Modular Synthesizer

[HISTORY]
The process of making electronic music began more than a century ago, with
unpredictable and impractical instruments such as telarmonium, theremin, Ondioline
and other exotic gadgets. None of them proved to be very practical, but it was a
start.
In the 1940s, after World War II, the race for the future began, and the idea of
synthesizing and generating new electronic sounds began to gain momentum. At the
time, music was made using reel to reel recorders and large analog equipment,
present in electronic music studios around the world. Meanwhile, inventors and
experimental composers, like Raymond Scott, were building prototypes that would
define a model for synthesizer manufacturers.
These pioneers helped popularize the sound of electronic music by recording jingles
and soundtracks, increasing the craving for an easier and more affordable way to
make this type of sound. This all gave rise to the modern analog synthesizers we are
familiar with today, built by Robert Moog, Donald Buchla and others.
Thus were born the necessary tools for a revolution in music, put into practice by
Delia Derbyshire and the BBC Radio Shop, Kraftwerk, Giorgio Moroder, Suzanne Ciani,
Derrick May and many others.

ROBERT MOOG
Robert Moog started making and selling thermins with his father in the 1950s, but it
was in the early 1960s, during his spare time, that he built his first modular
synthesizer. The equipment consisted of two oscillators and two bell-controlled
amplifiers. He exhibited his synthesizer prototypes at the Audio Engineering Society
convention in 1964, and by the end of the 1960s, Moog's sound was beginning to
appear on popular soundtracks.
On the hugely successful album "Switched-On Bach" (1968), by Wendy Carlos, the
artist reinterpreted classical songs in a Moog - which presented the possibilities of
synthesizers to a new generation. The launch of the revolutionary (and more
affordable) MiniMoog in 1970 popularized the equipment, which started to be used by
everyone, from Kraftwerk to Michael Jackson.
Donald Buchla
Donald Buchla was just as important as Robert Moog in the early development of
synthesizers - or, as he liked to call them, electronic instruments.
One of the leading names in US West Coast counterculture in the 1960s, alongside the
Grateful Dead, Buchla invented his own modular synthesizer at the same time as
Robert Moog, after being hired by avant-garde composer Morton Subotnick. Buchla
synthesizers - particularly Buchla Box and Buchla Music Easel - have been praised for
their musicality and playability, and are adored by important figures like Laurie
Spiegel, Suzanne Ciani and Kaitlyn Aurelia Smith.

Peter Zinovieff
British inventor Peter Zinovieff began to explore the possibilities of Daphne Oram's
electronic music - which would become an important member of the BBC Radio
Workshop - in the 1960s.
The geologist and mathematician decided to try to find an easier way to synthesize
sounds than by using coils and started to build an electronic studio in his garden. The
place became known and received some of the greatest musicians of the 60s, who
always came to know the space that became legend. In 1969, Zinovieff launched the
portable analog synthesizer EMS VCS3, which quickly established itself as a milestone
in music studios around the world.

Tom Oberheim
North American computer engineer Tom Oberheim was responsible for some of the
first commercial polyphonic synthesizers - systems capable of playing more than one
note at a time.
Oberheim started producing sound equipment for the psychedelic North American
band The United States Of America, including a ring modulator that caught the
attention of film directors and jazz musicians like Herbie Hancock. After learning
about synth design from ARP creator Alan R. Pearlman, Oberheim developed the
beloved Oberheim synthesizers - 2 voices, 4 voices and 8 voices - and the sequencers
and electronic drums that appear in styles like jazz and hip- hop, passing techno.
Dave Smith
Dave Smith and John Bowen's Prophet-5 synthesizer, built in 1977, was one of the
first polyphonic synthesizers to be able to store sound configurations. Before that,
musicians had to remember or write down various locations for placing buttons and
cables. That was not the Prophet-5's only appeal. He was also handsome, and his
wonderful and mysterious sci-fi textures coupled with frightening chords attracted
horror film directors and soundtrack creators like John Carpenter. His unmistakable
sound can also be heard on rap records produced on the US West Coast during the
1990s.
Hiroaki Nishijima e Tatsuya Takahashi
Headquartered in Tokyo, Korg (or Keio Electronic Laboratories as it was originally
known) was founded by nightclub owner Tsutomu Katoh to help his favorite
accordionist (and engineer) Tadashi Osanai create a rhythm machine to track his
performances.

After creating a keyboard, called Korg, a combination of Keio and organ, they
learned about the interest in synthesizers that was going on in the United States and
developed Mini-Korg - a monophonic synthesizer. After that, Korg introduced the
darlings of dance music PS-3300, MS10 and MS20, as well as Polysix and Trident, the
first truly accessible polyphonic synthesizers.
[WHAT IS A SYNTHESIZER]
Modular synthesizers are synthesizers composed of separate modules of different
functions. The modules can be connected together with patch cords, a matrix
patching system, or switches by the user to create a patch. The output (voltages)
from the modules may function as (audio) signals, control voltages, or logic/timing
conditions. Typical modules are oscillators (operate on frequency), filters (spectrum),
amplifiers/gates (amplitude) and Envelope generators (dynamic control).
The structure of the modular synthesizer is different to the now traditional keyboard
synthesizer. A keyboard synthesizer comprises of oscillators, filters, envelopes and an
amplifier that are all hard-wired together in a signal chain. When playing the
keyboard synth, you shape the sound by altering the knobs and switches but the
signal chain always remains fixed in the one path.
A modular synthesizer does not require a keyboard to be played. The basic modular
synthesizer is comprised of the same blocks as a traditional keyboard synthesizer but
each function is self-contained in its own “module” (hence, modular synthesizer). No
module is hard-wired – each one has an input and output and the signal chain can
take an infinite amount of paths. The connection of module-to-module via cables is
referred to as a “patch” and the bigger the modular system, the more combinations
of sounds are available to you.

A modular synthesizer allows for a flexible signal path with a wide choice of
modulation options.
The modules available in a modular synthesizer can be divided into three types;
SOURCE, PROCESSOR, and LOGIC.
• SOURCE modules typically have a signal output and no signal input. These are
sound sources like oscillators (VCOs) and noise sources, and also control
sources like LFOs and Envelope Generators.

• PROCESSOR modules shape the sound via timbre (VCF), volume (VCA) or
effects (Delay, Phaser, Ring Modulator).

• LOGIC modules provide information to control clock timings and can also be
used for switching (e.g. NAND gates, clock pulse triggers).

On a keyboard synthesizer, to play a note you press down a key. Simple.

But how do you play notes on a modular synthesizer, especially if there is no
keyboard? The answer is CONTROL VOLTAGE.
When you press down a key on the keyboard synthesizer, an electronic signal is sent
to the oscillator that is measured in volts. This signal controls the pitch of the
oscillator, with the number of volts corresponding to the octave of the key played on
the keyboard.

For example, the higher the key played on the keyboard, the higher the voltage. This
means, a 3V signal is one octave higher than a 2V signal, as in the image above.
A signal used to control another parameter is referred to as Control Voltage or CV. In
the example above 1 Volt per Octave control voltage (1V/Oct CV) is a synthesizer
standard when controlling pitch in a synthesizer.
Control Voltage is also used in modular synthesizers and is the way in which each
module interconnects and “speaks” to each other. Each module not only has an input
and an output, but also has CV inputs to control individual parameters of a module.
One control voltage source can control any number of inputs like pitch, volume or
cutoff, individually or all parameters simultaneously.
Control Voltage has the ability to be multiplied, combined, switched and mixed to
create a random and evolving swirl of complex signals to control your modular
synthesizer. This is the moment when the “beast has a mind of its own”. This serves
as a source of inspiration to you as a musician to create sounds, melodies and
textures you could never have imagined.

On the other hand, since the modular synthesizer uses precise voltages to control
parameters such as pitch and tempo, the “beast can also be tamed”. The classic
Moog Modular Synthesizer was traditionally played with a keyboard to recreate more
traditional instruments like flutes and horns – the modular then becomes an almost
symphonic instrument.

[MINIMOOG]
The Minimoog Model D is an analog synthesizer first manufactured by Moog Music
between 1970 and 1981. In the 1960s, synthesizers—in the form of large, expensive,
and complex modular synthesizers—were inaccessible to most musicians. The
Minimoog was designed as an affordable, portable, simplified instrument which
combined the most useful components in a single device. It was the first synthesizer
sold in retail stores. It was first popular with progressive rock and jazz musicians and
found wide use in disco, pop, rock and electronic music.

[FEATURES & CONTROLS]

OVERVIEW
The Minimoog Model D is a self-contained monophonic analog synthesizer, and the
direct descendant of the Moog modular synthesizers that preceded it. The main
synthesizer components include:
• Oscillator-1
• Oscillator-2
• Oscillator-3
• Noise Generator
• LFO Modulation Oscillator
• Audio Mixer
• Filter
• Filter Contour (Envelope Generator)
• Loudness Contour (Envelope Generator)
• 44 full-size keys with Velocity and After Pressure
• Pitch Bend and Modulation Wheels and Glide
• Enhanced Patch Panel
The front panel groups these elements and controls together by type: CONTROLLERS,
OSCILLATOR BANK, MIXER, MODIFIERS, OUTPUT in an intuitive and efficient design. All
of these elements are controlled via single-function knobs and switches. And like its
modular ancestors, the Minimoog Model D is constructed of independent synthesizer
circuits connected by audio pathways and control lines. In place of patch cables, the
Minimoog Model D uses color-coded rocker switches to establish connections between
these circuit elements, or modules.
 • Orange Switches: Connect modulation sources to their destinations.
• Blue Switches: Turn audio sources On and Off.
• White Switches: Turn performance features On and Off.
• Black Switches: Select between modulation sources.
OSCILLATOR BANK
• Oscillators are the primary source of sound in an analog synthesizer. The
Minimoog Model D OSCILLATOR BANK contains three nearly identical
Oscillators. This arrangement means each key can sound up to three
oscillators—each with its own Waveform, Octave, and Pitch setting—creating a
deep or complex sound. The Mixer then controls the balance between the
Oscillators.

TUNE
• The tuning of Oscillator–1 is determined by the master TUNE knob, located at
the top of the CONTROLLERS panel.
RANGE
• The RANGE knob selects the fundamental octave for each oscillator over a
five octave range. A sixth LO setting brings the pitch down even further,
allowing the Oscillator to be used for other purposes, such as a modulation
source.
FREQUENCY
• Oscillator–2 and Oscillator–3 are each equipped with a FREQUENCY knob that
can be used to detune the Oscillator from the pitch of Oscillator–1. Slight
amounts of detuning can create a rich, chorusing effect. Tuning the
Oscillators to an interval (Perfect Fifth above, Perfect Fourth below, etc.)
provides a powerful voice for playing lead passages or creating chords.
WAVEFORM
• Each of the three Oscillators provides six distinct Waveform shapes. Each
waveform has a unique harmonic content that is based on the number and
 strength of harmonic overtones that it contains. These overtones are what
impart a particular timbre to the Oscillator.

TRIANGLE
• The Triangle wave has an extremely strong fundamental, yet contains only
odd-numbered harmonics at very low levels. This makes the Triangle wave an
ideal choice for creating soft, flute-like sounds that have a pure tone with
little overtone activity.
TRIANGLE/SAWTOOTH (OSCILLATOR–1 AND OSCILLATOR–2 ONLY)
• This waveform is a hybrid of the Triangle and the Sawtooth waveforms. It
contains more harmonic energy than the Triangle wave and adds in some of
the even-numbered harmonics, but it is not nearly as brash as the Sawtooth
wave. This hybrid waveform can add a little more edge than the Triangle
wave alone, allowing it to cut through the mix with a bit more clarity.
REVERSE SAWTOOTH (OSCILLATOR–3 ONLY)
• The Reverse Sawtooth has a sound similar to the regular Sawtooth wave; it is
included here primarily as a waveform choice when using Oscillator–3 as a
modulation source.
SAWTOOTH
• The Sawtooth waveform is the most harmonically dense of the waveforms,
containing all of the natural harmonics in relatively strong levels. In addition
to creating thick, brassy sounds, the Sawtooth waveform lends itself to
powerful lead and bass sounds as well.
• PULSE 1 / SQUAREThe harmonic content of a Pulse wave is based on the width
of the top half of the wave in relation to the bottom half of the wave, also
known as the duty-cycle. In the Square wave, the width of these two portions
of the wave are equal. As with the Triangle wave, the Pulse 1/Square
waveform contains only odd-numbered harmonics, but with greater energy. A
Square wave provides a rich starting point for string-like sounds.
PULSE 2 / WIDE RECTANGLE
• As the Pulse wave changes from Square to Rectangular, even numbered
harmonics are introduced, but the overall harmonic mix is changed. The wide
rectangle forms the basis for hollow, reedy sounds.
PULSE 3 / NARROW RECTANGLE
• As the Pulse wave continues to get narrower, lower numbered harmonics—
both odd and even—are emphasized. The resulting timbre takes on a more
nasal tone.
OSC. 3 CONTROL
• Oscillator–3 is unique. Normally, all Oscillators are controlled directly from
the keyboard and Pitch wheel. Turning the orange rocker switch to OFF
releases OSCILLATOR–3 from keyboard control, providing a greater range of
frequency control and allowing it to run free as a modulation source.
OSCILLATOR MODULATION
• When this switch is set to ON, the Oscillators can be modulated by Oscillator
3, Noise, Filter Contour, an External Mod Source, and the LFO (Low Frequency
Oscillator) as defined by the CONTROLLERS settings and the Modulation Wheel
position.

CONTROLLERS
• The Minimoog Model D contains a number of modulation sources that can
affect the pitch of the Oscillators or the Cutoff Frequency of the Filter. In this
regard, the Minimoog Model D has been modified from its original design, and
two black rocker switches have been added to the CONTROLLERS section.
Each switch selects between two modulation sources, while the Modulation
Mix knob controls the balance between them. In the end, the Modulation
Wheel (located on the Left-Hand Keyboard panel) controls the amount of
modulation applied to the Oscillators and or Filter.

OSC. 3/FILTER EG SWITCH

• This switch to the bottom left side of the CONTROLLERS panel is used to
choose the modulation source that will be assigned to the counterclockwise
position of the MODULATION MIX knob. Normally, this switch would be set to
OSC. 3, allowing Oscillator–3 to be assigned as a modulation source. In the
FILTER EG position, the shape defined by the ATTACK TIME, DECAY TIME, and
SUSTAIN LEVEL knobs of the Filter Contour are used as a modulation source.
Filter EG is an ideal modulation source for creating analog brass and
percussion sounds.
NOISE/LFO SWITCH
• This switch to the bottom right side of the CONTROLLERS panel is used to
choose the modulation source that will be assigned to the clockwise position
of the MODULATION MIX knob. Normally, this switch would be set to NOISE,
allowing the Noise Generator to be assigned as a modulation source. The
 NOISE switch located in the mixer selection determines what type of noise is
used for modulation. When WHITE NOISE is selected, Pink Noise is actually the
modulation source. When PINK NOISE is selected, Red Noise is actually the
modulation source. In the LFO position, the additional LFO located on the
Left-Hand Keyboard panel is used as a modulation source. This is ideal for
pitch vibrato and trills when all three oscillators are in use.

MODULATION MIX
• This knob sets the balance between the modulation sources selected using the
OSC.3/FILTER EG and NOISE/LFO switches. With the MODULATION MIX knob
rotated fully counterclockwise, only the modulation source selected by the
OSC.3/FILTER EG switch is applied. With the MODULATION MIX knob rotated
fully clockwise, only the modulation source selected by the NOISE/LFO switch
is applied. In the center position, both selected modulation sources are
applied equally.

LFO RATE
• Located on the Left-Hand Keyboard panel, the LFO RATE knob sets the speed
for the dedicated LFO (Low Frequency Oscillator) modulation source that has
been added to the Minimoog Model D. Normally, the LFO uses a Triangle wave;
pulling up slightly on the LFO RATE knob will switch the LFO to a Square wave.
MOD WHEEL
• The MODULATION Wheel provides a real-time performance controller that can
apply the modulation sources selected using the OSC.3/FILTER EG and NOISE/
LFO switches, using the mix determined by the MODULATION MIX knob. The
Oscillator Modulation switch between the CONTROLLERS panel and the
OSCILLATOR BANK must be in the ON position to apply modulation to the
Oscillator pitch. The FILTER MODULATION switch connecting the CONTROLLER
panel and the Filter must be in the ON position to apply modulation to the
 Filter Cutoff Frequency. The zero position for the Mod Wheel is all the way
down, with the indent in the wheel closest to you.
PITCH WHEEL
• Located next to the MODULATION Wheel, the PITCH Wheel provides a real-
time performance controller for bending the pitch of the Oscillators, in the
way that a guitarist may bend a string or a sax player may bend the reed to
alter the pitch of a note. The zero position for the PITCH Wheel is in the
center, allowing the pitch to be bent either sharp or flat.

GLIDE
• Glide allows the pitch to change in a smooth, continuous manner as you
transition from note to note, rather than instantly stepping to the new pitch.
GLIDE SWITCH
• Located on the Left-Hand Keyboard panel, this switch turns the Glide effect
on and off.
GLIDE KNOB
• Located on the CONTROLLERS panel, the GLIDE knob determines the amount
of time needed to transition from one note to the next.
DECAY SWITCH
• When the DECAY switch is ON, the last note played will continue to sound as it
fades and the Filter Cutoff Frequency will lower at the rate set using the
DECAY TIME knobs in the MODIFIERS section.
MIXER & NOISE
• The MIXER sets the levels of all five of the Minimoog Model D audio sources—3
Oscillators, Noise Generator, and External Audio Input. The combined output
of the Mixer next passes through the Filter and finally arrives at the audio
output. In addition to a dedicated Volume knob, each audio source also
includes an On/Off switch. These switches allow any source to be quickly
removed from the mix while preserving their VOLUME knob position, and can
also be useful when setting the tuning of each Oscillator.
EXTERNAL INPUT VOLUME
• An external audio source can be introduced to the Minimoog Model D using
the EXT. INPUT SIGNAL jack located on the Top Patch Panel. The Volume of the
external signal is controlled using this knob. If no cable is connected to the
EXT. INPUT SIGNAL jack, the main audio output of the Minimoog Model D is
attenuated slightly and then normalled to the External Input signal path. In
this case, the Main Output signal is sent back to the input of the mixer. By
increasing the External Input volume far enough, the Mixer can overload,
introducing varying levels of overdrive or distortion. When this occurs, the
Overload indicator lamp will light. In this case, the External Input Volume
control is POST Main Output volume. This means that the MAIN OUTPUT
VOLUME knob will affect the amount of overload in addition to the EXTERNAL
INPUT VOLUME knob.
NOISE
• Noise can be a very desirable sound source—either alone, or mixed in with
other sources. It can be used to create anything from a rocket launch to the
subtle breath of a flute sound. In addition to the NOISE VOLUME knob, there is
a switch for selecting either WHITE or PINK noise. White Noise contains all
audible frequencies at equal amplitude levels, much like white light. Pink
Noise contains equal energy in each band of the audio spectrum, and is
perceived as having more low-frequency components. If you think of White
Noise as TV static, consider Pink Noise more as a waterfall pounding the rocks
below.

MODIFIERS
• The MODIFIERS Panel contains three separate sections: FILTER, FILTER
CONTOUR, and LOUDNESS CONTOUR. The Filter selectively modifies the
harmonic content of the sound. The Contour controls, also known as Envelope
Generators, provide a control signal that changes over time. The FILTER
CONTOUR controls the filter’s Cutoff Frequency over time. The LOUDNESS
CONTOUR controls the output volume level over time.
FILTER CONTROLS:
CUTOFF FREQUENCY KNOB
• The Minimoog Model D is equipped with a traditional Moog Ladder Filter with
10Hz-32kHz frequency response. This is a critical component to the thick,
punchy and powerful Minimoog Model D sound. When a note is played,
harmonic content occurring above the filter Cutoff Frequency is reduced by
the filter at a rate of 24dB/Octave. Harmonic content, or sound, below the
filter Cutoff Frequency will freely pass unaffected. This is the foundation of
subtractive analog synthesis. While the Cutoff Frequency can be set manually
using the CUTOFF FREQUENCY knob, the value is also affected by the
KEYBOARD CONTROL switches, FILTER MODULATION switch, FILTER CONTOUR
controls and the AMOUNT OF CONTOUR knob, which are discussed below.
When closing the filter by lowering the CUTOFF FREQUENCY, the sound will be
perceived as growing darker, while increasing the Filter’s CUTOFF FREQUENCY
will create a progressively brighter sound.
EMPHASIS KNOB
• Often referred to as resonance, the EMPHASIS knob takes a portion of the
output of the Filter and sends it back to the input of the Filter, creating a
resonance peak that occurs at the filter’s Cutoff Frequency. By turning the
EMPHASIS control up and lowering the Filter CUTOFF FREQUENCY, the Filter
can be coaxed into a self-oscillating state, acting as a sine-wave oscillator
whose pitch can be controlled or played via the keyboard by using the
KEYBOARD CONTROL switches defined below.
FILTER MODULATION SWITCH
• When this switch is On, the Filter Cutoff Frequency can be modulated by the
Noise Generator, Filter Contour, Oscillator 3, and the LFO (Low Frequency
Oscillator). The modulation source and amount are defined by the
CONTROLLERS settings and the MODULATION WHEEL position.
KEYBOARD CONTROL (1 & 2) SWITCHES
• The KEYBOARD CONTROL switches allow the note played on the keyboard of
the Minimoog Model D to affect the Filter Cutoff Frequency, a process also
 known as key tracking. This allows notes played higher on the keyboard to
have brighter sound. KEYBOARD CONTROL 1 provides 1/3 of the total amount
of available key tracking. KEYBOARD CONTROL 2 provides 2/3 of the total
amount of available key tracking. By using both switches together, the full
amount of available key tracking (1/3 + 2/3 = 1) is applied.
COUNTOUR CONTROLS
• Contour controls provide a way to add articulation to the sound of the
synthesizer. The Minimoog Model D features two Contour, or Envelope
Generators. One provides a signal to change the Filter Cutoff Frequency over
time. The second provides a signal to change the Loudness over time. In both
cases, the Contour contains three main controls: ATTACK TIME, DECAY TIME,
and SUSTAIN LEVEL.

FILTER CONTOUR:
ATTACK TIME KNOB
• The ATTACK TIME knob sets the time required for the Filter Contour Generator
to raise the Filter’s Cutoff Frequency from its manual setting to its maximum
level (determined by the AMOUNT OF CONTOUR knob) once a key is pressed or
after a gate is received.
DECAY TIME KNOB
• The DECAY TIME knob sets the time required for the Filter Contour Generator
to lower the Filter’s Cutoff Frequency from the level achieved by the Attack
stage to the Sustain Level. The DECAY TIME knob can also control the amount
of time required for the Filter to return to its manual setting after the key is
released (or after an external gate signal ends). This second function of the
DECAY TIME knob is activated by the DECAY switch, located on the Left-Hand
Keyboard panel.

SUSTAIN LEVEL KNOB

 • After the Attack and Decay stages have been completed, the Filter Contour
Generator will hold the Filter’s Cutoff Frequency at the level determined by
the SUSTAIN LEVEL knob for as long as a note is held.
AMOUNT OF CONTOUR KNOB
• The AMOUNT OF CONTOUR knob determines how much of the control signal
created by the Filter Contour will be applied to change the Filter Cutoff
Frequency over time.
OUTPUT
• The OUTPUT section is divided into three functions—MAIN OUTPUT, PHONES
OUTPUT, and the A-440 Reference Tuner. The MAIN OUTPUT and the PHONES
OUTPUT feature independent Volume controls. The Main Output also offers an
On/Off switch.

MAIN OUTPUT VOLUME KNOB

• The MAIN OUTPUT VOLUME knob determines the signal level being sent to the
HIGH and LOW audio outputs on the Top Patch Panel.
MAIN OUTPUT SWITCH
• This switch can quickly mute the Main Output of the instrument without
having to dial the Volume down to zero and then reset it to a nominal level.
Muting the Main Output allows a performer to use the Phones Output as a
cue/monitor for privately tweaking settings during a live performance.
A-440 TUNER SWITCH
• A reference tuner pitched at A=440 Hz is built into the Minimoog Model D. The
reference tone is sent to both the Main Output and the Phones Output. The
Tuner provides a convenient way to keep all of the oscillators in tune, at all
times.
PHONES VOLUME KNOB
 • The PHONES VOLUME knob determines the signal level being sent to the
PHONES jack. This knob operates independent of the MAIN OUTPUT VOLUME
knob.
PHONES JACK
• Even though the Minimoog Model D is monophonic, the PHONES jack is a 1/4”
TRS Stereo jack, delivering the same signal to both ears.