MODULES
The CP-15B Control panel contains a modified version of the original CP-15 found on the original Moog Model 15 Modular Synthesizer.
When you launch the Model 15, the red lamp indicates that the power is On. Turn the power switch to Off if you wish to temporarily mute the output of the application without having to change any knobs or connections
In the Model 15 App, Trunk Lines carry audio signals from your Model 15 to the audio
output of your iOS device.
NOTE: The Delay and Recorder module are located after the Trunk Line connections in the audio chain.
NOTE 2: If only one Trunk Line is connected, the signal will be sent to both channels. If both Trunk Lines are connected, Trunk Line 1 will carry the Left signal, and Trunk Line 2 will carry the Right signal.
These switches have been added to minimize patching between a keyboard controller and the Model 15 itself.
Controls To Oscillator [Red switch]: When On, this switch patches the keyboard’s Pitch Control Voltage Output to the Frequency Control Input of the 921A Oscillator Driver. This allows both 921B oscillators to be played in pitch without patching.
Controls To Envelopes [Blue switch]: When On, this switch automatically patches the keyboard’s Trigger signals from the TRIGGER Outputs on the panel to the Trigger inputs on both 911 Envelope Generators.
To bypass these internal connections, simply turn the corresponding switch to Off.
NOTE: The Model 1150 Ribbon Controller does not feature any hard-wired connections, and must be patched from the RIBBON MAIN and RIBBON AUX CONTROLLER OUTPUTS in order
to function
Traditionally, pressing a key (or touching the ribbon) on a modular synthesizer creates a Control Voltage that can be used to determine the pitch of a note played, plus a Trigger signal that can be used to trigger envelope generators. This section has been updated to provide Control Voltage and Trigger outputs from the Keyboard, Animoog Keyboard, and Ribbon controller. Multiple outputs are provided, so you can send the same control signal to multiple locations.
NOTE: For more information on how the Moog Keyboard, Animoog Keyboard, and Model 1150 Ribbon Controller generate the various signals listed below, please refer to the Controllers Section of this manual.
These three PITCH CONTROL VOLTAGE jacks each output a Control Voltage based on a note held on the keyboard. This voltage can be used to control the Pitch of Oscillators, or it can be patched to other modules. This allows the key being played to adjust things such as filter frequency, rectangular wave pulse-width, and more. In addition, three TRIGGER jacks are provided which allow you to trigger envelopes when new notes are played.
While the Pitch wheel is permanently assigned to Pitch Bend, the Modulation Wheel can be used to control nearly any module. These three MODULATION jacks each output a Control Voltage based on the position of the Mod Wheel. This signal can be used to open the filter, change the delay time, or change the speed of a modulation oscillator, etc.
NOTE: Incoming MIDI CC 1 messages also appear here.
These three VELOCITY jacks each output a control voltage based on Key Velocity. This signal can be used to add emphasis to the VCA and VCF, or to change other parameters including DELAY FEEDBACK, etc.
NOTE: Incoming MIDI Velocity messages also appear here.
These three AFTERTOUCH jacks each output a Control Voltage based on Aftertouch (pressure). Depending on the module this signal is patched to, Aftertouch can be used to control filter brightness, oscillator pitch, etc.
NOTE: Incoming MIDI Channel Aftertouch and Poly Aftertouch messages also appear here.
The original Model 15 was by and large a monophonic instrument with duophonic capabilities. With the Polyphonic switch set to On, the Model 15 Application provides four-voice polyphony—essentially allowing you to play four Model 15 synthesizers from one controller. When set to Off, the Model 15 performs monophonically, just as the original.
NOTE: A single voice played in monophonic mode will always be louder than an individual voice played in polyphonic mode. In polyphonic mode, all four voiced are summed together, and the volume of each individual voice is lowered to prevent clipping of the audio signal.
The Ribbon Controller features two independent controllers. The Ribbon itself features a continuous Control Voltage output determined by finger position on the beige colored upper strip, and a light grey lower strip, which sends a Trigger when pressed.
The Ribbon Controller also features an AUX CONTROL slider that sends a second Control Voltage signal available at the Ribbon Aux output.
NOTE: The Ribbon Main and Ribbon Aux Trigger output are both derived from the lower trigger strip on the Ribbon Controller
This 4-channel Mixer can be used with audio or control signals. When using audio signals, the mixer can be placed anywhere in the signal chain. Mixing control signals allows you to use different levels of control from multiple sources to provide precise control of any module. There are two sets of outputs. The primary outputs [ + ] are normal; the second set [ – ] is phase reversed, or inverted by 180 degrees.
NOTE: The gain controls on the Mixer can be used to overdrive the input of the mixer itself, or to overdrive other modules like the 904A Filter.
The Reversible Attenuator can decrease and/or phase invert signal level. With the knob at center position, no attenuation is being provided. Right of center, attenuation is applied to a signal all until the knob is placed at +10. Left of center, the phase of a signal is reversed and attenuation is applied to a signal until the knob is placed at -10.
Two clusters of Multiple jacks are provided. Each one consists of four jacks wired together. These Multiples allow you to insert a signal into any one jack and have it output at the other three. In addition, each multiple can allow signals to be “summed” together into one, although there is no individual gain control for each input.
TIP: Use a Multiple to double a control signal, by splitting it and then sending it twice to the same destination.
Oscillators are the primary sound source of the Model 15. The octave range, semitone, and tuning controls will determine the frequency of the oscillator, while the waveform is responsible for the overall harmonic content of the oscillator output. Oscillators can also be used as modulation sources, especially for other oscillators.
TIP: Changing the pulse width (duty-cycle) of the Rectangular wave from narrow to wide can dramatically change its harmonic content. Control inputs allow the pulse width to be modulated by a control signal, creating PWM (Pulse Width Modulation) effects.
The Scale switch determines the range of the Frequency knob. With the Scale switch in the [±6 OCT.] position, the Frequency knob sweeps the Oscillator’s pitch ± 6 Octaves. With the switch in the [± 12 SEMI.] position, the Frequency knob sweeps the Oscillator’s pitch ± 12 Semitones.
This switch selects between SUB-AUDIO and AUDIO settings, making the 921 ideal as either an audio oscillator (VCO) or a low-frequency oscillator (LFO). In addition to the Frequency knob setting, the pitch of the 921 Oscillator is further controlled by the six-position Range dial.
Control signals connected to these three inputs will determine the pitch of the Oscillator in response to a key being played or from a modulation source. The inputs are internally summed into one signal.
Control signals connected to these two WIDTH CONTROL IN inputs will affect the width of the Rectangular wave, and can create PWM (Pulse Width Modulation) oscillator effects. The Rectangular Width knob manually sets the default width of the Rectangular Wave.
The Clamping Point knob is used to determine the retrigger point of the wave cycle, in the presence of a trigger input, which can provide many interesting and exotic effects.
The Auxiliary output section features a six-position AUX OUT WAVEFORM selection dial, with a dedicated Aux Out Level knob, making it easy to use the 921 as a modulation source. Although the two Auxiliary outputs look identical, they’re not; the waveform of the + jack is normal, while the – output is inverted by 180 degrees.
The 921 has dedicated SINE, TRIANGULAR, SAWTOOTH, and RECTANGULAR output jacks, with all of the waves available simultaneously.
The 921A has no output jacks. Instead, it is internally connected to the two 921B Oscillators, providing master tuning and pulse-width control.
This switch directly affects the range of the Frequency knob. With the switch in the Semitone position, the Frequency knob sweeps ± 12 Semitones. With the switch in the Octave position, the Frequency knob sweeps ± 6 Octaves.
This knob functions as a master Frequency control for both 921B oscillators. It’s range is determined by the Semitone / Octave switch.
This knob functions as a master pulse width control for both 921B oscillators.
Control signals connected to these two WIDTH inputs will affect the pulse width of the Rectangular wave, and can create PWM (Pulse Width Modulation) effects. The WIDTH OF RECTANGULAR WAVE knob manually sets the default width of the Rectangular Wave.
Control signals connected to these three FREQUENCY inputs will determine the pitch of the Oscillators in response to a key being played, or from a modulation source. The inputs are internally summed into one signal, but preserve the relative strength of each signal.
Each of the 921B oscillators feature four individual outputs, one for each Waveform.
This control is used to offset the pitch of an oscillator by up to ± 12 semitones from the 921A Oscillator Driver setting.
This is a five-octave selector switch with a sixth position (LO) for using the 921B as a Low Frequency Oscillator (LFO).
Because Pitch stability is not an issue in the Model 15 app, two new synch algorithms have been added. SYNCH WEAK is inspired by the original Phase Locked Loop behavior. Every difference in phase from the SYNCH IN jack will cause the Oscillator to try to gradually match up to its own phase, thus preserving its own original waveform. SYNCH STRONG implements a traditional hard synch, such that the Oscillator waveforms are reset at each zero-crossing of the input synch signal. The result is a complex, hard-edged sound with a shifting harmonic content.
NOTE: In order for the SYNCH WEAK-STRONG switch to have an effect, you will need to patch any waveshape output from one 921B oscillator into the SYNCH IN jack on another 921B.
These inputs allow for oscillator Frequency Modulation. Both inputs behave similarly, however the effect of modulation on the D.C. MODULATE input is far greater.
There are two types of filters in the Model 15. The first is a Voltage Controlled Filter (VCF), where the Cutoff Frequency can be controlled by another modulating source. The second type is a static filter that uses settings that remain constant throughout the duration of a sound.
This is the legendary 24dB-per-octave, 4-pole “Ladder” filter, developed by Dr. Robert Moog, that helped to give the original Model 15 its classic sound.
This control is used to determine the Cutoff Frequency of the Low Pass filter.
This knob specifies the frequency range of the FIXED CONTROL VOLTAGE knob:
1 = (1 Hz ~ 5 kHz)
2 = (4 Hz ~ 20 kHz)
3= (16 Hz ~ 80 kHz)
This control re-introduces a portion of the filtered sound back into the Filter to create an emphasis peak at the Filter’s Cutoff Frequency. Set high enough, REGENERATION can cause the Filter to self-oscillate, producing a usable sine wave sound source.
These three internally-summed CONTROL INPUT jacks allow the manual setting of the FIXED CONTROL VOLTAGE (Cutoff Frequency) knob to be modulated or controlled by other modules, often one of the 911 Envelope Generators.
The 923 features two independent filters; a LOWPASS filter and a HIGHPASS filter. Each filter is equipped with a frequency cutoff knob offering a 10 Hz to 10 kHz range. Both filters provide a 6dB/Octave roll-off either above (HIGHPASS) or below (LOWPASS) the cutoff frequency.
Located at the bottom of the 923 Filter Module are the Noise Source outputs. Noise is useful both as an audio or modulation source. WHITE Noise is bright and ideal for creating wind and pitched percussion effects, while PINK Noise is darker and ideal for creating waterfalls, thunder, and deep percussion effects.
The Fixed Filter Bank provides the ability to sculpt the tonal signature of a sound across the entire audio range. In an analog 907A module, each of the eight bands are tied to an individually-wound inductor coil, providing each band with a unique tone. The addition of a LOW PASS and HIGH PASS filter provides additional tone control.
NOTE: If all of the controls are turned down, NO SOUND will pass through the 907A.
TIP: The Fixed Filter Bank cannot be Voltage Controlled in the same way as the 904A Voltage Controlled Filter. However, using the two filters together—either in series or in parallel—can produce outstanding results.
NOTE: ALL of the FIXED FILTER BANK knobs can be assigned to unique MIDI CC numbers.
Amplifiers are used to boost or attenuate the level of an audio or control signal.
The Voltage Controlled Amplifier (VCA) is a differential (non-summing) amplifier used to boost or attenuate the level of a sound before it exits the synthesizer.
This knob determines the amount of gain applied by the amplifier to a signal.
This switch chooses whether the voltage control curve of the amplifier is Linear or Exponential. The setting applies both to the control inputs, and to the FIXED CONTROL VOLTAGE after they have been summed.
These internally summed CONTROL INPUTS allow the gain level of the 902 to be dynamically controlled by another module, most often one of the 911 Envelope Generators.
TIP: VCA modules can be used to provide a changing level for any signal passing through them. Try patching the SINE wave output from an Oscillator in LFO mode (LO or SUB AUDIO) into the Control Input of a 902 to create tremolo effects.
NOTE: The signal connected to the upper Signal Input jack will appear 180 degrees out of phase on the upper Signal Output jack, and normal on the lower Signal Output jack. The opposite is true for the lower Signal Input Jack—the upper Signal Output jack is normal, and the lower Signal Output jack will be out of phase by 180 degrees.
This bonus module contains two summing amplifiers designed to boost the level of an audio or control signal by up to 6 times (much higher than the 902 output). Each amplifier is equipped with two SIGNAL INPUTS, two SIGNAL OUTPUTS, and a level knob.
NOTE: Contrary to the 902 VCAs, the same processed signal is present on both SIGNAL OUTPUT jacks, making these amplifiers useful as Multiples when the level knob is set to 1.
Reacting to a Trigger from the keyboard or other source, the Envelope Generator creates a control signal whose contour or shape is defined by four controls
The first Envelope stage determines the amount of time it takes for a signal to go from zero to its maximum value after a note is pressed
The second Envelope stage determines the amount of time it takes for a signal to go from its maximum value to the Sustain level when a note is held.
This final Envelope stage determines the amount of time it takes for a signal to return to zero after a note is released.
Unlike the other three Envelope stages, which are time based, {they're not depending on time, they're based on time} this control sets the constant signal level output of the envelope while a note is held.
Envelope Generators are often used to provide a changing control
signal to the VCA and/or the VCF to add articulation to a sound being played.
Attenuators allow you to lower the level of any audio or control signal. By lowering the knob value, you can apply the right amount of control change to any module or function—or limit the level of any audio source.
This module contains three individual attenuators, each with an IN and an OUT. Setting the Attenuation knob to 10 will allow signal to pass at full strength. Rotate the Attenuation knob to the left to attenuate the signal. NOTE: If an Attenuator is set to 0, NO SIGNAL will pass.
TIP: The three attenuators in this module are “normalized” in a descending order. For example, the signal arriving at the IN jack of the first (top) attenuator is sent to the OUT jacks of all remaining attenuators—unless it is blocked by a signal connected to the IN jack of one of the other Attenuators.
This module contains three individual attenuators, each with an IN and an OUT. Setting the Attenuation knob to 10 will allow signal to pass at full strength. Rotate the Attenuation knob to the left to attenuate the signal. NOTE: If an Attenuator is set to 0, NO SIGNAL will pass.
TIP: The three attenuators in this module are “normalized” in a descending order. For example, the signal arriving at the IN jack of the first (top) attenuator is sent to the OUT jacks of all remaining attenuators—unless it is blocked by a signal connected to the IN jack of one of the other Attenuators.
This bonus module is similar to a standard Reversible Attenuator (described above), but with the addition of a Control input jack allowing modulation of the Attenuation amount.
TIP: By connecting audio rate signals to the Control input, interesting effects like Ring Modulation can be achieved.
The Audio Bridge and MIDI Bridge modules provide patch points that allow the Model 15 to interact with other iOS apps or external devices.
NOTE: The Audio Bridge and MIDI Bridge paths are not interchangeable.
Audio Bridge allows the Model 15 to access—and be accessed by—other audio apps on your iOS device. The From jacks receive audio from other iOS apps or the outside world, allowing the Model 15 to appear as an effect processor in these other Apps. The To jacks send audio to other iOS apps allowing the Model 15 to appear as an audio generator, or sound source. The Inter-App Audio unit labeled Model 15 provides the same audio information that is delivered to the speakers via the Trunk Lines.
The To and From jacks are arranged in pairs. Bus 1 contains Channels 1 and 2. Bus 2 contains Channels 3 and 4. Each Bus features a Mono/Stereo switch. These busses will appear as options when using other Inter-App Audio enabled apps, or through Audiobus.
NOTE: When the BUS CHANNEL switch is set to Stereo, each From port will carry the stereo signal of the Bus over a single Model 15 wire by using two of the internal synth voices. The corresponding TO port will split the signals back out to the left and right audio channels of the Bus. This allows an external stereo signal to be easily connected through a module, like the 904A filter, while preserving the stereo image.
In the MONO mode, each From port carries an independent Mono signal on one voice.
As an instrument or audio source, the Model 15 will appear as Model 15, Model 15 AudioBridge To 1/2 and Model 15 AudioBridge To 3/4.
As an external effect or audio processor, the Model 15 will appear as Model 15 AudioBridge From 1/2 and Model 15 AudioBridge From 3/4.
NOTE: The separate "Using AudioBridge" manual contains more details and will help you get the most out of AudioBridge.
The MIDI Bridge module provides six MIDI outputs and six corresponding MIDI inputs. Signals connected to the MIDI To outputs will be sent as MIDI CC Messages. Incoming MIDI CC Messages—will automatically be available at the corresponding MIDI From inputs. Refer to Section 8.3 of this manual for information on how to set the correct MIDI channel and how to choose the appropriate MIDI device(s).
To MIDI outputs:
CC #: 16 – 21
LSB/MSB = Base CC#, Base CC# +32 (16/48; 17/29; 18/50; etc.)
Format: 14-bit MIDI Switch (On/Off)
From MIDI inputs:
CC #: 16 – 21
LSB/MSB = Base CC#, Base CC# +32 (16/48; 17/29; 18/50; etc.)
Format: 14-bit MIDI Switch (On/Off)
The Model 15 is equipped with a Ping-Pong DELAY EFFECT. Positioned after the TRUNK LINES, the DELAY EFFECT Module processes the entire output of the Model 15.
The Time knob determines the amount of delay time applied to the output of the Model 15. There is also a dedicated Control Input for Time allowing it to be modulated.
This knob sets the blend between the dry input signal and the effected signal. There is also a dedicated Control Input for Mix allowing it to be modulated.
This knob determines the amount of delay signal fed back into itself. This can result in both longer delay trails and self-oscillation. There is also a dedicated Control Input for Feedback allowing it to be modulated.
When ON, the Delay TIME control is used to determine the BPM subdivision for the Delay Effect. When Off, the Delay TIME is fully variable.
This is a real-time audio recorder with overdub capabilities. Unlimited overdubs can be performed using different Presets to create intricate patterns and performances. These performances are saved to the Buffer Clipboard that can be shared via AudioShare, AudioCopy/AudioPaste, Email or even Text Message as a .wav file.
NOTE: The recorder follows the Model 15 tempo, and is also compatible with Ableton Link.
This is a real-time audio recorder with overdub capabilities. Unlimited overdubs can be performed Tap the Record button to begin recording. The Model 15 will provide a four-count at the current tempo before recording begins.
NOTE: The white ring around the Record button shows elapsed and remaining recording time.
Touch the Record button again and the recorder will seamlessly switch to Overdub mode. The recorder will continue to loop-record when in Overdub mode until the Overdub or Play/Stop button is pressed.
WARNING: Pressing the Record button will clear anything in the Buffer.
Press the Play/Stop button at any time to play back a performance, or to end the recording process. During playback, a white ring will form around the Play/Stop button showing the elapsed/remaining playback time.
TIP: Pressing PLAY/STOP to end an ongoing recording will play it back immediately without activating the Overdub mode.
To manually set the Recorder to Overdub mode, first press the Overdub button (the button will light).
TIP: You can also press the Overdub button at any time during playback.
NOTE: There is no four-count when overdubbing.
The audio recording is temporarily stored in a Buffer. The Model 15 does not save audio data internally, so it must be shared or saved via the Share button.
NOTE: Exiting and restarting the Model 15 will clear the buffer.
Pressing the Copy button will copy the contents of the Recorder and save it to the clipboard as a WAV file. Using AudioShare, AudioCopy / AudioPaste or the General Pasteboard, this file can be saved, renamed, archived, and/or shared.
Using AudioShare, AudioCopy / AudioPaste or the General Pasteboard, any previously saved audio files in the .wav format and in the general pasteboard can be pasted into the buffer, and played by the Model 15 Recorder by pressing the PLAY/STOP button.
This button will undo the most recent operation performed in the Recorder module.
NOTE: The global Undo and Redo buttons in the Top Bar cannot be used to undo and redo recording operations.
Pressing the Clear button will empty the buffer and erase any content in the Recorder.
Pressing the Share button allows you to share the audio file currently in the Buffer with other nearby Apple AirDrop users or via Message, Mail, AudioShare and other compatible Apps.
