IMPORTANT SAFETY INSTRUCTIONS
WARNING When using electric products, basic precautions should always be followed, including the following: 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 should be used only with a cart or stand that is recommended by the manufacturer. 4) This product, in combination with an amplifier 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. If you experience any hearing loss or ringing in your ears, you should consult an audiologist. 5) The product should be located so that its location does not interfere with its proper ventilation. 6) The product should be located away from heat sources such as radiators, heat registers, or other products that produce heat. 7) The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product. 8) The power-supply cord of the product should be unplugged from the outlet when left unused for a long period of time. 9) Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings. 10) The product should be serviced by qualified personnel when: a) The power-supply cord or the plug has been damaged; or b) Objects have fallen, or liquid has been spilled onto the product; or c) The product has been exposed to rain; or d) The product does not appear to operate normally or exhibits a marked change in performance; or e) The product has been dropped or the enclosure damaged. 11) Do not attempt to service the product beyond that described in the user-maintenance instructions. All other servicing should be referred to qualified service personnel. DANGER: INSTRUCTIONS PERTAINING TO RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS: Do not open the chassis. There are no user serviceable parts inside. Refer all servicing to qualified personnel only. GROUNDING INSTRUCTIONS: This product must be grounded. If it should malfunction or breakdown, grounding provides a path of least resistance for electrical current to reduce the risk of electric shock. This product is equipped with a cord having an equipment grounding connector and a grounding plug. The plug must be plugged into an appropriate outlet that is properly installed and grounded in accordance with all local codes and ordinances. DANGER Improper connection of the equipment-grounding connector can result in a risk of electric shock. Check with a qualified electrician or serviceman if you are in doubt as to whether the product is properly grounded. Do not modify the plug provided with this product if it will not fit in the outlet, have a proper outlet installed by a qualified electrician.

SAVE THESE INSTRUCTIONS

USERs MANUAL for the

ELECTRIC BLUE

By R. Stephen Dunnington
Here it is the Minimoog Voyager Electric Blue. Over fifty years ago, Robert Moog began a career as a designer of electronic musical instruments. It is no small feat that today he is still creating new and bold designs, using his vast knowledge of musical interaction with electronic circuits. By purchasing one of Moog Musics Minimoog Voyager Electric Blue analog synthesizers, you are not only tapping into a deep tradition of electronic music creation, but you are embarking on the latest voyage in synthesizer design. We have taken the classic Minimoog Synthesizer and brought it into the 21st century. Now we have added a new, jaw dropping blue backlit panel and a mind-blowing operating system. Voyager operating system 2.5 offers a wealth of new features transforming the best analog synth on the market into a new breed of workhorse.
Acknowledgements Thanks to Bob Moog for designing yet another fantastic music making machine! Thanks are also due to the Moog Music Team, Rudi Linhard of Lintronics for his amazing software, and all the great folks who contributed design ideas, and of course, you the Moog Music customer. TABLE OF CONTENTS:

I. Getting Started. II. The Basics of Analog Synthesis III. The Voyagers features IV. The Voyagers Components A. Mixer. B. Oscillators. C. Filters. D. Envelope Generators. E. Main Output. F. Mod Busses. G. LFO/ Sample and Hold H. Keyboard and Left Hand Control Panel I. The Touch Surface Controller J. The Back Panel. K. The User Interface/Voyager Software version 2.5 1. The Interface 2. Master Mode. 3. Edit Mode. 4. Panel Mode. 5. MIDI. Appendix A: Caring for your Voyager. Appendix B: Service and Technical Support Information. Appendix C: MIDI Implementation Chart Appendix D: VX-351 Users Guide.
Note: Specifications subject to change without notice. Moog Music Inc. 2002, 2003 All rights reserved.
I. Getting Started For those of you who cant wait to read the manual (perfectly understandable when you have a brand new synthesizer), the following are the important steps to get you going with your new Voyager. Once the adrenaline subsides a bit, you will find this manual to be an excellent guide to exploring the outer reaches of your minimoog Voyager. - Check the contents in the shipping carton The Voyager comes in a carton with a removable lid, and contains the following: The minimoog Voyager itself, a power cord, and the bag that contains the manual and warranty registration card. - What you will need In addition to the Voyager and its provided accessories, you will need: - A keyboard stand or table that will hold the Voyager, - (1) instrument cable for connecting in mono, or (2) instrument cables for connecting in stereo, - an amplifier, or headphones, - a properly wired AC outlet. - Warranty registration Before you get started with your Voyager, please fill out your warranty registration card and send it to Moog Music Inc. This will activate your warranty and is a vital piece of information for us to provide you with the best service. - Remove the Voyager from the carton Before you remove the Voyager from the carton, make sure you have a space in mind to set it up. Keep in mind that you will need a keyboard stand or table that will support a 40 lb. analog synthesizer and will not topple if you play hard. The Voyager weighs about 40 lbs., so use caution when lifting it out of the carton. Make sure to save the packaging in case you need to ship the Voyager for any reason. - Set tilt of panel The Voyagers front panel can be tilted for comfortable adjustment of the panel controls while you play the keyboard. Once the Voyager is on a stand, the Voyagers panel can be lifted by the handle on the back of the instrument and set to one of 5 angles. Pull the front panel forward and lift the hinged support for the panel and insert the tab into the appropriate slot on the back panel for your desired front panel angle. CAUTION: Do not over-tilt the front panel when pulling it forward. Make sure the support bracket is properly seated into the slots on the back panel before playing. -Connect to source of AC Connect the Voyagers power receptacle to a wall outlet with the supplied AC cordset (see figure 1). The Voyager will operate with a power source from 100 to 240 Volts.

II. THE BASICS OF ANALOG SYNTHESIS For those getting started in the world of electronic music, lets take a few moments to go through the basics of sound and synthesis. This will help you understand what the front panel controls do. In order to understand synthesis, one must have a basic working knowledge of the characteristics of sound. There are a few key terms that cover the basics: Sound audible vibrations of air pressure. Electronic sounds are delivered to the air through loudspeakers. (figure 2)
Frequency The rate of vibration in sound measured in Hertz (Hz or cycles/second) (figure 3). Our ears can hear from 20 to 20,000 Hz. Frequency corresponds to the musical term, pitch. A low frequency corresponds to a low-pitched sound such as a bass; a high frequency sound corresponds to a high pitched sound such as a piccolo. In music, a change in pitch of one octave higher equals a doubling of the frequency.
Amplitude The strength of a sounds vibration measured in Decibels (dB). This corresponds to the musical term Loudness (figure 4).
Harmonic Content A sound is made up of simple vibrations at many different frequencies (called harmonics) which give a sound its particular character. This corresponds to the musical term timbre or tone color. A harmonic sound, such as a vibrating string, is one in which the harmonics are mathematically related by what is called the harmonic series. These sounds are typically pleasing to the ear and generally the consecutive vibrations have the same characteristic shape or waveform. An inharmonic sound, such as a crash cymbal, is one in which the harmonics are not mathematically related. Their waveforms look chaotic. White noise is an inharmonic sound that contains equal amounts of all frequencies. A frequency spectrum is a graph of harmonics vs. their amplitude; a waveform is a graph of the amplitude of a sound vs. time (figure 5).
In general, synthesis refers to the generation of sound through a group of amplified circuits over which the programmer/performer has power to change volume, pitch, timbre and articulation. The Minimoog Voyager is based on what is called subtractive synthesis. This method of synthesis employs a harmonically rich (think bright-sounding) source material, and then removes frequency components to create the desired sound. The basic components of subtractive synthesis and their definitions follow: Oscillator: A circuit that electronically vibrates. When used as a sound source, an oscillator is the electronic equivalent of a vibrating reed, or string. When amplified, an oscillator produces a pitched sound whose frequency is determined by one or more control voltages (see below for more info). Changes to these voltages correspond to changes in pitch. An oscillators vibration can have different shapes or waveforms, which are described below. The Voyager has three oscillators used as sound sources. Waveform: The shape of an oscillators vibration. This determines its timbre. Commonly used waveforms in subtractive synthesis are sawtooth, triangle, square, or rectangular. Different waveforms have different timbres. A sawtooth has the greatest number of harmonics, and sounds bright and buzzy. A square wave has only odd harmonics, and sounds bright, but hollow, like a clarinet. A rectangular wave can vary in shape, but typically has a bright but thin sound, and a triangle waves harmonics are so low in amplitude that it sounds muted and flutelike (figure 6).

For instance - an LFO with a triangle waveform at about 6 Hz modulating the pitch of a VCO sounds like vibrato. The same LFO with a square wave will sound like a trill (figure 10). An LFO modulating a voltage controlled amplifier will sound like a tremolo.
Sample and Hold - This is a circuit with an input for a control voltage and an input for a trigger. Each time the trigger is fired, the circuit takes the voltage that appears at the input and holds it at the output until the next time the circuit is triggered. An LFO is a common way to trigger a sample and hold (or S&H) circuit. When an LFO is applied to the trigger input, and a random signal such as white noise is applied to the CV input, a random stepped voltage will appear at the output in time with the each cycle of the LFO. (figure 11)
Glide - Also called portamento, is the slowing down of pitch changes as you play different notes on the keyboard. In synthesizers, a rate is specified that determines how fast the glide between notes is. These terms are basic to understanding analog subtractive synthesis. Should you choose to pursue a more in depth study of the subject, recommended is the book Analog Synthesis by Reinhard Smitz, available from Wizoo Publications (www.wizoo.com).
III. The Voyagers Features The minimoog Voyager is a monophonic analog synthesizer that is a descendant of the classic minimoog. Its sound sources are an external audio input, a noise source, and three analog, variable waveform oscillators. The Voyager has front panel controls for real time control of its parameters (figure 12).
The back panel offers the many connections available, including the power, MIDI, CV, and audio connections (figure 13). For the Control Inputs, a blue nut indicates a
gate/footswitch input and a red nut indicates a CV/ expression pedal input. - The Oscillator section includes controls for choosing the octave, the tuning of the second and third oscillators, the oscillators waveforms, and switches for oscillator sync, linear FM, and oscillator 3s frequency range and keyboard control. - The sound sources are selected and their levels are set in the Mixer section. The output of the Mixer section goes to the Filter section. An effect can be inserted between the Mixer and Filters by means of the Mix Out/ Filter In jack. - The Filter section contains two filters that work together in two different modes. Dual Lowpass mode features two lowpass filters in parallel and Highpass-Lowpass mode features a lowpass and highpass filter in series. The Cutoff control affects both filters cutoff frequencies, and the Spacing control sets a difference between the two filters cutoff frequencies. The outputs of the Filters are passed on to the Output VCAs. - The Envelopes section contains one ADSR envelope generator for the Filters, and one ADSR envelope generator for the Output VCAs. The audio path is illustrated in figure 14.

relative to Osc. 1. This allows more than one frequency to be played when a key is pressed, or to get a very swirly sound when the oscillators are slightly out of tune. Oscillator 1 does not have a frequency control because it is designed to serve as a reference oscillator for the other 2 oscillators. FINE TUNE: Fine tune control can be used to tune the Voyagers oscillators + or 2 semitones for matching an external reference pitch. WAVE: Oscillator waveform control The VCOs of the Voyager feature a continuously variable waveform control. The legend on the front panel shows the pure waveforms that are available. They are triangle, sawtooth, square, and rectangular. The waveform is morphed gradually from one to another as the waveform control is rotated. Because the waveform is voltage controlled, this can be modulated. This allows generation of some very interesting timbral changes. By limiting the modulation between the square and skinny pulse waveform, you can get pulse width modulation. Although the waveforms can be set from the front panel individually for each oscillator, modulation is applied to all three waveform controls simultaneously. When using modulation, it is possible to make the width of the rectangular wave so skinny that it becomes silent. 3 KB CONT: Oscillator 3 Keyboard Control On/Off The 3 KB Control switch, located below the oscillators disables keyboard control of oscillator 3s pitch when in the off position. By disabling the keyboard control of Osc. 3, you can use it as a drone, or as a modulation source whose frequency doesnt change with the key played. In addition to turning off the keyboard
control of Oscillator 3, switching this to OFF increases the amount the Oscillator 3 FREQUENCY control changes Oscillator 3s frequency.
3 FREQ: Oscillator 3 Frequency range switch Lo/Hi This selects Oscillator 3s frequency range. When in the Lo position, Osc. 3 operates as a subaudio sound source (clicks) or as a modulation source (LFO). When in the Hi position, Osc. 3 operates with the same available frequency range as Osc. 2. SYNC: Oscillator 2 Synced to Oscillator 1 Oscillator Sync is an effect caused by resetting an oscillator waveforms start point with another oscillator (figure 18). The effect is noticeable if The Synced Oscillator is a higher frequency than the Reset Oscillator. The main frequency heard is that of the reset oscillator. As the frequency of the synced oscillator is swept, it reinforces the harmonics of the reset oscillator. Depending on how applied, the effect can be aggressive or warm and vocal. This effect is much more dramatic when Oscillator 2 is set to a higher octave than Oscillator 1.

D. ENVELOPES

When we think of a musical sound, say a plucked string, we think of it as having a start and an end. In the case of a plucked string, it begins with a burst of energy and then slowly fades out until it is silent. In synthesis terms, this is called an envelope a shape that defines the changes that occur in a sound over time. An envelope can define any aspect of a change in sound volume, timbre, or pitch for example. The Voyager has two envelope generators. When triggered, these circuits produce control voltages that vary as determined by the attack, decay, sustain and release controls. The Attack control determines the character of the onset of the sound. A short attack time corresponds to a sudden sound like a percussion instrument or a plucked string. A long attack time corresponds to a gradual onset of sound like a plane flying overhead, or the slow crescendo of a bowed string instrument. The Decay is the second stage in the evolution of a sound before it sustains or dies out. For instance with a plucked string the sound begins with a burst of energy which begins quickly, then drops back to a lesser level of energy and then proceeds to fade out from there. The decay is the time that it takes for the signal to drop down to the level set by the Sustain control. The decay time has no effect when the sustain level is set at 10. As long as a key is held down, the note will sustain at the sustain level. After the key is released, the Release time determines how long it takes for the sound to fade out. An envelope can be used to describe the shape of the volume of a sound, it can also be used to describe other aspects of sound say timbre or pitch. An envelope is used to generate the evolution of the sound after the note begins. The Voyager has two envelope generators, one for modulating the filter, and one for modulating amplitude. The envelopes can also be used as Modulation sources or Modulation shaping for other parameters through the Mod Busses. ATTACK: This control sets the Attack time of the EGR from 1 msec to 10 seconds.
DECAY: This Control sets the Decay time of the EGR from 1 msec to 10 seconds. SUSTAIN: This is a level control for the sustained part of the envelope. RELEASE: This is the time for the envelope to return to zero, from 1 msec to 10 seconds. AMOUNT TO FILTER: For the filter envelope, this is the control that adjusts the amount that the filter envelope signal modulates the filter. It has both positive and negative values. If it is set to a positive value, say +2, The envelope will add to the Cutoff control. If it is a negative value, say 2, the envelope will subtract from the Cutoff control. KEYBOARD/ ON/EXTERNAL: The Envelopes are started by a gate signal. The envelopes will sustain as long as a gate signal is still present. When the gate is off, the release of the envelope happens. The Switch labeled Keyboard/ On/External selects whether the envelopes are triggered from the keyboard, on, or from an external trigger source. When Keyboard triggering is selected, the envelopes are triggered from the keyboard gate signal. When the switch is set for On/ external, the Envelopes are on if nothing is plugged into the external trigger input. In this case the envelopes sustain at the level determined by the sustain controls. This is useful for keeping the envelopes sustaining without holding a key down when you want to process an external audio signal through the filters with out using the keyboard, or create drones. When On/external is selected and a footswitch or external gate signal is applied to the envelope gate input on the back panel, the envelopes are triggered from that input. RATE CONTROL INPUT: The Control Input on the back labeled RATE is a CV input for external control of the Voyagers Envelope time constants. The Input accepts -5 to 5 Volts, or an expression pedal like the EP-1. An expression pedal or a positive voltage applied here decreases the attack, decay, and release times from where the front panel is set for both the filter and the volume EGRs. A negative voltage will increase the attack, decay, and release times from where the front panel is set for both the filter and the volume EGRs (figure 22).

ENVELOPE GATE INPUT: This input accepts a footswitch or gate signal. Pressing the footswitch or applying a gate signal (+5V) triggers both envelopes when On/External is selected by the ENV. GATE switch. RELEASE INPUT: This input accepts a footswitch or gate signal. Pressing the footswitch or applying a gate signal (+5V) enables the Release of the Envelopes regardless of the position of the Release switch on the Left Hand Controller panel.

E. MAIN OUTPUT

The Voyager has two audio outputs. There is a VCA for each output, which allows for stereo effects such as Panning or the Dual lowpass filtering. The main control for the Volume is the Master Volume Control. The Volume Envelope modulates the output VCAs. When only one output is desired, the two output VCAs are mixed to the left output. LEFT/MONO and RIGHT OUTPUTS: These are the audio outputs that are on the back panel. They are both unbalanced outputs. When only the left audio output has a plug inserted into it, both the left and right signals are summed to that jack in mono. MASTER VOLUME: This is the main Volume control. Full-clockwise is maximum output, fullcounterclockwise silences the Voyager. VOLUME CONTROL INPUT: Accepts a 0 to 5 V control voltage or an Expression pedal, such as the EP-1 with the ring connection supplying 5 Volts to the Pedal and 0 to 5 Volts control voltage return to the Voyager on the tip connection. The Master Volume sets the maximum output level, and as the Volume CV input drops below 5 volts, the output is reduced. PAN INPUT: A 2.5 to 2.5 V control voltage applied to this jack will cause the output signal to pan from left to right.

F. MODULATION BUSSES

Modulation is the heart of making interesting sounds with analog subtractive synthesis. The Voyagers two Modulation busses open up a world of modulation possibilities that were not available on the original Minimoog. The Mod Busses allow the user to select a variety of modulation sources, their destinations, addition shaping of the amount of modulation, and a maximum level. The Mod busses are labeled Mod Wheel and Pedal/On. The performance controls for these two busses are the Mod Wheel and the MOD1 input on the back panel. The MOD1 input can accept an expression pedal like the EP-1, and is used like the Mod wheel to fade in and out the desired modulation. With nothing plugged into the MOD1 input, the Amount control of the Pedal/On bus determines the strength of modulation. Heres a block diagram of a Mod bus (figure 23):
There are three modifiers to the Amount of modulation: the Amount control, the Shaping CV, and the Mod Wheel or MOD1 input level. The Amount level is the final level control which sets how much both the Mod Wheel/ MOD1 Input and the shaping CV allow the mod source through to the mod destination. To try out a simple modulation, set the LFO to about 6 Hz, the Source to triangle wave, the destination to Pitch, the shaping to on, and the amount to 5. The Mod Wheel can be used to fade in the modulation, which should sound something like vibrato. This is a simple use of a mod bus. The flexibility of the two Modulation Busses offer a wealth of modulation possibilities which make the Voyager an incredible sound design tool. SOURCE: Choosing a modulation source is done through a combination of the Mod Source Switch and the menus of the software. The Mod Source selector switch is a 6-position switch. The Front panel selections are: -TRI: LFO Triangle Wave -SQ: LFO Square Wave -S+H: Sample and Hold output -OSC. 3: Oscillator 3 -ON/MOD2: with nothing plugged into the MOD2 jack, this is a steady +5 V signal. The MOD2 input is for using external CVs as a Modulation source. -NOISE/PGM: This is a programmable source for the mod bus with Noise as the default. The programmable Mod sources are set in the EDIT mode menu

items MOD WHEEL PGM SOURCE or PEDAL PGM SOURCE.
DESTINATION: A modulation destination is chosen in the same manner as the Mod source: a combination of the 6 position destination switch and the software menus. The Destination switch is labeled: -PITCH: The Pitch of all three Oscillators -OSC.2: The Pitch of Oscillator 2 -OSC.3: The Pitch of Oscillator 3 -FILTER: The Filters Cutoff frequency -WAVE: All 3 Oscillators waveform -LFO/PGM: This is a programmable destination for the mod bus with LFO Rate as the default. The programmable Mod destination is set in the EDIT mode menu
items MOD WHEEL PGM DEST or PEDAL PGM DEST.
SHAPING: The shaping is a way to dynamically change the amount that the Mod Source modulates the Mod Destination. Shaping occurs before the Amount control and before the Performance controls. The switch that selects this is a 4-position switch that is labeled: - FILT. ENV.: This allows the filter envelope to shape the amount of Modulation before the Mod Wheel or MOD1 performance control. - VELOCITY: This allows Keyboard Velocity to shape the amount of Modulation before the Mod Wheel or MOD1 performance control. - PRESSURE: This allows Keyboard afterpressure to shape the amount of Modulation before the Mod Wheel or MOD1 performance control. The pressure signal that
comes out of the keyboard is either on or off, thus pressure can be used as a switch that gives a boost to the amount of modulation. - ON/PGM: This is a programmable shaping for the mod bus with ON as the default.
Shaping sources can be programmed in EDIT mode using the PGM Shaping 1 SRC and PGM Shaping 2 SRC functions.
AMOUNT: The Amount control is used to set the maximum amount of modulation sent to the Modulation Destination. When the Amount control is set to 0, no modulation will pass through to the Modulation Destination. When the Amount is set to 10, The maximum amount of modulation is sent to the Destination when the Performance controller (Mod Wheel or MOD1 Input) is all the way up. MOD BUS PERFORMANCE CONTROLLERS: Mod Wheel and MOD1 Input The Mod Wheel and MOD1 Input are performance controllers for the Mod Wheel Mod Bus and the Pedal/On Mod Bus respectively. They are the final stage in determining the amount of modulation sent to the selected Destination. When at maximum, the modulation amount is determined by the Amount control. When off, the modulation amount is 0. MOD 1: The MOD1 input accepts an expression pedal or control voltage from 0 to 5 Volts. This is used as the performance control for the PEDAL/ON Mod Bus. With nothing plugged into this jack, the voltage here is 5 Volts. When the voltage is at 0, no modulation is sent to the PEDAL/ON Modulation Destination. When the Voltage at the MOD1 is at 5 Volts, the Modulation is sent to the Destination at the level set by the PEDAL/ON Amount control. MOD2: The MOD2 input is for applying an external modulation source into the MOD busses. The input accepts an Expression Pedal or a control voltage of 5 to +5. With nothing plugged into this jack, the voltage here is 5 Volts. When the SOURCE switch selects ON/ MOD2, the Voltage that is at this jack becomes the Modulation source.

velocity output from the keyboard. Hard requires a harder touch to output higher velocity values.
4.4 COPYRIGHT INFO/ FACTORY SETUP MENU Copyright Info, shows the copyright dates, as well as the author of this software, Rudi Linhard (Thanks, Rudi!). This is the entry page to the Factory Setup menu simply press the +1 button to see the Factory Setup Menu. These functions are used for initializing parameters in the Voyagers Preset bank. While in the Factory Setup Menu, press CURSOR, or MASTER to return to the Master Mode Menu. The Factory Setup Menu has two pages of functions the each function has a page number and a line number. Here they are: 1.1 Factory Sounds The Factory Sounds function is to restore the Voyager to its default factory state. Performing this function will wipe out any presets in memory and replace them with the standard Voyager Performer Edition Preset Bank programmed by Zon Vern Pyles, so dont do this unless you are sure you want to. Select Factory Sounds and press ENTER. The screen will prompt: Reload the Factory Preset Sounds and Default Functions? Yes/No. To restore the Voyagers factory presets select Yes and press ENTER. To escape without restoring the Factory presets, select No and press ENTER. 1.2 Master Volume The Master Volume function is used to invert the stored Master Volume values of the Voyagers Presets. This can be useful if you have a bank that has all the Master Volume parameters stored at 0, by performing this function, the Volume values will be changed to the Maximum Volume. 1.3 T.S. XYAG Dest. The T.S. XYAG Destination function is used to restore the default parameters of the Touch Surface destinations, MIDI CC off/ or number, Direction of control, and amounts for the X,Y, Area axes as well as the Touch Surface Gate. The Default values are: X= Filter Cutoff, MIDI CC = Off, Direction= Normal, TS-X amount 50% Y = Filter Spacing, MIDI CC = Off, Direction= Normal, TS-X amount 50% A = Filter Resonance, MIDI CC = Off, Direction= Normal, TS-X amount 50% Gate = No switch, MIDI CC = 88, Polarity = Normal To initialize the Voyagers Touch Surface parameters, select the function T.S. XYAG Dest. and press ENTER. The screen will prompt: Reset the Touch Surface XYA & Gate Setup of all Preset Sounds? Yes/No Select Yes and press ENTER. Press CURSOR to get back to the Master Mode menu. 1.4 Shaping 1&2 The Shaping 1&2 function restores the default settings for the Programmable Mod Buss Shaping Sources. The defaults for both sources are: fixed value, value = 0. To restore the default settings for Shaping 1&2 sources, select the function Shaping 1&2 and press ENTER. The screen will prompt: Reset Shaping 1&2 Functions of all Preset Sounds? Yes/No. Select Yes and press ENTER. 2.1 Clock Divider

RECALL will be highlighted. Press ENTER, and the display will prompt Recall the last edited sound? Yes/No. Use the cursor button to select Yes and press ENTER. You will now hear the changes you made to the preset. At this point if you want to keep those changes, you can save the preset. RECALL can also be used to return to a preset sound after the parameters are initialized (INIT. PARAMETERS or REAL PANEL CONTROL see below). 1.3 REAL PANEL CONTR.: REAL PANEL CONTROL is a function that enables the operation of the Voyager from the front panel. To use this function, enter EDIT MODE by pressing the EDIT button. Press the +1 key to highlight REAL PANEL CONT. and press ENTER. The screen prompts: Load the actual Panel Parameters Yes/No? Use the CURSOR button to select Yes and press ENTER. The sound produced when the keyboard is played is now determined by the settings of the front panel controls. 1.4 PITCH BEND AMT.: PITCH BEND AMOUNT allows the user to set a pitch bend range for each preset. Highlight the PITCH BEND AMT. function in the EDIT Menu and press ENTER. Use the +/- 1 buttons to select the desired range for the pitch bend wheel. The options are: Off +/- 2 Semitones +/- Minor Third +/- Major Third +/- Fourth (default) +/- Fifth +/- 1 Octave +/- 1 Octave & 5th +/- 2 Octaves +/- 2 Octaves & 5th Pre. Value Pre. Value is a user defined Pitch Bend Amount. The value of this is set with the External Audio Input control. Simply push the Pitch Bend Wheel forward and listen to the pitch change as you rotate the External Audio Input control stop when the desired interval between full pitch bend and no pitch bend is reached. 2.1 PGM M-WHL SOURCE PROGRAMMABLE MOD WHEEL SOURCE is a function that allows the user to program 1 of 8 additional modulation sources to be used when the SOURCE switch for the Mod Wheel Mod Bus is set to NOISE/PGM. Enter EDIT mode, and use the +1 button to highlight PGM M-WHL SOURCE. Press ENTER and the following Mod Sources appear: Noise (default) Filter ENV Amplitude ENV Smoothed Sample and Hold Oscillator 1 Oscillator 2 Touch Surface X Touch Surface Y 2.2 PGM M-WHL DEST.
PROGRAMMABLE MOD WHEEL DESTINATION is a function that allows the user to program 1 of 8 additional modulation destinations to be used when the DESTINATION switch for the Mod Wheel Mod Bus is set to LFO RATE/PGM. Enter EDIT mode, and use the +1 button to highlight PGM M-WHL DEST. Press ENTER and the following Mod Destinations appear: LFO Rate (default) Filter Resonance Filter Spacing Panorama Osc. 1 Level Osc. 2 Level Osc. 3 Level Noise Level 2.3 PGM PEDAL SOURCE PROGRAMMABLE PEDAL/ON SOURCE is a function that allows the user to program 1 of 8 additional modulation sources to be used when the SOURCE switch for the Pedal/On Mod Bus is set to NOISE/PGM. Enter EDIT mode, and use the +1 button to highlight PGM PEDAL SOURCE. Press ENTER and the following Mod Sources appear: Noise (default) Filter ENV Amplitude ENV Smoothed Sample and Hold Oscillator 1 Oscillator 2 Touch Surface X Touch Surface Y 2.4 PGM PEDAL DEST. PROGRAMMABLE PEDAL/ON DESTINATION is a function that allows the user to program 1 of 8 additional modulation destinations to be used when the DESTINATION switch for the Pedal/On Mod Bus is set to LFO RATE/PGM. Enter EDIT mode, and use the +1 button to highlight PGM PEDAL DEST. Press ENTER and the following Mod Destinations appear: LFO Rate (default) Filter Resonance Filter Spacing Panorama Osc. 1 Level Osc. 2 Level Osc. 3 Level Noise Level 3.1 PROGRAMMABLE SHAPING SOURCE 1 3.2 PROGRAMMABLE SHAPING SOURCE 2 On both Mod Busses, the Shaping switches point to On/PGM in their full Clockwise position. PGM stands for the programmable shaping sources. There are two programmable shaping sources both are combined by the software and shared by both Mod Buss Shaping switches. When either of the Shaping switches are in the On/PGM position, the Programmable Shaping values stored in memory are applied to Shape the Mod Buss source. Shaping is like an additional level control for modulation amount in the case of a Shaping signal like velocity, the higher the velocity, the more

the Mod Source is let through to the Destination. The Programmable Shapers also allow an offset value to be applied, added to the Shaper itself. Using the programmable Shapers is useful for creating presets that respond in complex ways for instance you could assign BOTH key pitch and velocity as your programmable shaping sources. In this case, the higher and the harder you play, more modulation source is passed to modulate the destination. Many of the Shaping sources are front panel rotary controls. A possible application using a front panel control as a shaping source is having the Filter cutoff also control the Modulation amount. Programmable shapers can make for some highly interesting and interactive presets. The Possible shaping signals for both Programmable shapers 1 and 2 are: Fixed Value Pitch Bend Wheel Modulation Wheel Velocity Release Pressure (AT) Keyboard CV Touch Surface X Touch Surface Y Touch Surface A Modulation Bus 1 Modulation Bus 2 LFO Rate Glide Rate Mod.Wheel Amount Pedal Amount Osc.1 Octave Osc. 1 Waveform Osc. 2 Frequency Osc. 2 Octave Osc. 2 Waveform Osc. 3 Frequency Osc. 3 Octave Osc. 3 Waveform Ext. Audio Level Osc.1 Level Osc. 2 Level Osc. 3 Level Noise Level Filter Cutoff Filter Spacing Filter Resonance Filter KB Control Amount Filter Attack Filter Decay Filter Sustain Filter Release Filter Envelope Amount Volume Attack Volume Decay Volume Sustain Volume Release Master Volume

Headphone Volume

The Fixed Value can be used by itself or added to one of the Shaping sources. It has a course adjustment, called High and a Fine adjustment, called Low. Both the High and Low values are adjustable from -64 to +64. The CURSOR button moves the cursor between the Shaping Source, the High fixed value and the low fixed value. 3.3 KEYBOARD MODES KEYBOARD MODES allows the user to select 1 of 4 types of keyboard priority for a preset. Keyboard priority for a monophonic instrument determines what happens when more than one key is depressed. Enter EDIT mode and use the +1 or 1 button to highlight KEYBOARD MODES. Press ENTER and the current Keyboard Mode appears. Use the +/-1 buttons to choose from one of the following options. Lower Key (the lowest key pressed sounds) Higher Key (the highest key pressed sounds) Last Key (the most recent key pressed sounds) 1 Key Only (the first key pressed sounds) 3.4 TRIGGER MODES TRIGGER MODES allows the user to select how the envelopes are triggered when more than one key is pressed on the keyboard. Enter EDIT mode and use the +1 or 1 button to highlight TRIGGER MODES. Press ENTER the screen will display the current Trigger Mode. The +/- 1 button chooses a different option. The choices are: Single Trigger (legato, envelopes arent retriggered until keys are fully released) Multi Trigger (each time a new note sounds, the envelopes are triggered) 4.1 FIL. A POLE SEL. This allows the configuration of the cutoff slope of Filter A. Filter A is the Filter that is controlled only by the cutoff control. In Dual lowpass it is the RIGHT output. In Highpass/Lowpass, it is the Lowpass filter. Use the +/-1 buttons to select 1, 2, 3, or 4 poles. A pole = 6dB/ octave cutoff slope as the poles increase, so does the cutoff slope of the filter. a 1 pole filter has a 6 dB/ octave cutoff slope (when its a lowpass filter you hear it as very bright) and a 4 pole filter has a 24 dB/ octave cutoff slope (when its a lowpass filter you hear it as smooth, dark, yet warm). 4.2 FIL. B POLE SEL. This allows the configuration of the cutoff slope of Filter B. Filter B is the Filter that is controlled by the Cutoff control and the Spacing control. In Dual lowpass it is the Left output (using both outputs). In Highpass/Lowpass, it is the Highpass filter. Use the +/-1 buttons to select 1, 2, 3, or 4 poles. 4.3 FILTER ENVELOPE GATE SOURCE 4.4 VOLUME ENVELOPE GATE SOURCE With these two functions, gate sources other than the keyboard and the External Gate Input jack can be programmed to trigger the Voyagers two Envelope Generators when the Envelope Gate switch is in the On/External Position. Possibilities include: Envelope Gate Input (default this is On with nothing plugged into this jack) Touch Gate (The gate signal from the touch surface) S&H Gate (This is the LFO square wave with nothing plugged into the S&H Gate jack) MIDI Clock Keyboard Gate Gate is ON

- Getting Started - Understanding the VX-351 - Documenting your work - Using the VX-351 and the minimoog Voyager together - Adding a moogerfooger CP-251 to the mix - Connecting other CV compatible equipment. - Technical Information GETTING STARTED with the VX-351 Important! Please read the instructions before attempting to use the VX-351 with your minimoog Voyager! 1) Inspect the contents of the carton. It should include: - The VX-351 - A 6 cable with db-25 connectors on each end. - An Output adapter to be installed inside the Voyager. The adapter must be installed prior to connecting the VX-351. - An installation guide for the Output adapter. You will need the following: - A place close to your Voyager to set your VX-351 if you have purchased the optional rack mount kit for the VX-351 youll need a 19 equipment rack with 3 available spaces. - Some patch cables for connections between the VX-351 and the Voyager the more the merrier choose lengths that are convenient to use with out the spaghetti effect. 1) The first step is installing the VX-351 output adapter. For this procedure refer to the installation guide. The adapter MUST be installed in these units to ensure proper operation of the VX-351. 2) Locate the male end (the end with recessed pins) of the DB-25 cable this is the end that plugs into the connector on the Voyagers back panel labeled ACCESSORY PORT. Align the cable properly and make the connection. Use the thumbscrews to lock the connection. Be careful not to force or cross thread the thumbscrews in the accessory ports female threads. Following this, connect the other end of the cable to the connector on the VX-351 labeled FROM ACCESSORY PORT.
3) Now lets start with a basic sound and see how the VX-351 can work with the Voyager. - Power up the Voyager press the EDIT button. - In the EDIT menu select Init. Parameters, press ENTER, select YES and press ENTER again. This loads the default Voyager sound. - Take one of your cables plug one end into the VX-351s LFO triangle output. Plug the other end into the Voyagers Filter control input. - Play a note on the Voyager you will hear the LFO modulating the Filters Cutoff. Changing the RATE of the LFO will change the rate that the Filter cutoff goes up and down. This demonstrates a basic patch with the VX-351. With all the CV and Gate connections you make it is important to think of a Source (or Output), in this case the LFO triangle wave, and a Destination (or Input), in this case the Filter Control Input. - Now, disconnect the cable from the Voyagers Filter Control and connect it to the IN of one of the Voyagers Attenuators. Set the Attenuator amount to Zero. Take another cable and connect it from the VX-351 Attenuator OUT to the Filter Control Input. - Play a note and gradually increase the Attenuator amount. You will notice that the amount of modulation will increase. An Attenuator is used to set the amount of a CV Source that passes to the Destination. This is a very basic use for the VX-351 but it shows the fundamental concept of how to use it: source goes to destination. Using this fundamental concept, you can patch together additional modulation and get as complex as you like. What follows is a detailed explanation of the output signals and the other functions contained in the VX-351.

Documenting your work

One thing to keep in mind is that although the Voyager can remember the settings of the front panel controls as a preset, it cannot save the routings of patch cables or the positions of the attenuators. We recommend having a list of the outputs with a space to document destinations like so: Source Touch X Touch Y Touch A Touch Gate KBD Pitch KBD Velocity KBD Pressure KBD Gate Pitch Wheel Mod Wheel MOD1 MOD2 LFO Triangle LFO Square Mod Wheel Mod Bus Pedal/On Mod Bus Filter Env Vol Env S&H Step S&H Smooth Noise Atten. 1/amount Atten. 2/ amount Mult A1 Mult A2 Mult A3 Mult B1 Mult B2 Mult B3 Notes: Destination

Use w/ Preset #________

This approach is simple but effective.
Using the VX-351 and the minimoog Voyager together
The following are some ideas for using the VX-351 with the minimoog Voyager. A) Mod wheel controls amount of both Mod Buss signals. This is a really useful way to use the Mod Wheel as a controller for more than one type of modulation. To try this out, go through the following steps: - Initialize the Voyagers parameters (Init. Parameters in the Edit Menu) - Set the Pedal/On Mod Buss Source to Square wave, set the Pedal/On Destination to Filter. Set Shaping to ON and Amount to 5. - Using a cable, connect the VX-351 Mod Wheel output to the Voyagers MOD1 Control Input. - Play a note and move the Mod Wheel forward. Youll hear both Triangle wave modulation of the pitch, and square wave modulation of the Filter fade in. This is a useful patch that can be used on a variety of patches where you want two types of modulation to fade in by using the Mod Wheel. B) Mod buss signal modulates more than one destination. This is a way to use one Modulation signal to control more than one destination. Try the following: - Initialize the Voyagers parameters. - Using a cable, connect the Mod Wheel Mod Buss output to the Voyagers Filter Control Input. - Play a note and move the mod wheel forward. Youll hear the LFO triangle wave modulating both the Voyagers Pitch, and Filter. - A variation of this would be to insert an Attenuator in between the Mod Wheel Mod Buss output and the Filter Input. This way you can adjust the amount of modulation that goes to the filter. C) Pressure controls Pedal/On Mod buss amount. Just as you can use an Expression pedal plugged into the MOD1 input to control the Pedal/On Mod Buss, You can use another signal that varies in the same range to perform the same function. The Pressure signal from the Voyagers keyboard is a good example of this. Try the following: - Initialize the Voyagers parameters. - Set the Pedal/On Mod Buss Source to square wave, Destination to Filter, Shaping to On, and Amount to 5. - Using a cable, connect the VX-351 KBD Pressure output to the Voyagers MOD1 Input. - Play a note and press down the key you are playing the Modulation of the filter should increase as you add pressure, and disappear when youre not pressing hard at all. - As a variation, switch the Pedal/On Mod Buss Source to On. Now play a note pressing down makes the filter brighter. D) LFO triggers Voyagers Envelopes This is an alternative to triggering a sound from the Voyager by pressing a key. The last key pressed will determine the pitch, but the LFO will trigger the start of the envelopes.