Precisionsound Analog Performer SFX User Manual
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© Copyright Precisionsound 2014
Some patches also involved taking the audio output from the Moog and Wavestation and passing the
signal back through the MS20’s filters!
The Moog Source
The Source is often acclaimed as one of the best sounding Moogs ever made – second only to the
legendary MiniMoog Model D. Designed to be a cost-effective replacement for the Mini, 7000 units
were produced between 1981 and 1985. The signal path follows the standard analog synth layout
and consists of two oscillators, a modulation generator, a low pass filter and 2 ADSR envelopes.
The Source was the first Moog to feature digital control of all the analog parameters, allowing 16
patches to be saved, as well as two real-time sequencers (2x88 events), a patch sequencer, sample
and hold, and a rather eccentric ‘arpeggiator’ – actually a rather fun 24-step sequencer programmed
by playing notes in ‘live’, and looping by returning to the start note!
The above digital functions are now regarded as being very basic. However, as is often the case with
technical limitations, this facilitates some interesting creative opportunities.
For example, the sequencers record via real-time
note entry, and on the early models could not be
synced to an external source, which makes them
almost unusable for conventional applications.
Ironically the lack of synchronisation is a very useful
tool for creating organic sounding ripple-type
textures, and so on – something that is now quite
laborious to achieve on a modern computer DAW.
Complex experimental sounds can be created by
overdubbing program changes onto the sequences
and then controlling playback speed, filter cut-off,
resonance, and so on, live during playback. The resulting effects are still today unique in character.
Another example is the above mentioned ‘arpeggiator’ which, when combined with a suitable
playing technique, can create exotic performances with fast trills and runs appearing between played
notes.
Unlike most modern synths, the method of controlling parameters is by the use of a free-spinning
weighted control wheel, which has a very tactile feel. Because all the analog parameters have their
own dedicated buttons on the control panel, programming and performance is fast and intuitive in a
way that is difficult to appreciate unless you are actually playing the instrument. (The Source is often
Moog Source (top) and Korg Wavestation (below)