Related Manuals for Moog Matriarch
Summary of Contents for Moog Matriarch
- Page 1 Matriarch Patching with Intention Vol. 1 Get started with patching techniques and explore deeper synthesis concepts with stereo filter movement and 2-operator FM synthesis.
- Page 2 Perhaps you have an electric piano sound in mind that you would like Matriarch to approximate. Or an idea may strike you while falling asleep: I wonder what would happen if I patched the envelope generator to the delay time...
- Page 3 Initialized Patch Before getting started, match your Matriarch to the initialized patch settings above. Each section builds upon the last, so explore them in sequential order for the best results. You can find the full patch diagrams for all patches discussed in this guide in the accompanying PDF patchbook.
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Page 4: First Steps
Through this exercise for you under the hood. we’ll learn how to use the all-important utilities section of Matriarch and get a better handle on how to use modulation Let’s begin by designing a sound that and patching to greatly expand does not require patching. - Page 5 Let’s explore a way to apply more subtle modulation. In order to have control over the depth of modulation, we can use an attenuator. Note: Any of the attenuators on Matriarch can be used for this. The ATTENUATOR takes the signal applied to its input—in this case a sine wave oscillating between -5 volts and +5 volts—and decreases it.
- Page 6 Now we can use the ATTENUATOR knob to control the depth of modulation. Moving the knob clockwise will increase the modulation depth, and moving it counter-clockwise towards noon will decrease the modulation depth. Moving it further counter-clockwise will invert the modulation, but more on that in a second. At this point, we’ve successfully replicated the cutoff modulation that is hardwired via the CUTTOFF AMT knob and MOD WHEEL through patching! Let’s use this as a starting point for further patch exploration..
- Page 7 Inverting Attenuators and Stereo Movement Matriarch features a stereo filter, ATTENUATOR output and route it just above to a MULT input. It doesn’t matter which is really two filters layered which of the four jacks in the MULT we on top of each other and routed use, but let’s use the top left jack.
- Page 8 MAKE THIS CONNECTION Next, patch one of the MULT outputs to CUTOFF 1 IN as before. This just replicates the patch as we had it before. The fun begins when we take another MULT output and route it to a different attenuator. By turning this second attenuator completely counter-clockwise we invert whatever signal is patched into it.
- Page 9 MAKE THIS CONNECTION Patch another one of the MULT outputs to a new ATTENUATOR input. Now, patch the output of this new ATTENUATOR to the CUTOFF 2 IN. Make sure that this second attenuator’s knob is turned fully counter-clockwise. The first attenuator acts as an attenuator for both left and right motion, since the attenuated version then goes down to the second attenuator which completely inverts whatever signal is coming in.
- Page 10 Let’s now explore how patching can be used to enhance creative playability. On Matriarch’s back panel are CV outputs for keyboard velocity and aftertouch: how hard the keys are pressed and the amount of pressure applied to a key after it’s held down, respectively.
- Page 11 Turn the first (upper) attenuator knob to noon. The KB VEL OUT sends a voltage from 0 to 5 volts depending on how hard the keyboard keys are pressed. With the attenuator knob at noon, a low voltage from KB VEL OUT caused by pressing the keys very softly will raise the attenuator knob slightly –...
- Page 12 But remember, Matriarch is an open-ended synthesizer capable of an astoundingly wide array of sounds. All of these techniques can apply to modulating delay times, oscillator pitches, or sequencer movement just like we’ve used them to modulate the filter.
- Page 13 REAR PANEL REAR PANEL KB VEL In fact, with this attenuator we have control of both the range of modulation for aftertouch and its direction—such is the power of the inverting attenuators of Matriarch! Extended Keyboard Techniques: Aftertouch | 13...
- Page 14 Moog systems of the 1960s. With Matriarch we can create deep and flexible FM patches for a world of sounds not typically available on analog subtractive Given how harmonically rich FM synthesizers.
- Page 15 MAKE THIS CONNECTION MAKE THIS CONNECTION For one FM voice our goal is to use Instead try patching Oscillator 2 WAVE Oscillator 2 to Frequency Modulate (or OUT output to Oscillator 1’s LIN FM IN FM) Oscillator 1. A crude way of doing this input.
- Page 16 A major feature of FM synths is dynamic depth FM synthesis—where the depth of modulation will vary over time—usually controlled by an envelope. Matriarch’s attenuators easily let us achieve this since their CV inputs make them voltage controlled amplifiers! We will take the amplitude envelope and use that to control the depth of FM.
- Page 17 By playing with these two attenuators, the amplitude envelope parameters, and Oscillator 2’s octave and detuning, we have an incredibly wide range of metallic, bright, clangorous, and buzzy sounds that change over time—perfect for feeding Matriarch’s stereo filter and delay.
- Page 18 MAKE THIS CONNECTION Even better, we can make this a two-voice FM synth by setting up a similar patch with Oscillators 3+4. Turn up OSCILLATOR 3 in the mixer, patch Oscillator 4 to Oscillator 3’s LIN FM IN via our remaining attenuator, and mult the attenuated amplitude envelope to both FM depth attenuators.
- Page 19 Further Exploration Now that you have built some intuition for how Matriarch’s patch points can be used to expand your tonal palette, feel free to start exploring and experimenting on your own. We’ve only just scratched the surface, and with some patch cables and your imagination Matriarch truly comes alive.
- Page 20 www.moogmusic.com Subharmonicon | First Step 20...
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