MOOG Synthesizers
The Moog Philosophy
"If you're into synthesizers, you have a lot in common with us. We're concerned, and maybe you are too, about some of the hype that's been around on synthesizer design. It's the kind of hype that places too much importance on gimmicks that don't have any real musical purpose.
Musicians Like You Help Design Moog Sinthesizers
Fads, gimmicks and basically unmusical electronic features don't make a synthesizer a musical instrument. Feel, sound and playability do. That's why Moog has always designed its instruments in close collaboration with working musicians - people like Rick Wakeman, Jon Lord, Chick Corea, Jan Hammer, - some of the most talented performers of our time.
At Moog, literally thousands of hours are spent every year talking (and listening carefully) to our musician friends.We visit recording studios. Go on tour with major groups. Sometimes even participate in live performances. All this teaches us a great deal about what you, the players, need and want in a synthesizer.
From Moog "Musical Engineering", The Very Best Sound and Performance
Formulas and specs are critical, but without the taste and insight of Moog's "musical engineers", our synthesizers would just be sound generators and not the versatile musical instruments they are. For example, part of the famous Moog "fat sound" comes from the patented Moog filter. But the total sound of the instrument is the result of dozens of individual design features meticulously proportioned to give just the right sound and feel.
The spirit of "musical engineering" is behind Moog's many exclusive performance controls, too. Take our Pitch and Modulation Wheels and our Robbon Controller. They enable the player to easily control pitch bend, vibrato and other nuances so vital to brilliant solo performance. These are the features that make the difference between a "one note organ" sound and the soaring, fluid Moog lines you hear in the best contemporary electronic music.
The Truth About Sliders Versus Rotary Pots
Take a look at any recording console. You'll see that the faders are sliders, because the recording engineer has to manipulate many of them simultaneously, especially during a mix. But just about all the other controls on the console are rotaries, because they're so much easier to set precisely. Moog's answer? Use both... rotaries where precision is critical, sliders where speed is the thing (or where space is limited). But to say that there's only one right way, well again, that's just hype. Just try to accurately tune an all-slider instrument!
The point of all this is that if you're into synthesizers, you really ought to know the difference between electronic gimmickry and solid musical engineering. We're convinced that Moog offers equipment that gives you the most quality, playability and musical control over sound.
If you visit and Authorised Moog dealer he will be able to give you all the answers you're looking for... technical specifications, a demonstration and explanation, and a chance to try the Moog Products.
Once you've tried a Moog Synthesizer you'll understand the Moog Philosophy".
Multimoog
Multimoog is the synthesizer for the composer in you and the keyboard for the performer in you. The force-sensitive keyboard extends Moog's musical engineering to let you phrase, bend pitch, and introduce vibrato, trill, tremolo - even sample and hold - with a
single hand.
While your right hand plays two hands worth of music, your left hand can play the Moog Pitch Ribbon and Performance Wheel for added expression. Multimoog puts control where it belongs - in your
hands.
Variable control and Moog's
open system input/output panel make the Multimoog a powerful synthesizer as well as an expressive keyboard.
Whether you're a performer, a synthesist - or both - check out the one-hand/two-hand punch of the versatile one-MULTIMOOG.
Features
• Two temperature-regulated ultra stable audio oscillators (heated chip technology)
• Separate modulation oscillator
• Filter can produce sine wave
• Controlled filter emphasis to prevent accidental oscillation
• Continuously variable voltage controlled waveshapes
• One or two suboctave doubling also blendable
• Octave "click" switching 32' to 2'
• Wide Frequency knob can sweep oscillator pitch continuously over 8 octave range
• Modulation section features quick source-destination orientation
• Dual mode Sample and Hold - synchronous triggering or control output only
• Force sensitive keyboard - touch can take the place of the modulation wheel
• Patented Moog voltage controlled low pass filter, 24 dB per octave
• Reversible filter contours to create a whole new class of sounds
• Separate contour generators for VCF and VCA
• Ribbon "return to center" pitch bender - zero intertia playing
• "Open system" - Input/output capacity make it compatible with other Moog synthesizers, accessories, and audio sources such as the guitar
• Glide (variable) switchable from panel or footswitch
Power Requirements
VAC or 180-260 VAC
50/60 Hz. 18 watts
Detachable international power cord
Micromoog
The Micromoog is a compact musical instrument. It is designed to be fast and easy to play.
Control over performance.
It is constructed to be durable but light. The controls and keyboard are protected by its casing.
Control over handling.
It is an example of musical engineering.
The intuitive centre-return ribbon controller and performance wheel introduce musical feeling into electronic music.
Control over sound.
There are a minumum number of controls but a great deal of functions. The open system design allows extended input/output capability.
Control over price.
Features
• Temperature regulated ultra stable audio oscillator (heated chip technology)
• Separate modulationg oscillator
• Filter can produce pure sine wave
• Controlled filter emphasis to prevent accidental oscillation
• Controlled filter emphasis to prevent accidental oscillation
• Continuously variable voltage controlled waveshape
• One or two suboctave doubling - blendable
• Octave "click" switching - 32', 16', 8', 4', 2'.
Power Requirements
180-260 VAC. 50/60 Hz. 5 watts.
Minimoog
with new Drift Free circuitry
Minimoog introduced synthesizers to the performing musician - it is the classic lead-line performance synthesizer. What the player needs is a logical built controllable musical instrument, that sounds great. The Minimoog is such a musical instrument. Moog's musically engineered left hand controllers let you bend pitch intuitively and vary modulations such as vibrato with musical feel.
Try out the sound - control over sound - find out what makes a classic synthesizer - MINIMOOG.
Features
• Ultra stable oscillatiors
• Logical control panel layout with signal processing from left to right
• Three tone oscillators, each with separate octave clickers, waveform selectors, volume controls, on/off switches. Oscillators 2 and 3 have separate tuning controls. (Oscillator 1 is tuned with master tune control).
Power Requirements:
200 - 260 volts, 50-60 Hz.
10 watts maximum.
Specifications subject to change.
Taurus Pedal
The Moog Taurus Pedal Synthesizer lets you make music with your feet while your hands are busy playing keyboard, guitar, or drums.
The Taurus has three programmed voices and a voice that
you can program completely. In performance you can select a Moog voice or your voice instantly. The Taurus is a variable synthesizer that features two audio oscillators to create phasing effects, parallel intervals, and rich percussive sounds. In addition functions like glide, decay, and pedalboard octave may be switched by foot during performance. And its five octave range makes Taurus more than a bass instrument.
Add another dimension to your control over sound - add a Moog Taurus pedal synthesizer.
Taurus Features
Three pre-programmed synthesizer voices: Bass, Tuba and Taurus
• One fully programmable voice. You create the sound and pre-set it yourself.
• Five octave range - 32', 16', 8', 4', 2'.
• Foot sliders for loudness and tone color variation.
• Ultra stable oscillator design: less than one cent (0,06%) short term drift, less than two cents (0,18%) long term drift.
• Electronic preset selectors. Preset never have to be canceled.
Polypedal Controller Functions
• Volume
• Filter and/or Pitch
• Sustain
• Trigger Mode Selector and Touch Switch
• Pitch Selector Tuneable from 0 over 1 octave
Polymoog Synthesizer
The Polymoog synthesizer. The instrument that re-designed the world of synthesis.
No other instrument offers the variety of sound, and control over sound, present at the Polymoog control panel. The fully polyphonic, touch responsive keyboards gives the Polymoog instant-play capabilities. Eight pre-programmed voices and a user-programmable voice give it instant-change capabilities. At any time, the pro-programmed voices can be altered with the variable controls, allowing limitless creation of new sounds. The versatility of a Polyphonic synthesizer. The expression of a performing keyboard. Get it all with the Polymoog Synthesizer.
Specifications
Outputs: Output Levels (5 outputs) )dBm nominal
Output Impedances (5 outputs) 600 ohms
Output Coupling: Mix output, single ended or balanced (XLR). Direct, VCF, MODE, RES; single ended
Keyboard Voltage: Adjustable from 0.9 to 1.2 volts/octave
S-trig: Single or multiple negative trigger; retrig 20msec.
Inputs: Filter 0.64 volts/octave
Pitch: 0.9 volts/octave
Sell (Loudness): 5 volts for 30 dB change
Mod Amount: 0-5 volt range
Ext syn, trig mode, sustain, glide, on/off, Switch closure.
VCF, RES, AUX: 0dBm
Power Requirements: 200-260 VAC; 0.5A/0.25A
Polymoog Keyboard
The Polymoog Keyboard is musically engineered to give you the tonal variety and breadth of expression of a
primary keyboard. Fourteen programmed voices give you a variety of characteristic sounds from one keyboard.
The Polymmog Keyboard is
velocity sensitive. It allows the same kind of intuitive touch sensivity as the piano. An individual voltage controlled filter and voltage controlled amplifier for each key lets you play without triggering problems.
Polymoog polyphony is not restricted - either by the number of notes playable simultaneously, or by the size of the 71 note keyboard.
Synthesizer tonal variety goes right down to voltage controlled oscillators.
Primary keyboard musicality is a keyboard that feel your fingers. Get them both together in the Polymoog Keyboard.
Features
• 14 pre-programmed voices: Vox Humana, Strings I, Strings II, Electric Piano, Grand Piano, Honky Tonk Piano, Clavinet, Harpsichord, Brass Solo, Brass Chorus, Pipe Organ, Rock Organ, Vibes, Funk.
• Multi-oscillator output for chorus effects
• Totally polyphonic touch sensitive keyboard
• Studio quality signal/noise ratio
• Monophonic synthesizer interface connections
• Stereo output configuration
• Variable modulation rate and amount
• Variable attack time
• Filtered lower keyboard output with level and frequency controls
• Foot control or pitch, sustain, trigger, and volume with optional Polypedal
Specifications
Sound Sources
Number of oscillators - 2 (71 ranks; slaved to precision VCO)
Articulators - 142 (VCA and VCF for each key)
Frequency range - E1-D7, 71 note keyboard: Pitch ribbon and external frequency control gives maximum of +- octave pitch control
Pitch stability - +- 0.0z% (+- 1/3 cent)
Pitch ribbon range - +- 7 semitones minimum
Fine tune range - +- 1 semitone
Beat tune range - +- 1/4 semitone
Voices
Number - 14 programmed
Voice modification controls - modulation rate and amount, octave balance (3), attack (sustaining voices)
Bass - 14 programmed: variable cutoff frequency and separate gain controls
Main - Nominal output level 0dBm (0.7 volts) output impedance - less than 3k
Bass - Nominal output level 0dBm (0.7 volts) output impedance less than 3k (plugging into bass output automatically isolates bass signal from main output)
Control Outputs
Keyboard control - Scale adjustable from 0.9 to 1.1 volts/octave with rear panel scale pot: range adjustable +- 1 1/2 semitones
Trigger - S trig (+- 15 to 0.0 VAC) single/multiple determined by trig mode switch or foot-switch
Keyboard control voltage - 30 db control with 0 to 5 VAC input impedance - 200k
Filter - 0.5 volts/octave input impedance - 1 mag (for BRASS voices)
Trigger - Switch to ground gives single trigger mode with trig switch in multiple position
Pitch - 0.7 volts/octave
Sustain - Switch to ground gives sustain
Accessory Power Outputs - +- 15, +5VDC at 100 ma available for each supply voltage.
Signal Processors
Vocoder
The Moog Vocoder is an instrument which continuously analyzes the timbral characteristics of one sound (program) and impresses these timbral characteristics upon a second signal (carrier). The most familiar use of this type of instrument is to impose vocal characteristics onto instrumental sounds. As a musical instrument, a large variety of musical effects are possible by applying different types of signals to the two audio inputs called the program and the carrier input.
The 16-channel Moog Vocoder has a variety of features especially developed and engineered for musical performance. These features make the instrument a powerful sound modifier for both live performance and for studio work.
Features
• Sixteen channels plus a special high frequency channel which operates either in the "direct" mode or in a "switched" mode which is activated by the presence of very high frequency sounds
• Fast six millisecond response time especially useful for percussive sounds
• Full external patching between the analyzer and synthesizer sections
• Patch select controls allows quick switching from the "normal" to the pre-selected patched configuration
• A bypass control switches the Vocoder in and out rapidly
• Foot switch jacks provide for live performance control of sample hold, patch select and Vocoder bypass
• Rugged Moog Signal Processer chassis with reversible end plates for rack mounting or free standing use
• 110/220 VAC, 50/60 Hz line voltage for world wide use.
• Overload indicators for indicating optimum signal-to-noise settings on the program and carrier inputs.
Specifications
Program Input
Nominal level
Line: 0dBm (0.7 volts)
Mic: 40dBm (0.007 volts)
Input Impedance
Line: 20k ohms
Mic 30k ohms
Carrier Input
Nominal Level: 0dBm (0.7 volts)
Input Impedance 100k ohms
Output
Level: + 10dBm (2.2 volts)
Output: 1 ohm
Effective Signal/Noise Ratio 60dB
Frequency Range
Overall: 50-15.000 Hz
Vocoder: 50-5.080 Hz
Gates or bypassed: 5.080-15.000 Hz
Parametric and Graphic Equalizers
Bringing the studio closer to home
Now, with Moog's Ten Band Graphic Equalizer and Three Band Parametric Equalizer you have the answer. Engineered for the studio technician and build for the stage musician. In fact, Moog's Signal Processors are ready veterans in recording studios - among producers, engineers and musicians alike. That says a lot for units that were built to handle the road. Moog Signal Processors were designed to meet the wide range demands of keyboard instruments - to handle a very wide dynamic range and extended frequency response. The controls on Moog's Signal Processors have a smooth, quiet action for precision adjustments. The Graphic Equalizer's sliders are protected from dust entering their mechanisms, so they stay smooth and quiet. The slider centre points are detented for fast easy reference you can feel. You can bypass the Graphic or Parametric by flipping the Status Switch for fast sound changes. And the Drive control lets you adjust the level of the Equalizer's internal signal to match the input signal. It lets you maintain a high signal-to-noise ratio with low output instruments and guards against overload from high output instruments. You can also uses Moog's Signal Processors as line drivers for long cords stretching across the stage. Moog's Signal Processors are designed for the studio and the road, right down to the two way chassis. In one position the carrying handles also protect the front panel, extending beyond the controls. In the other position there are two flanges, complete with screwholes, for mounting in a standard 19' rack space.
Accessories
1125 Sample & Hold
(Usable with Micromoog, Minimoog, Polymoog, Modular systems)
You've heard Moog's Sample & Hold creating a lot of extra special effects on a lot of today's hit recordings. It delivers a steady, rhythmic pattern of notes climbing up the scale, over again, or down the scale, or just jumping all around the scale at random. The glide control gives your music "animation" like vibrato. The Sample & Hold is like a drummer playing notes, so it's great accompaniment for drum solos. It'll put new life in the band's "rhythmic breaks". And it's a show stopper too with its extra special sound effects.
1150 Ribbon Controller
(Usable with Micromoog, Minimoog, Modular systems)
One of Moog's most popular accessories, the Ribbon Controller, is a whole new group of instruments in itself. You can use it as a Hawaiian guitar, theremin, "musical saw", and a lot of instruments you never heard of. The Ribbon Controller is a fretless fingerboard you play by just touching the ribbon. As you slide your finger to the right, the pitches rises. You can adjust the Ribbon Controller so that it ten or more octaves, or so its range and length correspond to that of a keyboard. Another slide control lets you "filter" the high frequencies. You can also use the Ribbon Controller as a loudness control, or even as a percussive instrument, tapping the ribbon to trigger a sound.
1121 Glide/Decay Footswitch
(Usable with Micromoog, Minimoog, Polymoog)
A lot of professional musicians know how dramatic it is to switch sounds instantly in the middle of a tune. But, if both your hands are busy playing, even flipping one little function switch is impossible. That's why the 1121 Footswitch is so valuable. It lets you turn either the glide or decay on the MINIMOOG (or both with 2 footswithces) on or off at the tap of your foot. On MICROMOOG it lets you turn modulation on and off.
1130 Percussion Controller
(Usable with Micromoog, Minimoog, Modular systems)
Everybody talks about having a "new beat". But, Moog's Percussion Controller is no idle talking. It's a "touch sensitive" drum that can control the pitch of the synthesizer, the filter, or both simultaneously. When you hit it harder the pitch rises and/or the filter opens. You can control the "sensitivity" of the drum (how hard you have to hit it to get a response) and the "scale" (how much it responds when you hit it). Now the drummer can play chords, wah wah, repeating patterns and so much more, he can't even be called a "drummer" anymore.
1120 Foot Pedal Controller
(Usable with Micromoog, Minimoog, Polymoog, Modular systems)
Like the 1121 Footswitch, the 1120 Foot Pedal Controller gives the musician a third hand - or rather a foot. It's a variable control that lets you control the pitch bend, cutoff frequency (for wah wah or tone color) or loudness (for "expression") with your foot. The Foot Pedal Controller can even operate two or more synthesizer functions simultaneously.
Flight Cases
To protect your Moog Synthesizer we now offer a range of flight cases for all models. These rugged cases are a must for the traveling musicians.
Synamp
Ask a recording engineer - violins require one mike, while guitar require another. Ask a sound reinforcement technician - one speaker suits the bass while another suits the horns. Even amps have to vary as instruments vary. That's why even the thought of creating the SynAmp was such a vast concept - because the synthesizer is such a vast instrument with so many sounds. The SynAmp was created to sound superb with every sound the synthesizer makes. And it was developed with expert help of the people who advanced the synthesizer ever since its beginnings - Moog Synthesizers have proven to be truly outstanding instruments. And now, thanks to the SynAmp, they'll sound more outstanding than ever.
Synamp Head
Features
• 400 watts continuous average power output. User selectable as 2 x 200 watts biamp or 2-200 watt full range power amplifiers
• Four input channels (capable of taking up to eight inputs with LED overload indication)
• Three band parametric equalizer for each input channel
• 10 Band Graphic Equalizer
• Effects Channel for detachable reverb section, switchable to external effects source
• Internal headphone monitor amplifier and house sound kill button for changing, checking or adjusting input levels of synthesizer patches without turning system down. Warning light indicates house sound off
• 60dB range peak reading meter
• Internal four pole active crossover and equalizer for Biamp use
• Two compressors - one for each amplifier with indication lamps
• Clipping indicator for each power amp
• Comprehensive back panel for various patching operations
• Amp and Speaker test facility
Synamp Cabinet
Features
• Two 15' low frequency premium grade drivers in computer assisted vented enclosure design
• Compression driver and horn mid-range
• Compression driver wide dispersion tweeters
• Mid and High frequency driver protection circuitry with automatic reset
• Speaker cover panels for protection during transit
Studio Systems
The big modular systems from Moog are what started the synthesizer revolution. There are three basic systems in the modular range. Systems 15, 35 and 55. As the word modular implies the systems are moade up with modules which can be changed or simply added to the basic system you buy.
The biggest system, the 55, in two cabinets comprises:
• 6 x oscillators in two banks
• 2 x oscillator drivers
• 1 x low frequency oscillator
• 1 x fixed bank filter
• 1 x voltage controlled low pass filter
• 1 x voltage controlled high pass filter
• 5 x envelope generators
• 1 x dual trigger delay
• 1 x sequencer
• 1 x attenuator panel
• 1 x multiple panel
• 1 x random noise generator
• 5 octave keyboard
A total of 36 individual modules each with a specific function in sound generation, processing or control are contained in the system 55.
Only the finest, 100% professional quality components are used in construction of the Synthesizer to provide reliable performance and durability. Careful consideration has been given to the placement of individual modules within the system, to provide convenient and logical inter-connections. The most used control connections can be internally selected by switches to reduce patch-cord use.
Most important, these features are the culmination of more than a decade of collaboration between Moog Music and leading musicians throughout the world - to create a system providing musical control of the vast potential of electronic sound.
Moog Studio Systems are only available to special order.
Product Length Depth Height Weight
CM CM CM KG
Micro 61 38 14 9
Mini 72 41 14 13
Taurus 62 51 21 13
Poly Synthesizer 114 57 16 33
Poly Keyboard 114 57 16 32
Vocoder 44 39 17 9
Multimoog 81 38 14 12
Signal Processors 48 9 18 4
Syn Amp 56 57 28 45
Syn Amp Low Frequency
Cabinet 73 56 135 95
Syn Amp Mid Range
Cabinet 73 51 30 27
Norlin™
Another Quality Product from Norlin
Norlin Worldwide:
USA: 7373 N Cicero Avenue, Lincolnwood, Illinois 60646
Europe: Waalhaven ZZ48, Rotterdam, Nederlands
UK: Woolpack Lane, Braintree, Essex
International & Canada: 51 Nantucker Blvd., Scarborough, Ontario, Canada
Printed in the UK 0611503
Founded in the late '60s/early '70s by Mario Crucianelli, Crumar was an Italian company that became very famous in its time mainly by their synths, keyboards and organs (both in compact or not so compact models). Mario was brother from Pierro Crucianelli, president of Elka - another very well known Italian company. Crumar existed until 1987 and the company's golden age was in the second half of the '70s, when they put on the market their "Pianoman" and "Stringman" models (1974) and later the model that combined the two machines in one, the "Multiman" model (1977). Even with this machines achieving a great reputation on the market, for me Crumar's coolest instruments are the "Hammond organ clones" made from 1974 on which had a great sound, very close to Hammond organs, but much more compact and easier to carry than the originals.
With four octave of extension (49 keys) the Toccata organ is fully polyphonic and has eight presets with various organ sounds (from the emphasis on the lower to the higher harmonic overtones). It also has controls of vibrato and a very interesting Leslie cabinet simulator, very close to the sound of the original - the closest I found in organs that have this feature built in. Both vibrato and Leslie simulator (called "Chorale" on Crumar Toccata) has two preset speeds and "Chorale" can be selected via a foot-switch connected by a single cable P-10 in the rear of the instrument. It also has two percussion controls on/off (in 4' and 2 2/3') with independent volume and decay plus a click to the notes. A knob for tuning and an audio output (along with the aforementioned jack for footswitch) on the rear complete the Crumar Toccata.
I did not find any information about artist who has used Crumar Toccata in recording or live performances. It's even hard to find anyone - to mention famous players - who has used a Crumar instrument (I only found references to Nick Rhodes of Duran Duran and the jazz/crazy musician Sun Ra, beyond the curious fact that Dr. Robert Moog and engineer Jim Scott were involved with the design of the Spirit synthesizer made by Crumar in 1983). But I used my Crumar Toccata organ as my main organ sound on almost anything, including my first solo album ("Petiscos: sabor churrasco/switched-on Bah!", 2004), on the CD I recorded with Jimi Joe ("Saudade do future", 2005), on Jupiter Maçã's CD "Uma tarde na fruteira" (this organ sound is pretty much the main instrument on the songs "Marchina psichotica do dr. Soup", "Mademoiselle Marchand" and "Sorvete com vocês") and I also played it on several songs from my good friend Plato Divorak! It is the organ that I take for every show I perform or play as a guest musician. My Crumar Toccata organ and my Moog Prodigy that travel more frequently with me (both have almost the same flight hours that me!)
I have my Crumar Toccata organ since 1997. The first album I used it was also the first professional recording in which I participated, the CD "Era uma vez um gato xadrex" by "Acretinice me Atray" (released in 1998). I purchased my Crumar from Fabio Bohn, owner of Arbon, a well known manufacturer of organs and harmoniums in Novo Hamburgo, Rio Grande do Sul. I do not recall how much I paid but I think that was the equivalent of about $ 500, an expensive amount for me in that time, especially if compared with other instruments that I bought in the same period. Fabio also had a "Leslie"-like rotary speaker from Yamaha and remember that I was happy and sad at the same time: happy to buy the organ and sad for not having enough money at this "Leslie". The serial number of my Crumar Toccata is R8/006 3 and, because I use it constantly, I've had to make some adjustments and fix it sometimes. The main repairs were replacing the fuse socket and remake the entire back of the organ - both the socket and the rear part of the cabinet were broken during a flight from Recife to Porto Alegre, in December 2009. To replace the wood from the back side of the organ, I had the help of my friend Roger Severo, an artist from Uruguaiana who lives in São Leopoldo, Rio Grande do Sul - the city I was born.
