Moog One, the MOD wheel can also be assigned to multiple locations

simultaneously through the Mod Matrix and EXPRESSION ASSIGN Buttons.

NOTE: The MOD wheel position can be saved as part of the Preset.

HEADPHONES

Located just below the is a pair of front-facing stereo headphone X/Y PAD

outputs. Use the HEADPHONES knob in the Output module to set the

volume level for both headphone outputs.

REAR PANEL

The Moog One Rear panel is equipped with a full complement of audio jacks, communication

ports, MIDI connectors, and pedal ports – plus congurable 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. Hold the cable by the locking plug --

never pull on the cable directly. The Moog One On/Off switch

is located adjacent to the power port.

MAIN OUT/SUB OUT

Moog One features two sets of

stereo outputs, the MAIN L (Left)

and MAIN R (Right), and the SUB L

(Left) and (Right). Both the SUB R

MAIN OUTS and the SUB OUTS

feature 1/4” balanced TRS jacks.

Each Synth can be assigned to

either set of outputs – or both.

NOTE: The SUB OUTS are not affected by the MASTER VOLUME knob.

INSERT 1 2 3 4

Four INSERT jacks are provided.

Their routing is controlled by

pressing the Output Module MORE

button. The tip of this tip-ring-

sleeve jack is wired as the Send,

so each jack can be used INSERT

as an individual output when used

with a standard unbalanced TS 1/4”

cable. Each Insert jack can also be

used with a Y-conguration insert

cable to achieve true insert functionality. The signal is returned to Moog One via the ring connection

of the tip-ring-sleeve jack. This allows the active Synth to be sent to, and returned from, an external

processor, while still maintaining its place in the internal mix. In addition, the ring/return connectors

on adjacent pairs of inserts (1 2 3 4 & , & ) are stereo normalled, so that they can be used as stereo

returns. The way this works is that if nothing is connected to the return of Insert 2, the signal returning

via Insert will be summed to both the and 1MAIN L MAIN R outputs. Similarly, if nothing is connected

to the return of Insert , the signal returning via Insert will be summed to both the and 4 3 MAIN L

MAIN R outputs.

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 knob can adjust the input gain from TRIM

-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. These external inputs

show up in the Moog One Mixer MORE screen as an additional sound source with a dedicated channel,

although dedicated controls do not exist on the hardware Front Panel. From the Output module’s

MORE page, the LINE Input can be routed to the Insert buss, and the XLR/1/4” combo jack can be 3

routed to Insert .4

CV (CONTROL VOLTAGE) I/O

A control voltage is an analog control signal that allows the parameters and functions on one instrument

to interact with the parameters and functions of another instrument in the analog domain. In the days

before MIDI and USB, control voltage was the primary method for interconnection between synthesizers,

and it is still the primary method of interfacing with modular and Eurorack synthesizers today.

Moog One is equipped with two dedicated jacks (CV IN 1 2, ) and four jacks (CV OUT 1 2 3 4, , , ).

Additionally, both expression pedal inputs (EXP 1, EXP 2) and the pedal input may also be SUSTAIN

congured for use as control voltage inputs for further analog control.

MIDI (5-PIN DIN)

Moog One offers 5-pin DIN MIDI IN, MIDI

THRU, and MIDI OUT jacks to connect directly

to other MIDI devices, such as sequencers,

drum machines, interfaces, etc. Each Synth in a

Preset can operate on a separate MIDI Channel

for multitimbral control via external MIDI

devices. In addition to note data, the MIDI ports

can be congured to send and/or receive MIDI

Clock, controllers, expression, SysEx, and more.

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 port allows USB HOST

for updating the Moog One rmware from a

USB thumb drive, and 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 class-compliant MIDI device (one that requires no additional software drivers)

into Moog One operations. The USB port found here allows Moog One to communicate directly with

your computer via USB, sending and receiving MIDI and other system data.

PEDAL JACKS

Moog One includes three pedal input jacks. One

is congured as a sustain ( ) pedal input, SUSTAIN

and the other two as expression (EXP 1, EXP 2)

pedal inputs. These inputs can be used to control

nearly any Moog One parameter, allowing for a

tremendously expressive performance.

NOTE: Keep in mind that these pedal jacks can also be used to receive CV signals (via 1/4” TS cables)

from other synth modules, Eurorack systems, etc.

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 uctuations 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.

Each Oscillator generates two waveforms simultaneously; these can be blended via a dedicated

MIX control into a single complex, composite wave. For the rst waveform, either a Triangle or

Sawtooth wave can be chosen. Applying the WAVE ANGLE control to the Triangle wave can change

the symmetry of the waveform, allowing the Triangle to reach a Ramp or Sawtooth shape at either

extreme. Applying the WAVE ANGLE control to the Sawtooth wave can vary the reset time, delivering

increased harmonic diversity. The second waveform is a Pulse wave with a variable Pulse Width. As

with the PULSE WIDTH knob, the TRI/SAW WAVE ANGLE knob can be modulated from another

controller or parameter.

Together, their combined signals can be used to create an endless array of wave shapes that determine

each Oscillator’s nal sonic output. The OLED screen in the center of each Moog One Oscillator

provides a static image of this composite waveform.

NOTE: The static image displayed on the OLED is created by the Oscillator’s parameter settings only,

and does not reect any real-time modulation routings that may also be affecting the nal waveform.

OCTAVE (32’, 16’, 8’, 4’, 2’)

Rotating the OCTAVE knob will change the pitch of the Oscillator by

octave. The historical “foot” settings are a musical convention that

relates to pipe lengths on a pipe organ. The 8’ setting is considered

standard, and will pitch the “C” in the middle of the Moog One

keyboard (MIDI Note #60) at “Middle C.”

FREQUENCY (-7 to 0 to +7)

While the OCTAVE knob sets the Oscillator pitch in octave units, the

FREQUENCY knob continuously varies the Oscillator pitch over a range

of +/- 7 semitones (up or down a perfect fth).

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.

WAVE (TRI, SAW)

The button is used to select either the WAVE TRI (Triangle) or SAW

(Sawtooth) mode for the rst wave generator.

WAVE ANGLE

The function of the WAVE ANGLE knob is determined by the

WAVE button selection.

TRI (TRIANGLE MODE)

With the button set to WAVE TRI (the will be lit), rotating the TRI LED

WAVE ANGLE knob will continually vary the wave shape, changing the

relationship between the rising and falling segments of the wave.

The center position will create a Triangle wave. Rotating the knob to the

far left will produce a wave shape closer to a Sawtooth wave; rotating the

knob to the far right will produce a Reverse Sawtooth (or Ramp) wave.

NOTE: In TRI mode, the rising

and falling phases of the wave

both scale with pitch -- both

get faster at higher pitches, and

both get slower at lower pitches.

TIP: In TRI mode, try modulating the WAVE ANGLE to vary the rise and fall segments of the wave,

producing a wide variety of timbres traditionally unavailable on an analog synthesizer.

SAW TRIANGLE RAMP

OSCILLATORS (Continued)

SAW (SAWTOOTH MODE)

With the button set to will WAVE SAW (the SAW LED

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 6 µs (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 6 µs to 1 ms (millisecond).

NOTE: In SAW mode, modulating the Wave Angle will vary the reset time of the wave, resulting in

dynamic variations of timbral complexity.

PULSE WIDTH

The second wave generator in each Oscillator creates a pulse wave.

Rotating the PULSE WIDTH knob will vary the duty-cycle (Pulse Width)

of the wave. Rotating the PULSE WIDTH knob to the far left will create

a narrow pulse with a short duty cycle; the center position will produce

a square wave (50% duty cycle); rotating the knob to the far right will

produce a wide pulse with a long duty cycle.

NOTE: The inverse of a narrow Pulse Wave with a 20% “on” time is a wide

Pulse Wave with a 20% “off” time. Graphically, they are mirror images of

each other, and their harmonic contents are identical. However, it is the

smooth cyclic transition from one to the other that gives Pulse Width

Modulation (PWM) its distinctive sound.

MIX

Using the MIX knob, you can create a unique and intricate analog wave

shape by combining the outputs of the Triangle/Sawtooth generator

and the Pulse/Square generator. The knob determines the blend MIX

between the two, and the resultant waveform is shown in the individual

OLED window for each Oscillator. Rotating the MIX knob to the far left

outputs the Triangle/Sawtooth only; the center position provides an

equal mix of the two generators; rotating the knob to the far right MIX

will output the Pulse/Square only.

HARD SYNC (OSCILLATOR 2 and OSCILLATOR 3 only)

When an Oscillator is sync’d to the phase of another Oscillator, the

sync’d Oscillator is forced to reset itself to match every waveform peak

of the master Oscillator. As the sync’d Oscillator struggles to keep up,

the resulting wave shape can become more and more complex.

OSCILLATORS (Continued)

The sound can become aggressive, metallic, or even

exhibit elements of comb ltering. 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.

OSCILLATOR MORE PAGE

Pressing the triangular MORE button in the upper right corner of any

Oscillator module will reveal a second level of parameters that can

be accessed and modied using the Soft Knobs and Master Encoder

in the Center Console. These additional parameters are displayed

in the bottom portion of the screen. The left pane shows a static

representation of the nal wave shape output from the Oscillator.

NOTE: The static image displayed on the screen is created by the

Oscillator’s parameter settings only, and does not reect any real-time

modulation routings that may also be affecting the nal waveform.

The right pane shows the current value of the Front Panel hardware parameters for this module.

NOTE: Pressing the (now) illuminated button will exit the page and recall the HOME screen.MORE MORE

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 range of values

or settings.

SELECTING A ROW

The scroll bar at the right edge of the

screen indicates the current row. Rotating

the Master Encoder to the right will select

the next available row of parameters.

Rotating the Master Encoder to the left will select the previous row. Once selected, rotate the Soft

Knob below each parameter name to change its value.

OSCILLATOR 1

HARD SYNC’D OSCILLATOR

OSCILLATORS (Continued)

VCO MODE (SAWTOOTH, TRIANGLE)

This parameter shows the status of the button on the front panel. This function can also be WAVE

controlled here.

PITCH TRACKING (0 200%)to

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. Another example would be to set an Oscillator to Hard Sync, and utilize

an excessive value (150% - 200%) to enhance the effect.

NOTE-ON RESET (OFF, ON)

Normally, an Oscillator is constantly running, and each new note played begins from the current point

in the waveform cycle. When NOTE-ON RESET is On, the phase of the Oscillator is reset to zero with

each new note-on command, which can make for extremely punchy bass sounds.

BEND OFFSET

The Bend Offset amount is set individually for each oscillator, and is combined with the per-Synth

Pitch Bend Up and Down values set on the LHC MORE page. Bend Offset provides separate values for

Bend Up and Bend Down, and each can be set to either a positive or a negative value. In this way, the

Pitch Bend wheel can be used to resolve each oscillator to a specic note or interval at either end of its

travel, allowing for creative harmonies and chords to be introduced as part of a performance.

BEND UP OFFSET (-24 to 0 to +24)

This parameter species the amount of Pitch Bend Offset applied to the Oscillator when the

Pitch Bend wheel is moved Up. When the value is set to zero no offset is added. Negative

offset values will bend the pitch down; positive values will bend the pitch up. The range is +/-

24 semitones (two octaves).

BEND DOWN OFFSET (-24 to 0 to +24)

This parameter species the amount of Pitch Bend Offset applied to the Oscillator when the

Pitch Bend wheel is moved Down. When the value is set to zero no offset is added. Negative

offset values will bend the pitch down; positive values will bend the pitch up. The range is +/-

24 semitones (two octaves).

HARD SYNC SRC. (OSCILLATOR 2 and OSCILLATOR 3 only)

The default source for Hard Sync on Oscillator 2 and Oscillator 3 is Oscillator 1. Here, a different

oscillator can be designated as the Hard Sync source.

OSCILLATOR 2 (VCO 1, VCO 3)

OSCILLATOR 3 (VCO 1, VCO 2)

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. The higher the

value of this knob, the deeper the modulation effect.

MOD EG AMT (-10 to 0 to +10)

Adjusting this knob will determine how much of the control signal from

the Modulation Envelope Generator is being applied as a modulation

source to the pitch of all three Oscillators. The center position equals

zero and produces no effect. Rotating the knob to the right increases

the amount of signal; rotating the knob to the left inverts the MOD EG

amount of MOD EG signal.

RING MOD (RING MODULATOR)

Ring Modulation analyzes two input signals to create a new, complex output signal. Mathematically,

this output signal is the combined sum and difference of the frequencies of the input signals. Ring

Modulation is known for creating metallic, robotic and inharmonic sounds. The output of the RING

MOD appears in a dedicated channel in the Moog One Mixer module.

NOTE: The oscillator signals being fed into the RING MOD are tapped directly from the Triangle/Sawtooth

generator, and are not affected by the Oscillators’ knobs or the Oscillator knobs.PULSE WIDTH MIX

TIP: Try altering the amount of one of the Oscillators (using the PITCH TRACKING MORE button) to

emphasize the effect. You may want to reduce the volume of the altered Oscillator.RING MOD

SOURCES (1 – 2, 2 – 3)

Use this button to choose which pair of Oscillators will be fed into the

RING MOD. The corresponding LED will light.

1 – 2

Oscillator 1 and Oscillator 2 will drive the Ring Modulator.

2 – 3

Oscillator 2 and Oscillator 3 will drive the Ring Modulator.

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 10)to

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.

PULSE WIDTH / LFO 3 AMT (0 10)to

Turning this knob determines the amount of LFO 3 that is applied as a

modulation source to the Oscillators’ Pulse Width parameter. The higher

the value of this knob, the deeper the effect.

FM (FREQUENCY MODULATION)

Frequency Modulation (FM) allows the output of one oscillator to modulate the frequency of another

oscillator. Applying FM can produce complex sounds and introduce interesting harmonics. Moog One

uses Linear FM.

FM AMT (0 10)to

Turning this knob determines the amount of Frequency Modulation that

is applied from one Oscillator to another. The higher the value of this

knob, the deeper the effect.

ROUTE (1 – 2, 1 – 3, 3 – 1)

This button selects the Oscillators and routing scheme for the FM effect.

When making a selection, the corresponding LED will light.

1 – 2

The output of Oscillator 1 is modulating the frequency of Oscillator 2.

1 – 3

The output of Oscillator 1 is modulating the frequency of Oscillator 3.

3 – 1

The output of Oscillator 3 is modulating the frequency of Oscillator 1.

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 knob, a variable knob, and a ATTACK RELEASE

SUSTAIN button that allows the Noise generator to continue to sound as long as a note is held.

ATTACK (1 M-SEC to 10 SEC)

The ATTACK knob sets the Attack Time of the Noise Envelope

Generator, controlling how fast the Noise reaches its maximum volume

once a key has been pressed or a gate signal received.

RELEASE (1 M-SEC TO 10 SEC)

The RELEASE knob sets the Release Time of the Noise Envelope

Generator, controlling how slowly the fades out after a key is NOISE

released or the gate is closed.

SUSTAIN (ON/LIT, OFF/UNLIT)

When the button is engaged, the Noise Generator will SUSTAIN

continue to sound as long as a gate is held open, either by pressing

the Keyboard, holding a Sustain Pedal, or when receiving a CV Gate.

When the button is off, the Release stage will act as more of SUSTAIN

a Decay stage, fading the sound down as soon as the Attack stage has

been completed.

NOTE: The Noise Envelope Generator (NOISE EG) is available as a

modulation source; the individual stages of the NOISE EG are available

as modulation destinations.

MIXER

The Moog One Mixer module provides six input channels and two output busses. The rst ve 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. Each input can be bussed to either Filter – or both – using the SVF and LADDER buss buttons.

Each Mixer Channel features a volume knob. Rotate the knob to the right to raise the level, rotate the knob

to the left to lower the level. At the lowest setting (farthest to the left), no signal is entering the mixer.

OSC 1

Use the OSC 1 knob to set the level of the Oscillator 1

signal as it enters the Mixer. Press the associated and SVF

LADDER buttons to specify which FILTER(s) Oscillator 1 is

being routed to. When an button is lit, SVF and/or LADDER

it is On, and that lter path is enabled.

OSC 2

Use the OSC 2 knob to set the level of the Oscillator 2

signal as it enters the Mixer. Press the associated and SVF

LADDER buttons to specify which FILTER(s) Oscillator 2

is being routed to. When the button is lit, it is On, and that

lter path is enabled.

OSC 3

Use the OSC 3 knob to set the level of the Oscillator 3

signal as it enters the Mixer. Press the associated and SVF

LADDER buttons to specify which FILTER(s) Oscillator 3 is

being routed to. When each button is lit, it is On, and that

lter path is enabled.

RING MOD

Use the RING MOD knob to set the level of the Ring

Modulator signal as it enters the Mixer. Press the associated

SVF and LADDER buttons to specify which FILTER(s) the

Ring Modulator is being routed to. When each button is lit,

it is On, and that lter path is enabled.

MIXER (Continued)

NOISE

Use the knob to set the level of the Noise Generator NOISE

signal as it enters the Mixer. Press the associated and SVF

LADDER buttons to specify which FILTER(s) the Noise

Generator is being routed to. When each button is lit, it is

On, and that lter path is enabled.

MIXER MORE PAGE (EXTERNAL INPUT CHANNEL)

Pressing the triangular button in the upper right corner of the MORE

Mixer module will reveal additional Mixer parameters. The left pane

displays the current Mixer input levels, bar-graph style. The square

boxes associated with each input turn white to indicate which Filter

buss(es) are in use. The rst column of boxes indicates the lters, SVF

the second column indicates the Ladder lter. This visual information

reects the physical knob and button settings from the Front Panel

controls. The right pane shows the current value of the Front Panel

hardware parameters for this module.

The nal Mixer input channel is labelled External, and has no corresponding Front Panel hardware.

Instead, this input is controlled using the rst three Soft Knobs at the bottom edge of the screen.

NOTE: Pressing the (now) illuminated MORE button will exit the MORE page and recall the HOME screen.

The onscreen MORE page parameters

are edited using the 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, it may choose from

a list of values or settings, and in yet other

cases, the soft knob is dialing in a value –

either an absolute value or a percentage.

EXT. INPUT LEVEL (0% to 100%)

This parameter sets the input level to the mixer from the External Audio Input signal.

EXT. INPUT ROUTE (NONE, SVF, LADDER, BOTH)

This parameter species which Filter(s) the External Audio Input signal is being routed to.

EXT. INPUT SOURCE (NONE, MIC/LINE, LINE, MIC/LINE+LINE)

This parameter species which physical EXT. INPUT jack(s) is the source of the EXT. INPUT signal.

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 conguration is determined by their parameter

settings. The third lter 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.

This combination of Filter types and routings provides extensive control of the timbre, harmonic

content, and nal character of the sound. In turn, this exibility allows Moog One to recreate a vast

array of lter schemes that have appeared in countless classic (as well as obscure) synthesizers and

modules, and also combine them to create completely new, unique sounds.

In both the State Variable Filter (SVF) and Ladder Filter, the basic parameters are the same. The

CUTOFF knob species the operating frequency of the Filter. The Cutoff Frequency may represent an

upper frequency limit, lower frequency limit, or center frequency value, depending on the Filter MODE

selected. The knob routes a portion of the Filter’s output signal back to the input of the RESONANCE

Filter, emphasizing the Cutoff Frequency. The Cutoff Frequencies of the SVF and Ladder Filter can be

linked together and operated simultaneously from either CUTOFF knob.

NOTE: When designing sounds, remember that each source can be routed to either Filter individually,

or to both.

STATE VARIABLE FILTER (SVF)

The SVF is constructed using two identical lter circuits that together behave as one; their

arrangement and interaction is determined by the choice of NOTCH, Bandpass (BP), High Pass (HP), or

Low Pass (LP) Modes on the Front Panel, and by other parameters located in the Filter MORE page.

CUTOFF (20Hz to 20kHz)

Rotate this knob to set the operating frequency of the SVF

Filter. The function of the selected frequency will depend on the

selected Filter MODE.

RESONANCE (0 10)to

As the value of the RESONANCE knob is increased, more emphasis

is applied at the Cutoff Frequency of the Filter. This will boost the

prominence of any harmonic content in your sound that is at or near

the Cutoff Frequency.

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. Harmonic content

contained in a band centered around the Cutoff Frequency is

allowed to pass, while the frequencies outside this band – both

above and below – will be attenuated.

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.

LADDER FILTER (LADDER)

The Ladder Filter is based on the classic Moog transistor-network Ladder design. As with the SVF,

the Ladder Filter offers different Modes of operation. In addition, the Ladder Filter offers four distinct

attenuation slopes.

CUTOFF (20Hz to 20kHz)

Rotate the CUTOFF knob to set the operating frequency of the

Ladder Filter. The function of the selected frequency will depend

on the selected Filter MODE.

RESONANCE (0 10)to

As the value of the RESONANCE knob is increased, more emphasis

is applied at the Cutoff Frequency of the Filter. This will boost the

prominence of any harmonic content in your sound that is at or near

the Cutoff Frequency. By turning the knob all the way RESONANCE

up and lowering the knob, the Filter can be coaxed into a CUTOFF

self-oscillating state, acting as a sine-wave oscillator whose pitch is

determined by the Filter’s Cutoff Frequency.

FILTERS (Continued)

MODE (HP, LP)

Pressing the button toggles between the two Ladder Filter MODE

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.

SLOPE (24dB, 18dB, 12dB, 6dB)

Pressing this button cycles through the Filter’s available Slope settings.

The associated LED will light to indicate your selection.

24dB

Using this setting, the Ladder Filter attenuates the frequencies above

(LP Mode) or below (HP Mode) the Cutoff Frequency at a rate of 24

dB per octave. The original Moog Ladder lter operated at 24 dB per

octave.

18dB

Using this setting, the Ladder Filter attenuates the frequencies above

(LP Mode) or below (HP Mode) the Cutoff Frequency at a rate of 18 dB

per octave.

12dB

Using this setting, the Ladder Filter attenuates the frequencies above (LP Mode) or below (HP

Mode) the Cutoff Frequency at a rate of 12 dB per octave.

6dB

Using this setting, the Ladder Filter attenuates the frequencies above (LP Mode) or below (HP

Mode) the Cutoff Frequency at a rate of 6 dB per octave.

FILTER COMMON PARAMETERS

These parameters apply to both the SVF and Ladder Filter simultaneously; they determine how the

Filters operate together.

LINK CUTOFF (ON/LIT, OFF/UNLIT)

When this parameter is on, operating either the SVF knob or CUTOFF

the Ladder CUTOFF knob will uniformly change both of their Cutoff

Frequencies. The relative offset between the Cutoff Frequency settings

of the Filters is preserved as the linked value is increased or decreased.

NOTE: In a situation where tweaking one of the knobs causes CUTOFF

either parameter to reach its high or low limit, it will remain at that limit. The

relative offset will be restored when the parameter is no longer at its limit.

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 “lter chain.”

MIX

The balance between the two Filter outputs is controlled using the

MIX knob. The center position represents an equal blend of the two

lter modules. Turning the MIX knob to the left will favor the SVF

output; turning the knob to the right will accentuate the MIX

Ladder Filter output.

NOTE: To listen to the serial output of both lters, assign any source(s)

to the SVF lter only, and then rotate the knob all the way to the MIX

right (100% Ladder). The SVF output will feed the Ladder lter input,

and the Ladder output will be the result of both lters in series.

CUTOFF MODULATION

The Filter module also contains three Cutoff Modulation parameters – EG AMT, LFO 2 AMT, and

FM AMT. These frequently used modulation sources are instantly available and are conveniently hard-

wired to each Filter’s Cutoff Frequency. These parameters can be adjusted independently for the SVF

and Ladder Filter, or they can be applied to both at once.

SVF MOD (ON/LIT, OFF/UNLIT)

When this button is lit, the EG AMT, LFO 2 AMT, and knobs will FM AMT

set the modulation for the Cutoff Frequency of the State Variable Filter.

When is unlit, the knobs no longer adjust the SVF modulation SVF MOD

amount, but any previous modulations set for the SVF will remain.

LADDER MOD (ON/LIT, OFF/UNLIT)

When this button is lit, the EG AMT, LFO 2 AMT, and knobs will FM AMT

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. In this case, the EG AMT, LFO 2 AMT, and FM AMT knobs will affect the

modulation amounts for both Filters.

FILTERS (Continued)

LADDER MOD (ON/LIT, OFF/UNLIT)

When this button is lit, the EG AMT, LFO 2 AMT, and knobs will FM AMT

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. In this case,

the EG AMT, LFO 2 AMT, and FM AMT knobs will affect the modulation

amounts for both Filters.

EG AMT (-10 to 0 to +10)

This knob sets the amount of control signal generated by the Filter

Envelope that will be applied as a modulation source to the Cutoff

Frequency of the selected Filter(s). In the center position, the EG AMT

knob will have no effect. Turning the knob to the right will increase the

amount of positive modulation being applied. Turning the knob to the left

will increase the amount of negative (or inverse) value being applied.

LFO 2 AMT (0 to 10)

The amount of modulation signal generated by LFO 2 that will be

applied to the Cutoff Frequency of the selected Filter(s) is determined

by this knob. At the far left setting, no modulation is applied. Turn the

knob to the right to apply more modulation signal.

FM AMT (0 to 10)

The amount of modulation signal generated by the FM (Frequency

Modulation) Source that will be applied to the Cutoff Frequency of

the selected Filter(s) is determined by this knob. At the far left setting,

no modulation is applied. Turn the knob to the right to apply more

modulation signal.

NOTE: The modulation source for the FM AMT knob is selected in the

Filter MORE page. An independent FM Source can be set for the Ladder

Filter and for the SVF.

FILTER MORE PAGE

Pressing the triangular button in the upper right corner of the Filter Module will reveal a second MORE

level of parameters that can be accessed and modied 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 lter modules. The right pane shows the current value of the

Front Panel hardware parameters for this module. Tweaking these panel controls will update their

values here.

NOTE: Pressing the (now) illuminated MORE button will exit the MORE page and recall the screen.HOME

The onscreen page parameters are MORE

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. Rotate the Master Encoder to the right to

highlight the next row of parameters. Rotating the Master Encoder to the left will select a previous row.

Again, rotate the Soft Knob below a parameter to change its value.

SVF SPACING (-100% to 0 to +100%)

This parameter sets up an offset in the Cutoff Frequency value between the two lter elements that

comprise the State Variable Filter. The SVF Cutoff Frequency sets the value of lter element A; the

SVF SPACING parameter sets the Cutoff Frequency of element B above or below that value. When

the value of this parameter is set to 0, the Cutoff Frequency of the two elements is the same. Positive

values raise the Cutoff Frequency of element B in relation to element A; negative values will lower it.

SVF SERIES/PARALLEL (SERIES, PARALLEL)

This parameter determines how the two lter elements that comprise the SVF module will arrange

themselves. When Series is selected, the output of element A will feed the input of element B. By

selecting Parallel, the two lters will operate side by side.

NOTE: Although sharing similar attributes, this parameter has a different function than the SER / PAR

ROUTE button on the Front Panel. That button species whether the SVF and Ladder Filter are running in

Series or Parallel. The SVF SERIES/PARALLEL selection only affects the elements inside the SVF module.

SVF FM SOURCE (OSC 1, OSC 2, OSC3)

This parameter determines which Oscillator will serve as the Frequency Modulation source for the SVF.

When applying FM button needs to be On (lit), and the , the SVF MOD FM AMT knob sets the amount.

LADDER FM SOURCE (OSC 1, OSC 2, OSC3)

This parameter determines which Oscillator will serve as the Frequency Modulation source for the

Ladder Filter. When applying FM, the LADDER MOD button needs to be On (lit), and the FM AMT knob

sets the amount.

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-nish prole is known as the envelope of a sound.

In synthesis, the Envelope Generator (EG) is one of the most useful and versatile modulation sources.

Traditionally, four individually controlled parameters – Attack Time, Decay Time, Sustain Level, and

Release Time – allow the Envelope Generator to create a complex (ADSR) control signal that can be

used to evolve a sound over time. Moog One adds additional Delay Time and Hold Time parameters

(DAHDSR) to each Envelope, as well as selectable Curves for each stage, Looping and Latching EG

modes, Time Scaling, Multi Triggering, and even Sync, to generate a much more useful EG signal.

Three independent Envelope Generators are provided – the Filter Envelope, the Amplier Envelope,

and the Modulation Envelope. By default, the Filter Envelope modies the timbre of a sound over time,

the Amplier Envelope modies the amplitude (loudness) over time, and the Modulation Envelope is

available as a modulation source for any parameter, though it is also hardwired to the MOD EG AMT

knob in the Pitch Modulation section of the Oscillator module. In practice, any EG can be used as a

modulation source for any modulation destination. The parameters dened below are identical for

each Moog One Envelope.

In this diagram, you can see how the Delay Time, Attack Time, Hold Time, Decay Time, Sustain Level,

and Release Time work together to form a continuous control signal. The Envelope begins as the key is

pressed, and the Release stage begins when the key is released. An external gate can also be used to

trigger an Envelope.

NOTE: Although the value for the Attack Time, Decay Time, and Release Time are given as M-SEC 1 (one

millisecond) to 10 SEC (ten seconds), it is possible to set these parameters to an even smaller near-zero

value, indicated as MIN (minimum) by rotating the knob all the way to the left. This MIN setting makes

the value less sensitive to the effects of the TIME SCALE parameter (Envelope MORE page).

A m p l i t ud e

A t t a c k

H o l d

D e l a y

D e c a y

S u s t a i n

R e l e a s e

T i m e

ENVELOPES (Continued)

ATTACK (1 M-SE EC)C to 10 S

The knob determines the amount of time required for the ATTACK

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 knob determines the amount of time required for the DECAY

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. Rotating the knob to the right will increase the Decay Time.

SUSTAIN (0 to 10)

The , , and knobs control the amount of ATTACK DECAY RELEASE

time needed to complete their respective stages. The knob SUSTAIN

instead controls the level that the Envelope control signal will maintain

while a key remains pressed (or a gate remains open). Higher values will

produce a higher Sustain Level.

RELEASE (1 M-SE EC)C to 10 S

After the key is released (or the gate is closed), the Envelope enters

the Release stage. The knob determines the amount of time RELEASE

required for the control signal to fall from its current level back to zero.

Rotating the knob to the right will increase the Release Time.

NOTE: If the key is released (or the gate is closed) before the Attack

and/or Decay stages are complete, the Envelope will simply advance

to the Release stage.

ENVELOPES (Continued)

MULTI TRIG (ON/LIT, OFF/UNLIT)

This setting provides improved articulation while playing in the MONO

or Modes. With the UNISON 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. When playing polyphonically, if a

particular voice is re-triggered by a new note while still playing the

previous note, the Envelope will restart (MULTI TRIG On) or not

(MULTI TRIG Off).

SYNC (ON/LIT, OFF/UNLIT)

When the SYNC button is On, the seconds-based timing of the

Envelope’s Delay, Attack, Hold, Decay, and Release stages is replaced

by quantized musical divisions of the Master Clock’s Tempo (BPM). This

allows the Envelopes to operate in sync with other modules using clock-

division timing, including the Arpeggiator, Sequencer, LFOs, Effects, etc.

The complete value range for the envelopes is: {1/64, 1/32, 1/16, SYNC

1/8, 1/4, 1/2, 1, 2, 4, 8, 16, 32, 64}

LOOP (ON/LIT, OFF/UNLIT)

With the LOOP button On, the Envelope forms a repeating control

signal based on the values of the Delay, Attack, Hold, Decay, Sustain,

and Release stages. As soon as the Release stage is complete, the Delay

stage will begin anew. This type of repeating control signal is

also known as a trapezoid signal.

LATCH (ON/LIT, OFF/UNLIT)

Setting the LATCH button to On holds the Envelope open at the Sustain

level, even after a key is released or the gate is closed. With the LATCH

button On and the button set to On, the Envelope continues to LOOP

cycle and loop, even after the key (or gate) is released.

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.

In this example, the Oscillator 2

FREQUENCY knob has been selected, and

turning the knob will set the modulation

amount as shown in the second screen. At

this point, pressing the DONE Soft Button

at the top of the screen will complete the

modulation routing, or the CANCEL Soft

Button can be used to exit this modulation

screen without making the modulation

route complete. The functions of the

additional Soft Knobs and Soft Buttons are

discussed in the MODULATION section.

ENVELOPE MORE PAGE

Pressing the associated triangular button in the upper right MORE

corner of any Envelope will reveal a second level of parameters that can

be accessed and modied 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

Envelope shape. The right pane shows the current value of the Front

Panel hardware parameters for this module. Tweaking these panel

controls will update their values here.

NOTE: Pressing the (now) illuminated MORE button will exit the

MORE page and recall the HOME screen.

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. Rotate the Master Encoder to the right to

highlight the next row of parameters. Rotating the Master Encoder to the left will select a previous row.

Again, rotate the Soft Knob below the parameter to change its value.

DELAY TIME (0.0 10.0ms to s)

Not to be confused with the DECAY KNOB, the DELAY TIME parameter species how soon the Attack

will begin after a key is pressed (or a gate is opened). Normally, this value will be 0.0ms, and the

envelope Attack will begin instantaneously.

HOLD TIME (0.0 10.0ms to s)

The HOLD TIME parameter pauses the Envelope at the peak of the Attack stage for a specic period

of time before the Decay stage begins.

TIP: Setting the HOLD TIME of the Amplier Envelope to about 10 to 100 ms can simulate a taste of the

classic Minimoog “envelope clipping” to deliver an extra bite or edge to the sound.

RESET (OFF, ON)

This parameter applies to the EG Attack stage, when either the MONO or buttons in the UNISON

Polyphony Module are lit, and the EG MULTI TRIG button is On. When the function is On, each RESET

new note played will cause the Envelope to begin again, resetting the Attack stage to zero. When

RESET is Off, a new note played Legato style will apply the Envelope’s current value as the starting

point for the Attack stage.

TIME SCALE (10% to 100% to 1000%)

Changing the TIME SCALE can provide Envelopes with longer or shorter durations while maintaining

the timing ratios established by the Delay, Attack, Hold, Decay, and Release settings. Using the center

value of 100% does not alter the TIME SCALE.

TIP: Using Velocity or Keyboard Tracking as a modulation source for this parameter can provide

increased articulation over all ve Envelope Time parameters.

TIP: Any Envelope stage having a time value = MIN will be unaffected by changes to the

Time Scale parameter.

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 , the resulting Attack curve LINEAR

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. With a value of 100% LOG, the

Decay curve will have a Logarithmic shape. When the value reaches , the resulting Decay curve LINEAR

will be a straight line. With a value of 100% EXP, the Decay curve will take on an Exponential shape.

RELEASE 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

Release curve will have a Logarithmic shape. When the value reaches , the resulting Release curve LINEAR

will be a straight line. With a value of 100% EXP, the Release curve will take on an Exponential shape.

TIP: Exponential curves (100% EXP) can appear to affect the Envelope speed, especially when applied to

Release times, so it is often necessary to increase the Release time to compensate. When striving for a

truly long Release time (nearing the full 10 second maximum), setting the Time Scale to around 9x or so

may be required.

NOTE: The Envelope display in the left part of the display will reect the Attack, Decay, and Release

curve assignments made above.

VEL MOD AMT (-100% to 0 to +100%)

Velocity information from the keyboard can be used to modulate the Envelope amplitude by specifying

the Velocity Modulation Amount. Note that this parameter can be given either a positive or negative

value. As the value of this parameter approaches 100%, notes played with less velocity generate lower

Envelope output levels. Conversely, as the value of this parameter approaches -100%, notes played

with greater velocity generate lower Envelope output levels. The default value is zero.

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 inuences

the behavior of another module, that is modulation. As the name suggests, LFOs are Oscillators that

have a low-frequency operating range. LFOs are ideal for introducing a controlled, cyclic modulation

that can be used for adding vibrato (modulating the pitch of the oscillator), for example, but it goes

far beyond that. Moog One provides four independent LFOs that deliver extensive modulation control,

plus a host of modulation parameters that open new avenues for creative sound design. Plus, each

LFO can be individually sync’d to different timing divisions of the Master Clock for an astounding

polyrhythmic performance.

RATE (0 10)to

The RATE knob sets the speed of the LFO; slower values to the

left, faster values to the right. The range of available frequencies

is determined by the LFO MORE page. RANGE parameter in the

Additionally, when the LFO is sync’d, the RATE knob is used to

select a timing division of the Master Clock. The RATE knob LED

will ash at the current setting.

WAVE (TRIANGLE, PULSE, SAWTOOTH, S&H)

The WAVE button cycles through the four categories of LFO

waveforms: Triangle / Sine, Pulse, Saw / Ramp, and

Sample & Hold / Noise. The nal wave shape is determined by

the parameter found on the VARIATION LFO MORE page.

TRI / SINE (TRIANGLE to SINE)

This option provides both a Triangle wave and a Sine wave. Changing

the value of the parameter will provide a transition between VARIATION

the Triangle wave and a Sine wave.

PULSE

With Pulse selected, changing the value of the parameter in turn changes the pulse width, VARIATION

or duty cycle, of the wave.

SAW / RAMP (SAWTOOTH RAMP) to

This option provides both a Sawtooth wave and a Ramp wave. Changing the value of the VARIATION

parameter will provide a transition between the Sawtooth wave and a Ramp wave.

S&H / NOISE (SAMPLE & HOLD to NOISE)

For the S&H (Sample & Hold) wave, changing the value of the VARIATION parameter will provide a

transition between the S&H wave and Noise.

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. In this example,

the Oscillator 2 FREQUENCY knob has

been selected, and turning the knob will

set the modulation amount as shown in

the second screen.

At this point, pressing the Soft DONE

Button at the top of the screen will

complete the modulation routing, or the

CANCEL Soft Button can be used to exit

this modulation screen without making the

modulation route complete. The functions

of the additional Soft Knobs and Soft

Buttons are discussed elsewhere, in the

MODULATION section.

LFO MORE PAGE

Pressing the triangular MORE button in the upper right corner of any

LFO module will reveal its second level of parameters that can be

accessed and modied using the interactive portion of the Center

Console. These additional parameters are displayed in the bottom

portion of the screen. The left pane shows the LFO wave shape as

determined by the LFO WAVE button on the Front Panel and the

VARIATION parameter described below. The right pane shows the

current values of the Front Panel parameters for this module. Tweaking

these Front Panel controls will update their values here.

NOTE: Pressing the (now) illuminated button will exit the MORE

MORE page and recall the HOME screen.

LOW FREQUENCY OSCILLATORS (Continued)

The onscreen page parameters are MORE

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.

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. Rotating the Master Encoder to the left will select a previous row.

Again, rotate the Soft Knob below the parameter to change its value.

RANGE (SLOW, LOW, MEDIUM, HIGH)

Each LFO has a frequency range from 0.001 Hz to 1 kHz. In order to make it easier to dial in just the

right rate, the range is divided into four sections.

SLOW

0.001 Hz to 1 Hz

LOW

0.01 Hz to 10 Hz

MEDIUM

0.1 Hz to 100 Hz

HIGH

1.0 Hz to 1 kHz

VARIATION (0% 00%)to 1

Pressing an LFO button on the Front Panel selects from a series of variable LFO wave shapes. WAVE

The VARIATION parameter provides a smooth and continuous transition from one (0%) to the other

(100%). The resulting wave shape is shown in the left pane of each LFO MORE page.

TRIANGLE (TRI / SIN)

Triangle forms a symmetrical wave, with equal rise and fall times. The VARIATION parameter provides

a continuous transition from Triangle (0%) to Sine (100%). Sine replaces the pointed peaks and valleys

of the Triangle with a smoother curve.

PULSE

With Pulse selected, the VARIATION parameter provides a continuous change in pulse width, or duty

cycle, from 0% to 100%.

TIP: When applying the parameter to a Pulse wave, 0% is “always off” and 100% is VARIATION

“always on” so if you don’t hear any changes from an LFO that is set to the Pulse wave, try changing

the VARIATION parameter to some mid-range value.

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.

S&H (S&H / NOISE)

Sample & Hold takes an instantaneous sample (reading) of the noise signal and holds it until the next

clock cycle, when another sample is taken, etc. The Noise LFO is a continuously-changing random

value, derived from white noise. The transition from Sample & Hold (0%) to Noise (100%) is determined

by the VARIATION parameter.

POLARITY (UNIPOLAR, BIPOLAR)

When the Polarity is set to Unipolar, the lowest point on the wave cycle is dened as having a value

equal to zero; all values above will be in the positive domain. With Polarity set to Bipolar, the centerline

of the wave is dened as having a value equal to zero; values above the center line will be in the

positive domain, values below this centerline will be in the negative domain.

START PHASE (0% 100%) to

This parameter determines at what position in the LFO’s cycle it will begin, each time the LFO cycle is

reset. The LFO will reset with each new note-on event if the NOTE-ON RESET parameter is set to On,

or if the value of the Repeats parameter is set to an integer. The LFO will also reset to this Start Phase

position on Master Clock Start, if the LFO parameter is set to On.SYNC

SYNC (ON, OFF)

When Sync is Off, the LFO is free to run at its own speed and clock rate. When Sync is On, the LFO and

Master Clock are synchronized, and the Master Clock determines the LFO Rate.

NOTE: When Sync is selected here, rotating the LFO RATE knob on the Front Panel will select quantized

clock divisions (see below) of the Master Clock.

SYNC DIVISION (64, 32, 16, 8, 4, 2, 1, 1/2, 1/4, 1/8, 1/16, 1/32, 1/64)

When Sync’d, the Master Clock provides a tempo base; divisions of that Master Clock are used to set

the LFO Rate. Changing the Sync Division species the timing in terms of quarter-note beats.

SYNC TIMING (STRAIGHT, DOTTED, TRIPLET)

When Sync’d, Sync Timing provides a further modication of the Master Clock. Here the timing of each

note played can be set relative to the Master Clock.

STRAIGHT

The timing of each step is played as specied by the Sync Division.

DOTTED

The timing of each step is modied to play as a dotted note, or at 1.5 x the value specied by

the Sync Division.

TRIPLET

The timing of each step is modied to play as if it were one note in a triplet, or at 2/3rds of the

value specied by the Sync Division.

NOTE-ON RESET (OFF, ON)

With this parameter set to On, the LFO begins a new cycle with each new note on-event, beginning

from the value specied in the START PHASE parameter.

LOW FREQUENCY OSCILLATORS (Continued)

DELAY TIME (OFF, 0.1ms to 10.0s)

This parameter sets up a timing delay, or interval, before the LFO signal begins.

FADE IN TIME (OFF, 0.1ms to 10.0s)

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, 0.1ms to 10.0s)

This parameter controls how much time is need for the LFO intensity to fall from its maximum level to

0. The Fade Out time begins the Delay Time and the Fade-In stages are complete.after

REPEATS (INFINITE, 1 - 32)

Setting an integer value for this parameter will specify an exact number of full cycles that will be

completed by the LFO, after Note On. Once that value has been reached, the LFO will wait for the next

note-on command and begin all over.

TIP: The DELAY TIME, FADE IN TIME, FADE OUT TIME, REPEATS and parameters can be used together to

make some exciting performance modulation happen as part of the sound design of your Preset, without

needing to use a free hand to operate a modulation controller. For example, you could have an LFO wait 2

seconds to fade in and then fade out on a wide vibrato that is applied 8 times to a sustained note(s).

SMOOTHING (0% to 100%)

By selecting smoothing, a single-pole (-6 dB per Octave) low-pass lter is applied to the LFO wave

shape. As the Smoothing value is increased, the Cutoff Frequency is lowered, limiting the changes in

the LFO signal. Smoothing is most noticeable at slower LFO rates, and with the S&H / Noise and Pulse

wave shapes.

VCA AND OUTPUT

The VCA module and the OUTPUT module may appear to be similar, but their functions are quite

different. In short, the panel controls of the VCA module consist of a knob and a knob. LEVEL PAN

Their function affects only the active Synth(s) that has been selected using the Panel Focus buttons:

SYNTH 1 SYNTH 2 SYNTH 3, , and . Their purpose is to set the level and panning of the active Synth

within the stereo mixes. The panel controls of the MAIN OUT and/or SUB OUT MASTER OUT module,

on the other hand, are used to adjust the listening level of the entire Moog One, and are unaffected by

the loading of Presets and Timbres. Both modules are equipped with a MORE button that reveals

a second parameter layer, where their differences may become more apparent.

VCA

VCA stands for Voltage Controlled Amplier. Before it can be heard, the sound being created by

Moog One must pass through an amplier circuit to bring it to an appropriate output level. This

amplier circuit is under voltage control, meaning that the amplier parameters can be controlled

via a modulation source, and are saved as part of the active Synth.

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.

VCA MORE PAGE

Pressing the triangular MORE button in

the upper right corner of the VCA module

will open the VCA MORE page. The VCA

MORE page conveniently places the

Level and Pan controls of all three Synths

together on one page, making it easy

to set the right mix. Panning adjusts the

placement of the sound in the stereo eld

when using the Left and Right MAIN OUT

jacks or the SUB OUT Left and Right jacks.

The left pane offers a visual representation

of the Level and Pan settings of each

Synth. The right pane shows the current

value of the Front Panel hardware parameters for this module. The Front Panel controls can only adjust

the active Synth. Using the parameters at the bottom of the screen allows all Synths to be adjusted

here. In either case, the values shown in the right pane will be update when the controls are edited.

NOTE: Pressing the (now) illuminated MORE button will exit the MORE page and recall the HOME screen.

The onscreen page parameters are edited using the four Soft Knobs below the screen.MORE

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.

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. Rotating the Master Encoder to the left will select a previous row.

Again, rotate the Soft Knob below the parameter to change its value.

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. The Level Indicator in the left pane will move, and the corresponding

value in the right pane will change as well.

SYNTH 3 - LEVEL (0% 100%)to

Turning the Soft Knob to the left decreases the Level of Synth 3. Turning the Soft Knob to the right

increases the Level of Synth 3. The Level Indicator in the left pane will move, and the corresponding

value in the right pane will change as well.

SYNTH 1 - PAN (100% L to C to 100% R)

Turning the Soft Knob to the left will pan the sound of Synth 1 to the left. Turning the Soft Knob to the

right will pan the sound of Synth 1 to the right. A value of C (for Center) places the sound of Synth 1 in

the center of the stereo mix. The Pan Indicator in the left pane will move, and the corresponding value

in the right pane will change as well.

SYNTH 2 - PAN (100% L to C to 100% R)

Turning the Soft Knob to the left will pan the sound of Synth 2 to the left. Turning the Soft Knob to the

right will pan the sound of Synth 2 to the right. A value of C (for Center) places the sound of Synth 2 in

the center of the stereo mix. The Pan Indicator in the left pane will move, and the corresponding value

in the right pane will change as well.

SYNTH 3 - PAN (100% L to C to 100% R)

Turning the Soft Knob to the left will pan the sound of Synth 3 to the left. Turning the Soft Knob to the

right will pan the sound of Synth 3 to the right. A value of C (for Center) places the sound of Synth 1 in

the center of the stereo mix. The Pan Indicator in the left pane will move, and the corresponding value

in the right pane will change as well.

SYNTH 1 - SPREAD (0% to 100%)

This parameter determines the width, or the amount of stereo spread created by voices played in

Synth 1. The pan position specied by the Synth 1 Pan parameter is the center of the stereo spread.

With a value of 0%, no Spread is applied and all voices will be subject to the pan position specied by

the Synth 1 Pan parameter. Rotate the Soft Knob to the right to increase the amount of stereo spread

applied, dynamically panning individual voices in the stereo eld up to the specied amount.

SYNTH 2 - SPREAD (0% to 100%)

This parameter determines the width, or the amount of stereo spread created by voices played in

Synth 2. The pan position specied by the Synth 2 Pan parameter is the center of the stereo spread.

With a value of 0%, no Spread is applied and all voices will be subject to the pan position specied by

the Synth 2 Pan parameter. Rotate the Soft Knob to the right to increase the amount of stereo spread

applied, dynamically panning individual voices in the stereo eld up to the specied amount.

SYNTH 3 - SPREAD (0% to 100%)

This parameter determines the width, or the amount of stereo spread created by voices played in

Synth 3. The pan position specied by the Synth 3 Pan parameter is the center of the stereo spread.

With a value of 0%, no Spread is applied and all voices will be subject to the pan position specied by

the Synth 3 Pan parameter. Rotate the Soft Knob to the right to increase the amount of stereo spread

applied, dynamically panning individual voices in the stereo eld up to the specied amount.

OUTPUT

The Output module contains two volume knobs, one to control the (MASTER VOLUME MAIN L/R

outputs), and one to control the output level. Each knob functions independently; HEADPHONES

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.

Unlike every other knob on the Front Panel, these knobs always display their true value in a “what you

see is what you get” manner.

MASTER VOLUME (0 to 10)

The MASTER VOLUME knob controls the output level of MAIN L/R

Moog One. Higher values will have a higher volume level.

HEADPHONES (0 0)to 1

Moog One provides two identical headphone jacks, located on the

front edge of the Left Hand Controller panel. This HEADPHONES

knob controls the volume level of the HEADPHONES jacks, which

are not affected by the MASTER VOLUME knob. This allows you to

check or tweak a Preset with headphones on stage without allowing

the audience to hear it until you’re ready to turn up the MASTER

VOLUME knob.

OUTPUT MORE PAGE

Pressing the triangular button in the upper right corner of the module will reveal a MORE OUTPUT

second level of parameters that can be accessed and modied using the interactive portion of the

Center Console. These additional parameters are displayed in the bottom portion of the screen. The

left pane displays output assignments for each Synth and for each of the EXT. INPUT jacks, as well as

the volume level of each output. The right pane shows the current value of the Front Panel hardware

parameters for this module. Tweaking these panel controls will update their values here.

The MORE parameters of the global OUTPUT module designate the routing for each Synth in the

current Preset. Output Routing for the Insert channels is one-to-one, meaning each Synth can only be

assigned to one Insert at a time, and each Insert can only host one Synth at a time.

NOTE: Pressing the (now) illuminated MORE button will exit the MORE page and recall the screen.HOME

OUTPUT (Continued)

The onscreen page parameters are MORE

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. Rotate the Master Encoder to the right to

highlight the next row of parameters. Rotating the Master Encoder to the left will select a previous row.

Again, rotate the Soft Knob below the parameter to change its value.

MAIN - SYNTH 1 (OFF, ON)

Setting this parameter to On will route Synth 1 to the Outputs.MAIN L and MAIN R

MAIN - SYNTH 2 (OFF, ON)

Setting this parameter to On will route Synth 2 to the Outputs.MAIN L and MAIN R

MAIN - SYNTH 3 (OFF, ON)

Setting this parameter to On will route Synth 3 to the Outputs.MAIN L and MAIN R

SUB - SYNTH 1 (OFF, ON)

Setting this parameter to On will route Synth 1 to the Outputs on the Rear Panel.SUB L and SUB R

SUB - SYNTH 2 (OFF, ON)

Setting this parameter to On will route Synth 2 to the Outputs on the Rear Panel.SUB L and SUB R

SUB - SYNTH 3 (OFF, ON)

Setting this parameter to On will route Synth 3 to the Outputs on the Rear Panel.SUB L and SUB R

SUB VOLUME (-96 dB to 0 dB to +22 dB)

This parameter allows the output volume of the and SUB L SUB R Outputs to be set independently of

the and MAIN L MAIN R Outputs.

INSERT 1 - SYNTH 1 (OFF, ON)

Setting this parameter to On will route Synth 1 to the INSERT 1 buss.

INSERT 1 - SYNTH 2 (OFF, ON)

Setting this parameter to On will route Synth 2 to the INSERT 1 buss.

INSERT 1 - SYNTH 3 (OFF, ON)

Setting this parameter to On will route Synth 3 to the INSERT 1 buss.

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.

INSERT 3 - SYNTH 2 (OFF, ON)

Setting this parameter to On will route Synth 2 to the INSERT 3 buss.

INSERT 3 - SYNTH 3 (OFF, ON)

Setting this parameter to On will route Synth 3 to the INSERT 3 buss.

INSERT 3 - EXT 1/4 (OFF, ON)

Setting this parameter to On will route an audio signal arriving at the

EXT INPUT 1/4” jack to the INSERT 3 buss.

INSERT 4 - SYNTH 1 (OFF, ON)

Setting this parameter to On will route Synth 1 to the INSERT 4 buss.

INSERT 4 - SYNTH 2 (OFF, ON)

Setting this parameter to On will route Synth 2 to the INSERT 4 buss.

INSERT 4 - SYNTH 3 (OFF, ON)

Setting this parameter to On will route Synth 3 to the INSERT 4 buss.

INSERT 4 - EXT XLR (OFF, ON)

Setting this parameter to On will route an audio signal arriving at the

EXT INPUT XLR jack to the INSERT 4 buss.

INSERT 1 - VOLUME (-96 dB to 0 dB to +22 dB)

This parameter allows the volume of the INSERT 1 Output to be set independently.

INSERT 2 - VOLUME (-96 dB to 0 dB to +22 dB)

This parameter allows the volume of the INSERT 2 Output to be set independently.

INSERT 3 - VOLUME (-96 dB to 0 dB to +22 dB)

This parameter allows the volume of the INSERT 3 Output to be set independently.

INSERT 4 - VOLUME (-96 dB to 0 dB to +22 dB)

This parameter allows the volume of the INSERT 4 Output to be set independently.

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. The monaural

output from an external processor is returned to the same insert jack it was sent from, using a 1/4” TRS

to dual 1/4” TS insert cable. For an external processor with a monaural input and a stereo output, Moog

One can receive the return signals using an adjacent pair of inserts. Odd numbered inserts ( ) merge 1 3,

the return signal to the , MAIN L buss, and even numbered insert (2 4) merge the return signal to the

MAIN R bus. In this way, a monaural signal sent to an external processor can return in stereo using a

pair of adjacent insert points ( ). So the monaural signal sent via 1 2 3 4 & or & INSERT 1 can be returned

in stereo using and . Further, these adjacent pairs are normalled, so that if nothing INSERT 1 INSERT 2

is connected to , the monaural return signal arriving at will be applied to both the INSERT 2 INSERT 1

MAIN L MAIN R and busses. The same scenario applies to INSERT 3 and INSERT 4.

Technically, each of the four inserts relies on a single 1/4” TRS jack wired as both a send and a return.

The Tip of this Tip/Ring/Sleeve jack is wired as the Send; the signal is then returned to Moog One

via the Ring connection of the Tip/Ring/Sleeve jack. Most often, an insert jack will be used with a

Y-Conguration Insert Cable (1/4” TRS to dual 1/4” TS) to achieve this functionality.

NOTE: When active, the onboard Synth Effect is applied to each Synth before its signal reaches the

output (Tip) of the insert jack.

TIP: When using the INSERT jacks only as individual outputs, simply use a 1/4” TS cable and specify the

appropriate routings in the OUTPUT MORE page.

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 ( ) on the Front 1 8-

Panel. Both of the buttons you selected will light to show the active Preset. When selecting a Preset

from within the current Bank, just press the appropriate PRESET button.

TIP: There is a SHOW BANK PREVIEW option available (SETTINGS / GLOBAL / HARDWARE

SETTINGS). When this function is On, pressing a BANK button will open a screen showing all of

the Presets assigned to that Bank.

NOTE: The Performance Set does not

itself provide storage of Presets; instead,

the Performance Set saves “pointers” that

direct Moog One to recall a specic Preset

from memory.

TIP: The active BANK (A - H) and PRESET

(1 - 8) buttons will light at full intensity;

unselected buttons will have a PRESET

softer light. If a button appears PRESET

dark (unlit), then no Preset has been

assigned to that location.

Performance Sets are stored by number. This provides a consistent order when browsing Performance

Sets, and also facilitates remote MIDI Program and Bank selection. In addition, each Performance Set

may be given a name, and text notes may be added as well. These notes can be quick reminders such as

“Set List for Trio Project” or “Lead Sounds for the Album Overdubbing Session,” etc. Any Preset may be

assigned to any Performance Set, and the same Preset may appear in multiple Performance Sets.

ASSIGNING THE CURRENT PRESET TO THE PERFORMANCE SET

The Performance Set BANK and PRESET buttons can also be used to assign the current Preset to the

active Performance Set. First, press the desired -BANK button (A H) if it is not already lit. Next, assign

the current preset to a Performance Set location by pressing and holding one of the PRESET buttons

( ) for about one second. The button will ash rapidly as conrmation.1 8- PRESET

PERFORMANCE SET (Continued)

PERFORMANCE SET MORE PAGES

Pressing the triangular button in the upper right corner of the MORE PERFORMANCE SET module

will open the CURRENT SET page. The additional and BROWSE SETS 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.

CURRENT SET

The CURRENT SET page provides

the name and number of the active

Performance Set under the SET heading,

The BANK heading shows which Bank

is selected, and the names of all of the

Presets in that Bank are shown under the

PRESETS heading; the current Preset is

highlighted. Turning the Master Encoder

selects the next (to the right) or previous

(to the left) Preset.

Holding SHIFT while turning the Master

Encoder allows the highlighted Preset to

be moved to a new location within the current Bank. Once the highlighted Preset is in its new location,

release the SHIFT button; all the other Presets in that Bank will be re-numbered accordingly.

NOTE: If a Preset not assigned to the current Performance Set was active before pressing the MORE

button, then Bank A of the current Performance Set will be selected, but no Preset will be highlighted.

The rst time you turn the Master Encoder, Preset 1 of the active Performance Set will be selected. After

that, the Master Encoder will load Presets normally.

BROWSE SETS

Use the BROWSE SETS Soft Button to

open this screen. The left pane shows a

list of all Performance Sets. The upper

right pane displays any descriptive

or performance notes that have been

added; the lower right pane shows the

timestamp data, indicating when the

Performance Set was last modied or

created. The current Performance Set is

highlighted.

LOADING A PERFORMANCE SET USING THE BROWSER

While the BROWSE SETS screen is open, rotate the Master Encoder to select and highlight

a different Performance Set; the Performance Set selected here will automatically load and

become the active Performance Set.

NOTE: Even when a new Performance Set has been selected, the active Preset will not change

until a Preset is selected from this new Performance 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. Once the highlighted Performance Set is in its new

location, release the SHIFT button.

COPYING A PERFORMANCE SET

Press down on the Master Encoder to create a copy of the highlighted Performance Set.

Turn the Master Encoder to scroll through the list of Performance Sets, then press down

on the Master Encoder to place the copied Performance Set in that location. The copied

Performance Set is placed between existing Performance Sets – no data is overwritten.

DELETING A PERFORMANCE SET

Once a Performance Set is highlighted, pressing the DELETE button on the Front Panel will

delete it. The other performance sets will move to ll the gap.

ADDING A PERFORMANCE SET

Use the Master Encoder to scroll to the bottom of the Performance Set list until the +++

indicator appears. Highlight this indicator, and the EDIT Soft Button above the screen will

change to . Pressing the ADD NEW ADD NEW Soft Button will allow you to enter a name for a

new, empty Performance Set. Finally, press the OK Soft Button to complete the process and

create your blank Performance Set.

EDITING A PERFORMANCE SET

The rightmost Soft Button above the screen is labeled (or EDIT ADD NEW, as described

above) -- pressing this button opens an editing window where you can edit the Name or

Notes for the currently selected set. When nished editing, press either the OK Soft Button to

save your changes, or the Soft Button to exit without saving changes.CANCEL

MASTER CLOCK (Continued)

TEMPO (0 to 10)

This knob sets the tempo for the Master Clock. Turn the knob TEMPO

to the left to slow down the Master Clock; turn the knob to the TEMPO

right to speed up the Master Clock. The available range is from 10 BPM

to 280 BPM. The LED above the knob will ash on each beat to TEMPO

visually indicate the tempo.

TAP

The TAP button allows the tempo value to be set by feel, as opposed

to a number. Tap the button a few times at the desired rate to set TAP

the tempo. The tempo is set based on the timing between taps. More

taps at a consistent rate will produce a more accurate tempo setting.

NUDGE (+ -) and

These buttons are used to perform minor tweaks to the tempo setting in

real time. Their function and operation is set using commands found in

the Master Clock MORE page.

MASTER CLOCK MORE PAGE

Pressing the triangular button in the upper right corner of the Master Clock module opens a MORE

second level of parameters that can be accessed and modied 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.

NOTE: Pressing the (now) illuminated button will exit the MORE MORE page and recall the screen.HOME

MASTER CLOCK MORE PAGE (Continued)

The onscreen MORE page parameters

are edited using the soft rotary encoders

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 an absolute value or a

percentage.

SWING AMOUNT (0% to 50% to 100%)

Swing changes the timing relationship between the on-beat and the off-beat. The on-beat is always

strictly aligned to the clock. Adding swing allows the off-beat to come in a touch later and be a bit

shorter, or to come in a bit early and hold a touch longer. Swing beats, shufes, and other rhythmic

variations can be created this way. Swing is expressed as a percentage measuring how much time the

on-beat occupies, relative to the total duration of an on-beat plus an off-beat.

Below the tempo value is a type of bar graph showing the amount of Swing being applied. In this bar

graph, each white box represents an on-beat, and each gray box represents the complementary off-

beat. As you rotate the Soft Knob to change the amount of Swing, the relationship between these two

boxes will change to indicate how Swing is being applied. In the center position (50%), no swing is

being applied to the beat.

NUDGE MODE (INCREMENT, BEND)

This parameter determines the behavior of the and buttons on the Front Panel.+ -

INCREMENT

In this mode, each press of the + button will increase the Master Clock tempo by 1 BPM,

and each press of the - button will decrease the tempo of the Master Clock by 1 BPM. While

holding the button in the Center Console, each press of the button will increase the SHIFT +

Master Clock tempo by 0.1 BPM, and each press of the - button will decrease the tempo of the

Master Clock by 0.1 BPM.

BEND

In this mode, holding the + button will momentarily increase the Master Clock tempo by 2

BPM until the button is released. Holding the button will momentarily decrease the Master -

Clock tempo by 2 BPM until the button is released. While holding the SHIFT button in the

Center Console, holding the + button will momentarily increase the Master Clock tempo by 1

BPM until the button is released. Holding the - button will momentarily decrease the Master

Clock tempo by 1 BPM until the button is released. When either button is released the tempo

returns to its original value. Borrowed from the DJ world, this technique is great for beat

matching on the y.

LOAD PRESET TEMPO (ON, OFF)

When this parameter is set to On, loading a Preset will also load the tempo that was saved with the

Preset. In this way, calling up a Preset will automatically call up the correct and saved tempo for your

performance. When this parameter is Off, the current tempo will be used.

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 button, the HOLD 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 button is set to HOLD

On (lit), notes being held when the button was pressed will continue to

sound. If new notes are added in a legato style – that is, they are played

while other notes are still held – these new notes will be added to the

current stack of held notes. If new notes are added in a non-legato

fashion, where all of the notes have been released before the new notes

are played, the previous notes will stop sounding, and these new non-

legato notes will take their place. The button also acts as a latch HOLD

for the Arpeggiator.

NOTE: The HOLD button and the Sustain pedal can interact in the following way. If the HOLD button

is On and the Sustain pedal is also being held (On) then playing new non-legato notes will not clear the

previously held notes, they will simply be added to the sustained notes.

CHORD

Using the CHORD function – often called Chord Memory – allows multiple

notes to be stacked on a single key. In turn, each key will play also play a

stack of notes pitched at those same intervals. If the CHORD function is

set to a major triad, every individual key will play a major triad – with the

root being the pitch of the key itself. The choice of notes is totally up to

the user; it need not be a traditional chord at all.

TIP: The CHORD function offers a massive sound with very little effort, but

it also can quickly chew up polyphony. Remember that, with the Moog One

three oscillator architecture, you can also set up the Oscillators’ tunings to

play a major triad on each key while using only a single voice. That said,

there are many situations where the function is the way to goCHORD .

In the Moog One architecture, the CHORD function is the last module to be presented with note values.

The priority runs from [Notes played on the keyboard or via MIDI] to [notes generated by the Arpeggiator]

to [interval values saved with the Chord Memory]. This means that every note generated by the

Arpeggiator (or Sequencer, for that matter) is in turn fed into the CHORD function, with every arpeggiated

or sequenced note playing back as a chord. This makes the Chord feature even more powerful.

USING THE CHORD FUNCTION

Press the LEARN button to turn on the Chord Learn function (the button will light). To create a LEARN

chord, play any series of notes. The rst note you play will clear the Chord Learn function and will also

set the root note. When you are nished adding notes to your chord, press the LEARN button a second

time (the button will go dark) to turn the Chord Learn function off. Now, when the CHORD button is

turned On, each note will play a transposed version of that chord. One of the Moog One Global settings

is the Silent Learn option, which mutes the active synth while the Chord Learn function is On, allowing

the chord to be entered in a live venue without the audience hearing this take place. The ip side is that

the performer can’t hear it either. Both the chord created using the LEARN button and the state of the

CHORD button (On/Off) are saved per Synth.

TIP: When entering a chord, Moog One will recognize the rst note entered as the Root note; in this way

you can enter a chord using an inversion, and it will still be transposed correctly.

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 nite 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.

MONO (ON/LIT, OFF/UNLIT)

This button acts as a toggle, switching the active Synth between the

Monophonic mode (lit) and Polyphonic mode (unlit). Each mode has

additional parameters to dene behavior, voice allocation, etc.

UNISON (ON/LIT, OFF/UNLIT)

When UNISON button is lit, all of the available voices will play whenever

possible, dividing the total number of voices by the number of keys being

played, and stacking themselves accordingly. These stacked analog

voices can add fullness and depth. For example, if the current Synth is set

to a POLY COUNT ( page parameter) of eight voices, playing one MORE

note will sound eight stacked voices. Adding a second note will reallocate

four voices to a Unison stack on the new note, and four voices will

continue to play in a Unison stack on the already held note, etc.

NOTE: Use the UNISON COUNT parameter in the Polyphony MORE page to limit and specify the number

of voices being stacked, per note.

DETUNE (0 10)to

When the UNISON button is On/Lit, rotating this knob to the right will apply higher levels of detuning

to the stacked Unison voices. The available voices are detuned symmetrically on either side of the

original pitch, keeping it as the tonal center of the stacked voices. Not all voices are detuned by the

same amount, increasing the fullness of the effect. This knob sets the maximum derivation from the

original pitch.

NOTE: The Front Panel shows a value range of 0 to 10. Opening the Polyphony MORE page will open a

graphic image in the left pane of the Center Console display, showing this value being changed from

0% to 100%.

POLYPHONY MORE PAGE

Pressing the triangular button in the upper right corner of the MORE POLYPHONY module will reveal

a second level of parameters than can be accessed and modied 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. The additional MORE

parameters are displayed in the bottom portion of the screen.

NOTE: Pressing the (now) illuminated MORE button will exit the MORE page and recall the screen.HOME

These onscreen parameters are accessed

using the Master Encoder and the four

Soft Knobs below the screen.

CHANGING THE VALUE

Simply 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, it 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

Rotate the Master Encoder to the right to highlight the next row of parameters. Rotating the Master

Encoder to the left will select a previous row. Again, rotate the Soft Knob below the parameter to

change its value.

UNISON COUNT (MINIMUM = 2; MAXIMUM = POLY COUNT VALUE)

The number of voices allocated here will determine the depth and fatness of the Unison effect. The

minimum number of voices is 2, the maximum limit is the number of voices set by the POLY COUNT

parameter (see below). When the MONO mode is selected on the Front Panel, all of the voices

specied here will be stacked in Unison on that one note. However, when the MONO mode is set to Off,

Moog One will continue to allocate Unison voice-stacking in the mode. On a 16-voice Moog One, POLY

you could set the to 4, and up to four notes could be played with a four-voice Unison UNISON COUNT

stack. Conversely, if both the UNISON COUNT and the POLY COUNT are set to 16, then the rst note

played would be allocated the full 16 voices; when a second note is added, 8 voices would be allocated

to each, etc.

POLY COUNT (MINIMUM = 2; MAXIMUM = AVAILABLE HARDWARE VOICES)

Here you can specify the maximum number of voices allocated to the active Synth while in the

POLY mode ( button is Off). When performing using a Preset that may play multiple Synths MONO

simultaneously (layers, splits, etc.), limiting the POLY COUNT can improve how voices are effectively

shared and allocated among the Synths.

MODULATION

In basic terms, modulation allows a control signal from one module to inuence 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. Cyclic

modulation sources (such as LFOs) generate excellent control signals for adding vibrato and tremolo.

Envelopes can deliver multi-segment control signals that evolve to shape a sound over time. This is

the crux of modular synthesis. Moog One can create, catalog, save, and maintain countless modulation

pathways, adding greatly to the precision, depth, and animation of the nal sound.

Moog One employs three basic means for addressing modulation: Hard-Wired; Quick Assign; and the

unparalleled Modulation Matrix.

HARD-WIRED MODULATION

Some modulation pathways are so common and well established in the world of synthesis and sound

design that Moog One offers their immediate control using dedicated hardware. These hard-wired

modulation controls appear along the bottom portion of the individual Oscillator modules, and in the

lower portion of the Filter modules. These shortcuts should in no way be seen as limiting to the user;

any of these modulation sources and destinations can also be connected in new and different ways

using the expansive Modulation Matrix.

HARD-WIRED OSCILLATOR COMMON MODULATION PARAMETERS

Here, the Pitch Modulation and Waveform Modulation parameters are applied to all Oscillators equally.

Selecting the Ring Modulation sources and choosing a Frequency Modulation routing are

also performed using the controls found in this section.

HARD-WIRED FILTER COMMON MODULATION PARAMETERS

These knobs control the amount of Cutoff Frequency

modulation being applied by these sources. The amounts

can be the same for both lters, or they can be adjusted

separately. When the SVF MOD button is lit, these knobs

can be used to tweak the modulation amounts being

applied to the State Variable Filter. When the LADDER

MOD button is lit, these knobs can be used to tweak the

modulation amounts being applied to the Ladder Filter.

When both the button and the SVF MOD LADDER MOD

button, tweaking these knobs will affect both lters

equally. The specic values of these parameters can be

seen in the right pane of the Filter MORE page.

NOTE: Regardless of which buttons - SVF MOD and/or LADDER MOD - are lit or unlit, the modulation

amounts for each lter, specied in the Filter MORE page, are being applied. The buttons work only to

select which lter(s) will be affected by further tweaking of these knobs.

The functions of these modulation controls are discussed in the Oscillator Common Parameters and

Filter Common Parameters sections of this manual.

MODULATION (Continued)

QUICK ASSIGN MODULATION

Specic modulation sources and modulation expression controllers can be assigned on the y.

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, or Modulation

Envelope) will instantly create a new modulation pathway using that

LFO or EG as the source.

This same method of modulation routing is available by pressing one of the seven EXPRESSION

ASSIGN buttons at the bottom edge of the Center Console, which similarly assign a controller to a

specic modulation destination.

Once a button has been pressed, the Quick Assign modulation screen DEST or an EXPRESSION ASSIGN

will open in the Center Console. In this example, LFO 1 was the chosen as the modulation source.

The destination will be assigned

automatically to the rst hardware

parameter that is touched or operated. In

this example, Oscillator 2 Frequency has

been chosen as the modulation destination.

As the destination parameter knob is

turned, the value in the display will change

to show the depth of the modulation effect

being applied.

NOTE: This rotating of the destination parameter’s knob to set the depth of the modulation effect does not

alter the saved value of the parameter.

TIP: If the rst parameter operated was not the intended destination, you can press the DEST or

EXPRESSION ASSIGN button again to return to the “CHOOSE THE DESTINATION” screen.

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 ltered

by source, showing only the modulation

paths that have the same source as this

newly created path; again in this case, LFO

1. Navigating inside the Modulation Matrix is

covered extensively in the next section.

ADD DESTINATION

Pressing the ADD DESTINATION Soft Button saves the current modulation (same as the DONE

button) and returns to the initial Quick Assign screen, where an additional destination for the

same modulation source may be chosen simply by touching another hardware knob or button.

DONE

Pressing the DONE Soft Button will exit the Quick Assign window while saving the new

modulation path.

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. When a

modulation path has been established, the dening parameters of the modulation path will appear in the

slot. If no modulation path has been established in the selected slot, the + + + + indicators will show that

the slot is ready to hold a new modulation path.

The parameters for the selected modulation path appear in two rows. The active row will appear in

white; the other row will be grayed out. To toggle between the two rows in the selected slot, press

down on the Master Encoder. Regardless of which row is active, the modulation path parameters are

edited using the four Soft Knobs at the bottom of the screen, and the three Soft Buttons up top.

EDITING OR CREATING A NEW

MODULATION PATH

To edit an existing modulation path, select

and highlight the appropriate modulation

slot by rotating the Master Encoder. Use

the Soft Knobs to edit an existing value. To

create a new path inside the Modulation

Matrix, rotate the Master Encoder to select

the rst available empty (unassigned) slot.

Use the Soft Knobs to assign a source,

destination, etc. to the new modulation path.

In either case, press down on the Master

Encoder to toggle between top row and

bottom row parameters.

TIP: As an aid to programming, the far left DISABLE/ENABLE Soft Button acts as a toggle, allowing the

selected modulation path to be quickly disabled or enabled, without the need to permanently delete the

path. When a modulation path is in the disabled state, it will appear grayed-out.

SOURCE

TOP ROW: Source Parameter Name

BOTTOM ROW: Source Parameter Value: -300% to 0 to +300%

The rst step is to select a modulation source. Be sure the top row is selected and use the SOURCE

Soft Knob to choose the modulation source. Next, press the Master Encoder to access the Bottom Row

parameters and specify a value to indicate the strength of the modulating signal. When the value is set

to 0, the modulation strength is also zero (no effect). Positive values will produce normal modulation;

negative values will produce modulation with an inverted signal.

NOTE: Although the Source Amount appears before the Controller Amount and Transform Amount

values; this value is actually applied after the control signal leaves the Controller and the Transform, but

before it reaches the destination. This allows the Controller/Transform to receive the modulation signal

at full strength for more accurate processing. Then the Source Amount is applied to set the level.

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. Controller Amount

determines how strongly the Controller affects the amount of modulation. When the Controller

Amount is set to 0, the value of the selected controller has no effect on the modulation strength. If the

Controller Amount is positive, then high Controller values create stronger modulation effects while

low Controller values reduce the amount of modulation. If the Controller Amount is negative, then the

effect of the Controller is reversed (a low Controller value allows more modulation to come through,

while increasing the Controller value attenuates the strength of modulation). If no Source is selected

but a Controller is assigned, then the Controller behaves like a Source and the Controller Amount

behaves as described above for the Source Amount.

TRANSFORM

Placing a Transform in the modulation path offers a number of ways to manipulate the value of the

modulation signal as it travels from the source to the destination. The Transform is selected using the

top parameter row; the value is entered using the bottom row parameters.

NONE

This is the default setting; no transform has been applied to the modulation path.

LIMIT LOW (0 100%)to

This Transform articially sets a lower limit on the value of the control signal. Values above

this low limit are played normally. Values below the low limit will be output using the value of

the low limit setting.

LIMIT HIGH (0 100%)to

This Transform articially sets an upper limit on the value of the control signal. Values below

this high limit are played normally. Values above the high limit will be output using the value of

the high limit setting.

SQUARED (FIXED)

The value of the Transform output is equal to the input value multiplied by itself, or squared.

CUBED (FIXED)

The value of the Transform output is equal to the input value multiplied by itself twice, or cubed.

DESTINATION

TOP ROW: Destination Module Name

BOTTOM ROW: Destination Parameter Name

The Destination species the parameter that will ultimately be controlled by this modulation path. The

list of modulation destinations is extensive. To make it easier to select a destination quickly, the top

row parameter will select the Moog One Module, the bottom row parameter will choose the destination

parameter from within that module.

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 ll 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.

FILTERING THE MODULATION LIST BY SOURCE OR DESTINATION

As the number of modulation paths within a specic Modulation Matrix expands, ltering the list

by modulation source or modulation destination can make it easier to nd and edit a particular

modulation path by displaying an abridged list. When the Modulation Matrix is opened in this manner,

the second Soft Button from the left (CLEAR SRC FILTER / CLEAR DEST FILTER) can be pressed to

clear any ltering of the Modulation Matrix list.

TIP: Notice that when modulation paths appear in the ltered list, they retain their existing slot numbers,

which can also make it easy to nd and reference them in the future.

FILTERING BY SOURCE

Holding the SHIFT button while pressing

any one of the DEST buttons on the Front

Panel (LFOs, EGs) will open the Modulation

Matrix, but showing only the modulation

paths using that module as a source. In the

example above, the SHIFT button was held

while the LFO 1 DEST button was selected,

and only the modulation paths using LFO 1

as a modulation source are shown. Pressing

the CLEAR SRC FILTER Soft Button will

clear the source lter, and all modulation

paths in the Modulation Matrix will be

displayed.

FILTERING BY DESTINATION

Holding the SHIFT button while pressing any one of the MORE buttons on the Front Panel

(OSCS, FILTERS, etc.) will open the Modulation Matrix, but showing only the modulation paths

whose destination is included in the selected module. Pressing the CLEAR DEST FILTER Soft

Button will clear the destination lter, and all modulation paths in the Modulation Matrix will

be displayed.

TIP: Be aware that using this ltering technique will only show a partial list of all modulation

pathways. Remember to press the second Soft Button from the left (CLEAR SRC FILTER /

CLEAR DEST FILTER) to clear any ltering of the Modulation Matrix list.

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.

SAVING A MODULATION MATRIX

Pressing the SAVE Soft Button will open

the Save Modulation Matrix Preset screen.

The four Soft Buttons across the top are

NAME, NOTES, OK, and CANCEL.

When the screen opens, the SAVE NAME

Soft Button will already be selected, and

the screen prompt will ask you to name

the current Modulation Matrix.

Once you have entered a name for the Modulation Matrix, you can also enter any optional performance

notes using the same method. These notes can be quick reminders or application cues, such as “Uses

staggered and sync’d LFOs” or “this is the one Gerry created during the studio session” etc. Press the

NOTES Soft Button and follow the screen prompts. After naming the Modulation Matrix and adding

any notes, press the OK Soft Button to save the Modulation Matrix, or press the Soft Button CANCEL

to exit the Modulation Matrix screen without saving.SAVE

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 specic 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.

• Keys C#5 and D#5, respectively, change the character immediately preceding the cursor to the

previous or next symbol in the current character set, changing an M to an L or an N, for example with a

single key press.

• Keys F#5 and G#5 move the cursor left or right, respectively.

• Key A#5 adds a space.

NOTE: The note numbers given above relate to the onscreen keyboard, and do not reect the keys’

actual MIDI Note numbers, etc.

TIP: You can also enter text directly, using a standard USB keyboard connected to the Moog One

USB HOST port.

MODULATION (Continued)

MODULATION MATRIX APPENDICES

Here you can nd the complete list of all available Sources, Controllers, Transforms, and Destinations

that can be used to create a path in the Modulation Matrix.

SOURCES CONTROLLERS TRANSFORMS

NONE NONENONE

LFO 1 MOD WHEEL LIMIT LOW

LFO 2 PITCH WHEEL LIMIT HIGH

LFO 3 PAD X SQUARED

LFO 4 PAD Y CUBED

FILTER EG PAD PRESSURE

AMPLIFIER EG PAD GATE

MODULATION EG VELOCITY

NOISE EG AFTERTOUCH

MOD WHEEL KEY PITCH

PITCH WHEEL KB GATE

PAD X SUSTAIN

PAD Y EXP 1

PAD PRESSURE EXP 2

PAD GATE CV IN 1

VELOCITY CV IN 2

AFTERTOUCH FILTER EG

KEY PITCH AMPLIFIER EG

KB GATE MODULATION EG

SUSTAIN NOISE EG

EXP 1 LFO 1

EXP 2 LFO 2

CV IN 1 LFO 3

CV IN 2 LFO 4

RANDOM RANDOM

RANDOM BIPOLAR RANDOM BIPOLAR

CONSTANT CONSTANT

ALL OSCILLATORS NOISE EG 1

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 SVF FILTER DELAY

TRIANGLE CUTOFF ATTACK

PULSE RESONANCE HOLD

MIX SPACING DECAY

OSCILLATOR 3 EG AMOUNT SUSTAIN

FREQUENCY RELEASELFO 2 AMOUNT

BEAT FM AMOUNT TIME SCALE

SAW LADDER FILTER

TRIANGLE CUTOFF

PULSE RESONANCE

MIX EG AMOUNT

LFO 2 AMOUNT

FM AMOUNT

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

MODULATION (Continued)

DESTINATIONS

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.

The Arpeggiator exists at the Synth level, and all Arpeggiator parameters are saved with their

respective Timbre as part of the Preset. In this way, a single Preset can have up to three active

Arpeggiators (one per Synth) at any time, each playing a different pattern, using a different sound,

and in a different zone on the keyboard. The Arpeggiators – along with the Sequencers, LFOs and EGs

– can be sync’d to the tempo of the Master Clock to create a unied rhythmic performance. Unlike a

sequencer, which is playing patterns of specic notes stored in memory, the Arpeggiator is generating

data in real time, based on the notes being played; it is a bit more interactive, and is always musically

related to the performance.

ON (ON/LIT, OFF/UNLIT)

This button turns the Arpeggiator of the active Synth On and Off.

RATE (0 10)to

The knob sets the speed of the Arpeggiator. The actual tempo RATE

value ranges from 10 BPM to 280 BPM. The Arpeggiator Rate can run

at an independent speed, or it can be synchronized to the Master Clock

using the parameters accessed in the Arpeggiator MORE page. The

RATE knob LED will ash at the current setting.

NOTE: If the Arpeggiator is sync’d to the Master Clock, then rotating the

RATE knob will select quantized clock divisions of the Master Clock. All of

the page.SYNC parameters are available in the Arpeggiator MORE

OCTAVE ORDER (ON/LIT, OFF/UNLIT)

Traditionally, when an arpeggiator is set to play over a multi-octave

range, all of the notes are played in the current octave, and then the

pattern is repeated an octave higher, etc. When the OCTAVE ORDER

switch is On, the Arpeggiator pattern will play the rst note in the

pattern in each octave, then the second note of the pattern repeated in

each octave, etc.

EXAMPLE: The notes in the pattern are a C Major triad (C, E, G) and the

OCTAVE OCTAVE button value is = (three). With 3 ORDER set to Off,

the pattern generated would be C1-E1-G1, C2-E2-G2, C3-E3-G3, etc. With

OCTAVE ORDER set to On, the pattern generated would be C1-C2-C3,

E1-E2-E3, G1-G2-G3, etc.

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.

TIP: While certain combinations of the Direction and Pattern parameters

may already exhibit this type of behavior, adding PENDULUM motion

when the Pattern parameter is set to Random or Order can be

particularly effective.

NOTE: The PENDULUM MODE parameter in the Arpeggiator MORE page affects the turnaround notes

at the beginning and the end of the pattern.

OCTAVE (1, 2, 3, 4)

Increasing the Octave value will cause the arpeggiator pattern to play

through once in the original octave, and then to repeat in successive

octaves pitched higher or lower than the original. Press the OCTAVE

button to cycle through the list of values; the corresponding LED will

light. The minimum value is = 1, which plays the pattern in its original

octave; the maximum value is = 4, which plays the pattern in its original

octave, then an octave higher/lower, then two octaves higher/lower,

and then three octaves higher/lower. The choice between higher and

lower is made using the DIRECTION button.

DIRECTION (UP, DOWN, UP/DOWN, DOWN/UP)

When multiple octaves are selected using the OCTAVE button,

this Direction parameter species whether these additional octaves

are higher (UP) or lower ( ) in pitch than the original octave. DOWN

Press the DIRECTION button to cycle through the list of values; the

corresponding LED will light. When UP/ is selected, the pattern DOWN

rst repeats in octaves pitched higher than the original, and then

reverses direction to play through the selected octaves to reach the

original pitch. When DOWN/UP is selected, the pattern rst repeats in

octaves pitched lower than the original, and then reverses direction to

play through the selected octaves to reach the original pitch.

ARPEGGIATOR (Continued)

PATTERN (UP, DOWN, ORDER, RANDOM)

It is this parameter that species the pattern in which the arpeggiated

notes are played.

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.

TIP: In Order mode, a held key can be released and then immediately played again to change its order in

the pattern, creating a new feel and groove while performing.

RANDOM

Notes are arpeggiated in a random order.

NOTE: The page offers a choice between RANDOM MODE parameter found in the Arpeggiator MORE

both repeating and non-repeating Random patterns.

ARPEGGIATOR MORE PAGE

Pressing the associated triangular MORE button in the upper right corner of the Arpeggiator module

will reveal a second level of parameters that can be accessed and modied using the interactive

portion of the Center Console. These additional parameters are displayed in the bottom portion of

the screen. The right pane shows the current value of the Front Panel hardware parameters for this

module. Tweaking these panel controls will update their values here.

NOTE: Pressing the (now) illuminated MORE button will exit the page and recall the HOME screen.MORE

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, it 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. Rotating the Master Encoder to the left will select a previous row.

Again, rotate the Soft Knob below the parameter to change its value.

ARPEGGIATOR (Continued)

SYNC (OFF, ON)

When SYNC is Off, the Arpeggiator is free to run at its own speed and clock rate. When is On, the SYNC

Arpeggiator and Master Clock are synchronized, and the Master Clock determines the Arpeggiator tempo.

NOTE: When is selected here, rotating the Arpeggiator SYNC RATE knob on the Front Panel will select

quantized clock divisions (see below) of the Master Clock.

CLOCK DIVISION (4, 2, 1, 1/2, 1/4, 1/8, 1/16, 1/32)

When sync’d, the Master Clock provides a tempo base; divisions of that Master Clock are used to set

the Arpeggiator speed. Changing the CLOCK DIVISION parameter species the timing in terms of

quarter-note beats.

CLOCK TIMING (STRAIGHT, DOTTED, TRIPLET)

When sync’d, Clock Timing provides a further modication of the step duration, allowing for a wider

selection of note timings relative to the Master Clock tempo.

STRAIGHT

The timing of each note is played as specied by the Clock Division.

DOTTED

The timing of each note is modied to play as a dotted note, or at 1.5 x the value specied by the

CLOCK DIVISION parameter.

TRIPLET

The timing of each note is modied to play as if it were one note in a triplet, or at 2/3rds of

the value specied by the CLOCK DIVISION parameter.

GATE LENGTH (1% to 100%)

Adjusting the GATE LENGTH parameter changes the duration of each arpeggiated note in the pattern.

Lower values will be more percussive and abrupt, higher values will be more owing and legato.

FOLLOW SWING (OFF, ON)

The Master Clock includes parameters related to adding swing to the beat. When sync’d to the Master Clock,

the Arpeggiator can either follow this swing information, or ignore it and play strictly to the BPM setting.

NOTE RESET (OFF, ON)

This parameter species how the timing of the Arpeggiator will behave when a new note is played on

the keyboard. When the NOTE RESET parameter is On, the Arpeggiator begins instantly, resetting the

downbeat timing of the current Clock Division to match the note as it is played. When the NOTE RESET

parameter is Off, the Arpeggiator will wait for the start of the next specied Clock Division before the

pattern begins.

PENDULUM MODE (ONCE, TWICE)

This PENDULUM MODE parameter is different that the Pendulum function of the Front Panel. Here,

the parameter species if the notes at the extreme ends of the Arpeggiator pattern are played once

before reversing direction, or twice – once for the last note on the way up, and again as the rst note

on the way down. This allows the Moog One arpeggiator to accurately mimic the behavior of different

Arpeggiators from different keyboards that have been popular over the years.

RANDOM MODE (NON-REPEATING, REPEATING)

This parameter species how the notes in a RANDOM pattern will be played. Choosing NON-

REPEATING prevents the same note from being played twice (or more times) in succession, so the

pattern is slightly less than random. By choosing REPEATING, no constraints are imposed on the

randomness of the pattern, and the same note may be played twice (or more) in a row.

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. In addition to the note value(s) stored

for each sequencer step, modulation routings and amounts can also be stored with each step.

In the Moog One, each Synth is equipped with a polyphonic step-sequencer. This allows each Preset

to access up to three sequencers simultaneously – one for each Synth. Each sequence can be up to 64

steps long, arranged as pages of 16 steps. Sequences can be easily recorded and edited, and they can

be transposed as they play back. The Sequencer can be sync’d to the Master Clock tempo – along with

the LFOs, EGs, and the Arpeggiator – to create a forceful rhythmic performance. Each sequence can

be saved as an individual entity, or as part of the active Synth/Preset.

ON (ON/LIT, OFF/UNLIT)

This ON button turns the Sequencer of the active Synth On and Off.

Turning the Sequencer On will not begin the playback of an existing

sequence or the recording of a new one. Instead, the ON button

controls whether the Sequencer outputs notes to the Synth or not.

RATE (0 10)to

The RATE knob sets the speed of the Sequencer. The actual tempo value ranges from 10 BPM to 280

BPM. The Sequencer Rate can run at an independent speed, or it can be synchronized to the Master

Clock using the parameters accessed in the Sequencer page. The MORE RATE knob LED will ash at

the current tempo setting.

NOTE: If the Sequencer is sync’d to the Master Clock, then rotating the knob will select quantized RATE

clock divisions of the Master Clock. All of the SYNC parameters are available in the Sequencer MORE page.

CURRENT PAGE / ACTIVE STEP (LED INDICATORS)

The current Sequencer Step is indicated by the four CURRENT PAGE

LEDs, and by the sixteen LEDs.ACTIVE STEP

SEQUENCER (Continued)

RETURN TO ZERO

Pressing the |tRTZ button resets the sequencer to the rst 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 rst step, or stopping the Sequencer

at the current step.

TIP: To start multiple sequences simultaneously – that is, one sequence

from Synth 1 plus a second from Synth 3, for example – use the PANEL

FOCUS buttons in the Center Console to select more than one Synth,

and then press the u|| (START/STOP) button.

RECORD (RECORDING/LIT, NOT RECORDING/UNLIT)

Pressing the O RECORD button places the sequencer in the Record mode.

Press the O RECORD button a second time to exit the Record mode.

ADV (ADVANCE – STEP BACK, STEP FORWARD)

These buttons are used to select the current sequence step. The current

playback step is indicated by the CURRENT and PAGE ACTIVE STEP

LEDs. Press the button(s) until you reach the desired step.

TIP: These buttons can be used to select a step in the Step Edit screen even

when the sequence is running, although the Front Panel CURRENT PAGE

and ACTIVE STEP LEDS will instead show the current playback step.

SEQUENCER (Continued)

REST (ON/LIT, OFF/UNLIT)

Pressing the button toggles a musical rest on or off for the current REST

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.

TIE (ON/LIT, OFF/UNLIT)

Pressing the button adds a musical tie to the current step TIE

highlighted in the Step Edit screen, connecting the notes in this step

into the next, without re-triggering the envelopes at the beginning of

the next step.

NOTE: As the sequence plays, the TIE button will light to indicate that the

current step has been entered as tied to the next step.

STEP MOD (ON/LIT, OFF/UNLIT)

Nearly any Synth parameter can be given a different value for the

current step in the Step Edit page. But to quickly record value changes

as you sweep a parameter - storing a new value at each step as the

Sequencer is running - press the STEP MOD button to turn it On

(lit), and then tweak a knob, entering a new value (offset) for each

step. As long as the STEP MOD button is lit, you can continue to

enter modulation values for multiple parameters just by rotating the

corresponding knob. Finally, turn the Step Mod function Off by pressing

the STEP MOD button a second time. Once entered, this data can be

accessed and edited using the Step Edit feature.

NOTE: The Sequencer does not need to be placed in the Record mode to use the Step Mod feature.

TRANSPOSE (ON/LIT, OFF/UNLIT)

The playback of the sequence can be transposed to begin on a new key;

all notes in the sequence will be transposed by that same amount. For

example, if the sequence is of a C Major scale, transposing up a fourth

(ve keys) will produce an F Major scale. Press the TRANSPOSE button

to turn the Transpose feature On (the button is lit), and play a new

note on the keyboard to transpose the sequence; the sequence can be

continually transposed by playing new notes on the keyboard. Press the

TRANSPOSE button a second time to turn the Transpose feature Off

(the button goes dark).

NOTE: When the TRANSPOSE button is lit (Transpose feature On), notes played on the keyboard will

not sound the active synth. Instead, the keys are used only to enter a Transpose amount.

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 button is On, the NOTE TRIG

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.

STEP EDIT (ON/LIT, OFF/UNLIT)

Pressing the STEP EDIT button opens the Step Edit screen in the Center Console Display; the button

will remain lit. Press the HOME button on the Front Panel to exit the Step Edit mode.

ENTERING NOTE DATA (STEP EDIT MODE)

Notes entered into the Sequencer are displayed in a grid, where each column represents one step of

the sequence, and each row (lane) shows the note assigned to each step. Each lane can be thought of

as monophonic, so adding more lanes allows more notes to be assigned to each step. Each Sequence

can be up to 64 steps in length, which is shown on the Step Edit screen, and indicated on the Front

Panel as four pages of sixteen steps each. The exact number of steps is determined by the LENGTH

parameter in the Sequencer page. MORE

BEGINNING WITH AN EMPTY

SEQUENCE

The active Synth may or may not already

have data stored in the Sequencer. When

you press the STEP EDIT button on

the Front Panel and see the following

screen, this is a good indication that the

Sequencer is empty and awaiting new

data.

If there is already data present in the

Sequencer, you can clear the existing

data and start with a clean slate. Open

the Sequencer MORE page by pressing

the triangular button located in the upper right corner of the Sequencer module on the Front MORE

Panel. When the page opens, press the MORE CLEAR SEQUENCE Soft Button at the top of screen to

initialize the Sequencer and remove all data from the active Sequence.

NOTE: Pressing SHIFT + DELETE while the top (step number) row is selected on the STEP EDIT page

will also clear the entire current sequence.

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. As you enter notes,

You can use the ADV buttons to

move from step to step, or you can turn

the Master Encoder to scroll left/right through the steps. Two soft buttons at the top of the screen

allow you to move the selection Up or Down between rows (Lanes). You can also navigate up and

down by turning the Master Encoder while SHIFT is active.

Each lane can only support one note per

step, so adding more lanes is required to

have multiple notes on each step. Pressing

the ROW DOWN Soft button is one way

to add an additional lane. You can also

simply play multiple notes on a single step;

Moog One will create a new lane for each

additional note played. Only one lane can

be active/highlighted at once, so if you

create an additional lane and play only a

single note for that step, it will be entered

into the active lane.

NOTE: While it is possible to make your initial pass of entering sequence data with the Record Mode on

and the Sequencer running, it is not recommended. Without a reference audio click and only the visual

indicators, entering a sequenced phrase correctly will be tricky.

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

specic step. The Note name is displayed as well. The vertical height of

the box within the grid indicates the Velocity Level of the Note; the width

indicates the Gate Time of the Note.

TIES

Any Note can be designated as a Tie, as indicated by a small arrow

pointing to the following step. This instructs the sound engine (and the

corresponding MIDI output) to play the following step using the same

voice as in a legato fashion, without retriggering the EGs, etc.

RESTS

Entering a Rest places a silent step into the sequence. The Step Indicator

for this step will be shaded.

TIP: A Rest step can be empty, or it may contain Note value(s). This

allows the Note(s) to be restored by removing the Rest status of the step.

RATCHET STEPS

The Ratchet parameter allows the Sequencer to re-articulate a note

multiple times inside of a single step; a sort of sequence stutter mode.

The Ratchet Soft Knob is used to control the number of “ratchets” for

the selected note.

TIP: Often it is easier to create a step sequence by entering a Note for

every step, and then going back to designate individual steps as Rests

and Ties to capture the desired phrasing.

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. Use the Note Soft Knob

to change the note assigned to a specic lane of particular step.

VELOCITY (1 127)to

Entering a Note creates a box that sits within the sequence grid for that specic step. The

vertical height of this box within the grid indicates the Velocity Level of the note. Use the

Velocity Soft Knob at the bottom of the screen to change the Velocity Level of the Note

assigned to a specic lane of particular step.

GATE (1% 100%)to

Entering a Note creates a box that sits with in the sequence grid for that specic step. The

horizontal width of this box within the grid the width indicates the Gate Time of the Note. Use

the GATE Soft Knob at the bottom of the screen to change Gate Time of the Note assigned to

a specic lane of particular step.

TIP: The last value set using the GATE Soft Knob will be applied to all subsequent new notes.

RATCHET (1 4)to

Ratcheting allows the Sequencer to re-articulate a note multiple times inside of a single step; a

sort of sequence stutter mode. This is an excellent tool for creating multiple triggers of the same

note without using up multiple steps. The Ratchet Soft Knob at the bottom of the screen is used

to control the number of “Ratchets” for the selected Note. A value of 1 equals no ratcheting.

EDITING MULTIPLE NOTES

Pressing the ROW UP button until it reaches the the current Step number will highlight and select all

of the Notes on the current step. The Velocity Level, Gate Time and Ratchet Count can be adjusted

simultaneously using the Soft Knobs at the bottom of the screen. Rotating the Master Encoder to the

right or left will restore the cursor to quickly select steps 1-64.

DELETING NOTES

Any highlighted note in any lane, on any step, can be deleted using the DELETE button on the Front

Panel. Using the Master Encoder to select an entire row of notes, and then pressing DELETE will

remove all of the notes in that step. If a specic row has been selected with the Row Up or Row Down

Soft buttons, pressing + SHIFT DELETE will remove the currently selected lane. Pressing the CLEAR

SEQUENCE MORE Soft Button on the Sequencer page will initialize the Sequencer and eliminate all

data from the active Sequence.

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. These offsets are

bipolar, meaning they can apply a positive

or a negative amount of change to the

parameter value, and they are proportional, being expressed as a percentage value.

As with entering and editing notes, the Modulation routings are applied using lanes. Each lane

is limited to one Modulation destination. While the CONTROLLER, AMOUNT, CATEGORY, and

DESTINATION Parameters set with the Soft Knobs found at the bottom of the screen are universal

for the selected lane, the values are set for each individual step.OFFSET

ENTERING MODULATION DATA IN REAL TIME

By far, the simplest way to add modulation data to the sequence is by using the Step Mod function

to record the changing value of a particular parameter as the Sequencer is running – either while

recording or playing back. With the sequence stopped, the Step Mod method can be used to quickly

edit modulation values in the STEP EDIT page. If it is not already open, press the STEP EDIT button

to open the MODULATION SEQUENCE page. Press the MODULATIONS Soft Button at the top of the

screen to open the MODULATION SEQUENCE screen.

NOTE: Using the function does not require opening the page or pressing the STEP MOD STEP EDIT

MODULATIONS Soft Button; but doing so will allow you to see – and edit – the data entered in this manner.

Now press the STEP MOD button (the button will light) in the Sequencer module on the Front Panel

and tweak any modulate-able parameter on the Front Panel. This will instantly set up a new Modulation

lane using that parameter as the destination. While you can manually advance from step to step and

change each value individually, you can also set the Sequencer to run, and twist and tweak away on

that same parameter knob. The changing values will be recorded automatically for each step. Tweaking

additional knobs will instantly set up a new Modulation lane for each destination, with the values again

being recorded automatically for each step. Press the lit button (the button will go dark) to STEP MOD

exit the STEP MOD mode.

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. Press the ROW DOWN Soft button and then press down on the

MASTER ENCODER to create the rst Modulation lane for your sequence. Using the Soft Knobs at the

bottom of the screen, set a modulation destination by adjusting the CATEGORY and DESTINATION

values. The Destination options are dependent on the selected Category.

In addition, a CONTROLLER can also be assigned to the Modulation parameter occupying a specic

lane. If no Controller is chosen, the Offset values will be applied at full strength to the destination

parameter. However, assigning a Controller – and a percentage value – allows the strength of AMOUNT

the sequenced modulation to be articulated as part of a performance. At an Amount value of 0%, the

assigned Controller will have no effect. Using an Amount value of 100%, the assigned Controller can

fully attenuate the sequenced modulation value, when the Controller is at its minimum position (value).

See the appendix at the end of this chapter for the possible values. Once these values have been set,

press down on the Master Encoder for any desired step and use the OFFSET Soft knob to set the

OFFSET amount for each sequence step. Press the ROW DOWN Soft button and then press down on

the MASTER ENCODER to create a new Modulation lane. Repeat the same procedure for assigning a

modulation destination to your Modulation routing lane, and for setting the offset values for each step.

EDITING MODULATION DATA

The CONTROLLER, AMOUNT, CATEGORY, and DESTINATION of each modulation lane can be freely

edited, as can the individual values, You can use the OFFSET values. As you enter OFFSET ADV

buttons to move from step to step, or you can turn the Master Encoder to scroll left/right through the

steps. Two soft buttons at the top of the screen allow you to move the selection Up or Down between

rows (lanes). You can also navigate up and down by turning the Master Encoder while SHIFT is active.

EDITING MULTIPLE OFFSET VALUES

For any sequence step that has Modulation data in more than one lane, pressing the ROW UP Soft

button until the current Step is selected will highlight and select all of the lanes in that step. The

OFFSET values can be adjusted simultaneously using the Soft Knob at the bottom of the screen.

Pressing the ROW DOWN Soft button will cause the cursor to select only one lane at a time. Continue

to rotate the Master Encoder to the right to move between steps.

DELETING MODULATION DATA

Any highlighted value in any lane, on any step can be deleted using the OFFSET DELETE button on the

Front Panel. Selecting multiple values and then pressing OFFSET DELETE will remove all of the OFFSET

values at that step. Pressing + SHIFT DELETE will remove the currently selected lane. Pressing the

CLEAR SEQUENCE Soft Button on the Sequencer MORE page will initialize the Sequencer and eliminate

all data - Notes and Modulation - from the active Sequence.

NONE

MOD WHEEL

PITCH WHEEL

PAD X

PAD Y

PAD PRESSURE

PAD GATE

VELOCITY

AFTERTOUCH

KEY PITCH

KB GATE

SUSTAIN

EXP 1

EXP 2

CV IN 1

CV IN 2

FILTER EG

AMPLIFIER EG

MODULATION EG

LFO 1

LFO 2

LFO 3

LFO 4

RANDOM

CONSTANT

ALL OSCS SVF FILTER

PITCH 1 LFO CUTOFF

PITCH EG MOD RESONANCE

TRIANGLE LFO 3 MOD SPACING

PULSE LFO 3 MOD EG AMOUNT

FM AMOUNT LFO 2 AMOUNT

OSC 1, 2, 3 FM AMOUNT

OCTAVE LADDER FILTER

FREQUENCY CUTOFF

BEAT RESONANCE

SAW EG AMOUNT

TRIANGLE LFO 2 AMOUNT

PULSE FM AMOUNT

MIX EG 1, 2, 3

NOISE DELAY

COLOR MIX ATTACK

ATTACK HOLD

SUSTAIN DECAY

RELEASE SUSTAIN

VCA RELEASE

LEVEL MULTI TRIGGER

PAN SYNC

FILTERS LOOP

SVF/LADDER MIX LATCH

LFO 1, 2, 3, 4

RATE

WAVEFORM

VARIATION

DELAY

RAMP UP TIME

RAMP DOWN TIME

CONTROLLERS CATEGORY/DESTINATION

SEQUENCER (Continued)

STEP EDIT MODULATION APPENDIX

SEQUENCER (Continued)

LENGTH (1 64)to

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.

NOTE RESET (OFF, ON)

This parameter species how the timing of the Sequencer will behave when a new note is played on

the keyboard, if the button in the Sequencer module is also On (lit). When this NOTE NOTE TRIG

RESET parameter is On, the Sequencer begins instantly, resetting the downbeat timing of the current

Clock Division to match the note as it is played. When Note Reset is Off, the Sequencer will wait for the

start of the next specied Clock Division before the pattern begins.

RESTART ON HOLD (OFF, ON)

This parameter species how the timing of the Sequencer will behave when the HOLD button on the

Front Panel is On (lit) and the button in the Sequencer module is also On (lit). When this NOTE TRIG

RESTART ON HOLD parameter is On, playing any new note – with no other no other notes held down –

will reset the sequence to begin playing from the rst step. When this ON HOLD parameter RESTART

is Off, playing any new note will not restart the sequence.

NOTE NOTE: If the parameter is off, and the RESTART ON HOLD HOLD, TRIG, and TRANSPOSE

buttons from the Sequencer module area all set to On, then playing a new note while a previous note

is still held will transpose the sequence without resetting back to step one.

RESTART ON TRIG (OFF, ON)

This RESTART ON TRIG (Restart On Note Trigger) parameter species how the timing of the

Sequencer will behave when the button in the Sequencer module on the Front Panel is NOTE TRIG

On (lit). When this Restart On Note Trigger parameter is set to On, then using the Note Trigger feature

to initiate the sequence playback will always reset the sequence to restart at step one. When this

Restart On Note Trigger parameter is set to Off, using the Note Trigger feature to initiate the sequence

playback will resume the playback of the sequence from the active step.

TRANSPOSE MODE (START KEY, INTERVAL)

When the TRANSPOSE button in the Sequencer module on the Front Panel is set to On (lit), the playback

of the sequence can be transposed. There are two methods for determining the transpose amount.

START KEY

Using the Start Key method, any key can be chosen to serve as the starting note of the

sequence, and the remaining notes will also be transposed by the same amount to preserve

their correct intervals in relation to the new Start Key.

INTERVAL

The Interval method uses Middle C on the keyboard as a reference point, and allows the

sequence to be transposed by a specic interval, regardless of the original key. In this way,

playing F above Middle C would transpose the sequence up a fourth. Even if the original key

and starting note was not C, the transposition would still be equal to a fourth, so E would

become A, etc.

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. This is a great way to add a live ourish of notes when

transitioning from verse to chorus, playing a signature lick perfectly every time, etc.

RECORDING MODE (REPLACE, OVERDUB, FOCUSED)

Once a sequence has been recorded, there are three ways that the sequencer can respond to new

notes being recorded over existing notes.

REPLACE (DEFAULT)

Newly recorded notes will replace any previously notes recorded on the same step.

OVERDUB

Newly recorded notes are added to the notes that were already there, without replacing the

existing information.

FOCUSED

Here, an individual step may be chosen for editing and the new data entered as the sequence

is running. Use the or ADV buttons to select the step to be edited. The stationary

selected step indicator will be dimly lit; the moving current step indicator will be fully lit. Play

the new note(s) to replace the note(s) currently held in the selected step at any time. When

the sequence advances to the selected step, the new notes will be heard. This process can be

repeated over and over again, so long as the sequence is running. When the sequence is not

running, this mode is identical to the REPLACE mode.

OUTPUT (SYNTH 1/2/3, ALL SYNTHS)

This setting controls which Synth(s) will play in response to this sequence. The options are either the

currently selected Synth (Synth 1, 2, or 3), or ALL SYNTHS. The ALL SYNTHS option can be used to

create a single sequence that will play all the parts of a split or layered sound.

CLEARING THE SEQUENCER

Pressing the CLEAR SEQUENCE Soft Button at the top of the screen will remove all data from the

active sequence.

TIP: When editing sequence data, you can press the SNAPSHOT button located in the Center Console to

perform a micro-save of your current edits before clearing the sequence, should you change your mind

and wish to reload any previously unsaved sequence data.

DUPLICATING SEQUENCE DATA

Using the DUPLICATE X-Y Soft Button at the top of the Sequencer MORE page, sequence data can be

copied and appended to the existing sequence by adding steps (up to the 64 step maximum). The X value

indicates the rst step of the data to be copied; the Y value indicates the last step of the data to be copied.

With the sequence paused, use the or ADV buttons to select the rst step of the data to be copied.

Next, hold down the button and use the or buttons to select the last step of the data to be SHIFT ADV

copied. Press the DUPLICATE Soft Button to add a copy of the selected data to the end of the sequence.

EXAMPLE: Set the value of the rst step to be copied to 1; then set the value of the last step to be

copied to 8. Now, when the DUPLICATE 1-8 Soft Button is pressed, the selected data present in steps 1-8

will be duplicated to steps 9-16.

SEQUENCER (Continued)

LOADING A SEQUENCE

Pressing the LOAD Soft Button at the top

of the screen will open the Load Sequence

screen.

The left pane will show a list of all of the

available Sequences. To make it easier

to locate a saved Sequence, this list can

be sorted by name by pressing the SORT

BY NAME Soft Button at the top of the

screen. The Sequence list can also be

sorted by the date the sequence was most

recently saved, using the SORT BY DATE

Soft Button. The upper right pane will

display any performance notes that were added to and saved along with Sequence. The lower right

pane will display a date stamp of when the selected Sequence was most recently saved to memory.

Rotate the Master Encoder to highlight and select a specic Sequence, then press down on the Master

Encoder or press the LOAD Soft Button at the top of the screen. A small indicator will appear next to

the Sequence name, showing that it is the active Sequence. Once the Sequence is loaded, you can play

it, change the Sequence settings found in the Sequencer page, or press the MORE STEP EDIT button

to open the Step Edit window to edit the content of the sequence.

TIP: When the PRESET AUTOLOAD function [SETTINGS / GLOBAL / HARDWARE SETTINGS] is set to

ON, rotating the Master Encoder will automatically load the selected Sequence as you scroll through the

list, without the need to use the LOAD Soft Button.

SAVING A SEQUENCE

Once you have nished 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 screen opens, the SAVE 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. The white keys (naturals)

enter the characters; certain black keys (accidentals) have specic functions. See page 60 for more

information on entering text.

Once you have entered a name for the sequence, you can also enter any optional performance notes

using the same method. These notes can be quick reminders or application cues, such as “Starts on

F#” or “Use as the intro for Song 5” or “Launch sequence on last note of the bass solo,” etc. Press the

NOTES Soft Button and follow the screen prompts, using the same text entry method.

After naming the sequence and adding any performance notes, press the OK Soft Button to save the

sequence, or press the screen without saving.CANCEL Soft Button to exit the Sequence SAVE

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®. With the exception of these Eventide Master Effects, the Master Effect List is identical to the

Synth Effect list, and Synth Effects can be recalled and used as Master Effects as well – and vice-versa.

These digital effects are the only part of the Moog One audio path that is not in the analog domain. All

assigned Synth Effects and Master Effects are saved as part of the Preset. To create a pure all-analog

audio path, simply turn off the SYNTH EFFECT module ON and MASTER EFFECTS module ON buttons.

UNDERSTANDING SYNTH 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.

CTRL 1 AND CTRL 2 KNOB

Synth Effects are applied individually; each

Synth has access to its own individual Synth

Effect. Once a Synth Effect is applied, any two

effect parameters can be controlled in real

time from the Front Panel using the CTRL 1

knob and CTRL 2 knob. Both of these knobs

will be pre-assigned to the two most-likely-

to-be-tweaked parameters in each Effect, but

they can be easily re-assigned to any available

parameter by using the EFFECT TYPE page.

The status of the button and the value of ON

the and knobs are saved as part CTRL 1 CTRL 2

of the Timbre.

SYNTH EFFECT STRUCTURE

Synth Effects are classied by type – Delay, Chorus, Flanger, etc. Once a particular type of effect has

been selected and loaded, the individual parameters may be adjusted, and your settings can be saved

as a Synth Effect Preset of that effect type. For example, if you select and load a Flanger-type Synth

Effect and tweak all of the parameters to your liking, you can save it as a Synth Effect Flanger, and give

it a name (such as ) so you can recall it and reuse it again and again.MY SWEET FLANGER

The structure of the Synth Effect uses a monaural input and a stereo output; this stereo output is mixed

with the stereo buss and/or the MAIN L/R SUB L/R buss. The rst parameter of every Synth Effect is the

MIX parameter, which sets a balance between the Wet (affected) and Dry (unaffected) signal.

TECHNICAL NOTE: Although PAN can be assigned as a modulation destination using the Modulation

Matrix (allowing the panning of individual voices as they are played), this per-voice panning cannot be

preserved in the monaural buss feeding the Synth Effect. The per-voice panning will continue to affect

the Dry (unprocessed) signal, but the Wet (processed) signal will rely on the Synth pan position, as

determined by the VCA MORE page settings.

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. Rotating the Master Encoder to the left will select a previous row. Again, rotate the

Soft Knob below the parameter to change its value.

NOTE: Each Synth Effect Type has its own distinct set of editable parameters. A list of the onboard

effects – including all editable parameters and the parameters pre-assigned to the CTRL 1 and CTRL 2

knobs – is found in the (page 103-111).EFFECTS APPENDIX

NOTE: The last parameter listed for each Synth Effect is . When the SYNC SYNC parameter is set to On,

the time-based parameter values will switch from absolute values to clock-division values of the Master

Clock tempo.

SAVING AN EDITED EFFECT

Once you have made all of your edits to

the Effect, press the Soft Button at SAVE

the top of the screen. Here you can name

your edited Effect.

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

specic 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.

• Keys C#5 and D#5, respectively, change the character immediately preceding the cursor to the

previous or next symbol in the current character set, changing an M to an L or an N, for example with a

single key press.

• Keys F#5 and G#5 move the cursor left or right, respectively.

• Key A#5 adds a space.

NOTE: The note numbers given above relate to the onscreen keyboard, and do not reect the keys’

actual MIDI Note numbers, etc.

TIP: You can also enter names directly, using a standard USB keyboard connected to the Moog One’s

USB HOST port.

Press the OK Soft Button to save your Effect Preset under this new name. Press the CANCEL Soft

Button to exit without saving.

MASTER EFFECTS

UNDERSTANDING MASTER EFFECTS

ON (ON/LIT, OFF/UNLIT)

The button toggles the ON SYNTH EFFECT module On and Off; when

the button is lit, the Synth Effect is On.

SEND 1 AND SEND 2 KNOBS

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. The status of the ON button and

the value of the and knobs are SEND 1 SEND 2

saved as part of the Timbre.

The Master Effects buss offers two inputs and two outputs, allowing the Master Effects to be

congured to operate as one stereo in/stereo out processor (STEREO), or as two mono in/stereo out

processors (DUAL MONO). When the parameter in the Master Effects MASTER BUSS MODE MORE

page is set to , the indicator will light. STEREO STEREO LED

TECHNICAL NOTE: Although PAN can be assigned as a modulation destination using the Modulation

Matrix (allowing the panning of individual voices as they are played), this per-voice panning cannot be

preserved in the dual mono buss feeding the Master Effects. The per-voice panning will continue to

affect the Dry (unprocessed) signal, but the Wet (processed) signal will rely on the Synth pan position,

as determined by the VCA page settings. However, in the Stereo mode, the inputs to the Master MORE

Effects are stereo, and the per-voice panning data is preserved.

Included in the Master Effects are select studio-grade effects created by Eventide®, and licensed

for Moog One use. Due to their innate complexity, only one of these premiere Eventide effects may

be used at a time, even when the Master Effects are congured in the Dual Mono mode. A second

Master Effect may indeed still operate alongside the Eventide effect; the limitation is only that no two

Eventide effects can operate simultaneously.

NOTE: If one of the Eventide effects is already assigned to one of the Master Effects, say Master Effect 1,

then the Eventide effects will appear grayed-out in the EFFECT 2 TYPE list, and they will be unselectable.

Termékspecifikációk

Márka:	Moog
Kategória:	billentyűzet
Modell:	One

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