Moog Matriarch Manuale utente

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.

Patching with Intention | 2

Patching with Intention

There are many ways to approach patching a

synthesizer like Matriarch. There’s no “wrong”

way to do it, and randomly patching inputs to

outputs can lead to wonderful, unexpected

results.

Other times, however, you may want to patch

with some intention. 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...

This guide will help you better understand how

to patch Matriarch and help you discover why

you might want to patch it a certain way.

Patching with Intention | 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.

First Steps | 4

First Steps

Matriarch is an extremely

powerful and exible synthesizer

composed of many different

modules based on Bob Moog’s

original designs. Its semi-modular

nature means that, while it is full

of patch points, there are many

patch connections already made

for you under the hood.

Let’s begin by designing a sound that

does not require patching. First, start

by matching your Matriarch parameter

settings to the initialized patch

diagrammed on the previous page. Play

some notes and some chords to get an

idea for how this initialized patch sounds.

This patch results in a nice, clear sound,

but let’s get a bit of movement going. A

common way of doing that is to generate

some extra movement in the lter. When

we press a key the FILTER ENVELOPE

will open the lter by an amount set by

the ENVELOPE AMT knob in the FILTERS

section.

Layering a MODULATION OSCILLATOR

will add a bit of vibrato-like texture to

our sound. This is such a common sound

design technique that we don’t have to

physically patch anything to achieve it.

Turn up the CUTOFF AMT knob in the

MODULATION section and then raise

the MOD wheel to apply the modulation

oscillator to the lter cutoff. You should

hear the lter opening and closing based

on the settings in the MODULATION

section.

Now, let’s try and achieve this same result

through patching. Through this exercise

we’ll learn how to use the all-important

utilities section of Matriarch and get a

better handle on how to use modulation

and patching to greatly expand

Matriarch’s sound palette.

Before we begin, turn the CUTOFF AMT

knob back down and return the MOD

wheel to zero.

First Steps | 5

MAKE THIS CONNECTION

We want to take the MODULATION oscillator and have it move the FILTER up and

down. Our rst impulse might be to simply take the WAVE OUT of the MODULATION

section and patch it directly to the lter’s CUTOFF 1 IN.

While that certainly gets the lter moving, it doesn’t allow us to control the amount of

modulation applied. With this direct patching, the modulation oscillator swings the lter

all the way open and all the way closed.

MAKE THIS CONNECTION

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. With the attenuator knob

at noon, the signal is decreased to zero, effectively silencing it. Moving the attenuator

knob clockwise a little bit will raise the signal to oscillate between –1 volt and +1 volt

(for example). Moving it fully clockwise will pass the original signal through with no

attenuation: -5 volts to +5 volts.

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..

First Steps | 6

Inverting Attenuators and Stereo Movement | 7

Inverting Attenuators

and Stereo Movement

Matriarch features a stereo lter,

which is really two lters layered

on top of each other and routed

separately to the left and right

channels.

Patching the modulation oscillator to the

CUTOFF 1 IN (like we did in the previous

section) moves both lters up and down,

since the CUTOFF 1 IN is normalled to

the CUTOFF 2 IN. This means that a

voltage patched to CUTOFF 1 IN will also

be patched to CUTOFF 2 IN unless there

is something else patched to CUTOFF

2 IN, so we have the same signal from

the MODULATION section moving both

FILTER 1 and FILTER 2 simultaneously.

As it stands right now, we don’t really

have a stereo signal: both FILTER 1 and

FILTER 2 move up when the modulation

oscillator goes up and they move down

when it goes down. Let’s now explore

how to add stereo-depth and movement

through patching.

MAKE THIS CONNECTION

By using more utilities, we can easily

patch this stereo movement. Patch

the modulation WAVE OUT to an

ATTENUATOR input as before. This

attenuator will be the knob that controls

the modulation depth. Next, let’s take the

ATTENUATOR output and route it just

above to a MULT input. It doesn’t matter

which of the four jacks in the MULT we

use, but let’s use the top left jack.

The MULT takes a signal and allows us

to send it to multiple destinations. Since

we have a signal patched into one of

the jacks, all of the remaining jacks now

contain copies of that signal.

Inverting Attenuators and Stereo Movement | 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. This means that when the modulation oscillator goes up, the

signal out of this inverted attenuator will go down and vice versa.

Inverting Attenuators and Stereo Movement | 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 rst 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. If you move the second attenuator knob completely

clockwise, we return to mono with both lters moving in sync. Moving the second

attenuator knob back to fully counter-clockwise returns us to stereo space with the

lters moving in opposition directions.

With this patch, we’ve taken a pretty typical subtractive synth effect—an LFO moving

the lter up and down—and created a much deeper stereo version using just a

handful of patch cables and a few utility modules. While utilities like mults and

attenuators don’t exactly stand out as being the most exciting parts of a modular

synthesizer, this exercise shows just how important they can be in creating more

interesting and exciting patches.

Extended Keyboard Techniques: Velocity | 10

Extended Keyboard

Techniques: Velocity

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. These two aspects of Matriarch’s keyboard are not routed to anything by

default and require patching to use.

Let’s expand the patch we’ve been working with and layer on some performance controls.

First, we’ll use the keyboard velocity to control the depth of stereo lter modulation. The

harder we press a key, the wider the lter movement will be.

MAKE THIS CONNECTION

We can achieve this by simply patching the KB VEL OUT (on the rear panel) to the CV

IN of the rst attenuator which controls our modulation depth.

PATCH TO

REAR PANEL

KB VEL

OUT

Matriarch is a hands-on performance instrument that combines the

power and exibility of a modular synthesizer like Moog’s vintage

modular systems with the playable functionality of a Minimoog.

Let’s now explore how patching can be used to enhance creative

playability.

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