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Controls

GLIDE

CONTROL

VOLUME

CONTROL

PANEL

MODULATION

CONTROLS

QUICK—SET

VOICING

TABS

MODULATION

TASS

FILTER

CONTROLS

OCTAVE

GLIDE,

SUSTAIN

TABS

LEVELS

TUNE

CONTROLS

(LOCATED

ON

REAR

PANEL)

ACCESSORY

&

OUTPUT

CONNECTIONS

(LOCATED

ON

REAR

PANEL)

SLIDE

CONTROLS

POWER

ON-OFF

SWITCH

1

A

L:

INDICATOR

LIGHT

SOLO

KEYBOARD

I

Before

proceeding

with

Operation

and

Adjustment

of

your

unit,refer

to

page

14

for

Connection

Instructions.

LEVEL

ADJUST

This

rotary

control

(located

on

the

back

of

the

unit)sets

the

overall

output

level,

or

volume,

of

the

unit.

Smaller

changes

in

volume

may

be

made

with

the

VOLUME

control

on

the

Slide

Control

Panel.

TUNE

This

rotary

control

(located

on

the

back

of

the

unit)

provides

a

range

of

tuning

which

extends

more

than

one-half

octave.

This

flexibility

can

be

used

to

tune

your

MOOG

SATELLITE

to

other

instruments,

transpose

to

different

keys,

or

even

provide

a

glissando

effect.

POWER

AND

INDICATOR

LIGHT

An

ON-OFF

power

switch

is

conveniently

located

on

the

front

panel,

with

a

red

light

which

indicates

when

the

power

is

ON.

OCTAVES

With

neither

tab

depressed,

your

MOOG

SATELLITE

will

play

in

its

highest

pitch

level.

Depress

tab

"1”,

and

whatever

you

play

on

the

keyboard

will

be

one

octave

lower.

Raise

tab

"1"

and

depress

tab

"2”,

and

the

keyboard

pitch

level

is

lowered

another

octave.

Depress

both

tabs

and

the

pitch

level

is

lowered

still

a

third

octave.

Because

of

the

electronic

tailoring

of

the

sounds

to

the

requirements

of

each

pitch

level,

you

will

find

that

the

effectiveness

of

every

sound

seems

to

change

magically

as

you

change

from

octave

to

octave.

Try

all

sound

effects

in

all

four

pitch

levels.

SUSTAIN

This

"Quick-Set”

tab

allows

the

sound

of

a

note

to

"linger"

after

the

key

is

released.

It

pro¬

vides

interesting

variations

to

the

special

voice

settings

described

in

this

Manual.

Quick-Set

Voice

Tabs

•

HOLLOW

■

FULL

•BRIGHT

•PLUCK

•STRIKE

•

PICK

LUNAR

With

the

unit

connected

and

power

ON,

a

sound

can

be

heard

when

a

note

on

the

keyboard

is

struck,

even

though

no

voices

are

selected

and

all

slide

controls

are

set

at

"0”

(except

for

the

VOLUME

control).

The

controls

described

herein

will

add

and

subtract

from

that

sound

in

a

multitude

of

combinations

available

for

your

exploration

-

shape

it.

change

its

attack

and

release,

raise

it,

or

lower

it.

We

suggest

that

you

play

a

phrase

or

two

with

each

of

the

twelve

"QUICK-SET

-

'

VOICE

TABS

conveniently

located

on

the

front

of

the

unit.

Try

each

with

all

the

slide

controls

set

at

"0"

(except

for

VOLUME).

Exact

setting

of

slide

controls

for

any

particular

effect

will

depend,

not

only

on

your

musical

taste,

but

also

on

your

complete

electronic

reproduction

system

including

amplifiers,

speakers

and

other

components.

NOTE:

If

more

than

one

"QUICK-SET"

Voice

Tabs

are

depressed

at

the

same

time

the

sound

will

be

that

controlled

by

the

Voice

tab

farthest

to

the

left.

MUTE

BRASS

This

voice

is

a

new

version

of

the

wah-wah

effect.

The

sound

approximates

a

double-acting

wah-wah,

or

"ooo-wah-ooo."

It

starts

with

an

emphasis

on

the

"lows'',

moves

to

the

"highs"

and

returns.

Each

time

a

key

is

depressed

the

"ooo-wah-ooo"

sound

is

pro¬

duced.

Try

it

in

each

octave.

OPEN

BRASS

The

sounds

of

a

trumpet,

trombone,

or

tuba

can

be

approximated

by

selecting

this

tab,

and

varying

it

with

other

controls.

Characteristic

of

this

voice

(and

some

of

the

other

"Quick-Set"

voices)

is

a

built-in

timbre

change

which

is

faster

in

the

upper

octaves

and

is

automatically

slower

in

the

lower

octaves

—

much

as

the

attack

of

a

tuba

differs

from

that

of

a

trumpet.

This

attention

to

the

authentic

details

of

the

attack

in

different

octaves

is

a

unique

feature

of

the

Satellite.

Try

it

in

each

octave

setting.

THIN

REED

This

voice

provides

a

sound

similar

to

that

of

a

double

reed.

In

the

top

octave

the

sound

is

oboe-like.

In

the

lower

octaves,

the

sound

of

a

bassoon

is

approximated.

You

will

note

a

slight

timbre

change

in

the

onset

of

the

tone

and

a

slow

attack.

HOLLOW

REED

The

hollow

reed

sound

and

the

soft

attack

of

the

traditional

clarinet

and

bass

clarinet

are

character¬

istic

of

this

voice

-

an

excellent

voice

in

all

octave

registers.

FULL

REED

This

full

bodied

reed

sound

is

unique

to

the

Satellite.

It

combines

some

of

the

qualities

of

a

double

reed

wind

instrument

with

those

of

a

pipe

organ

with

a

little

saxophone

added.

In

the

lowest

registers,

it

is

an

excellent

reproduction

of

the

sound

of

the

sarrusophone,

a

wind

instrument

popular

in

bands

of

the

early

1900's.

BRIGHT

REED

This

voice

approximates

that

of

a

saxophone.

With

adjustment

of

other

controls

you

will

be

able

to

vary

the

sound

through

the

characteristics

of

alto

and

tenor,

baritone,

and

even

bass

saxophone.

BOW

STRING

This

gentle

voice

with

its

slow

attack

can

be

made

to

simulate

violin,

viola,

cello,

and

even

some

of

the

sounds

of

the

Pass

violin.

PLUCK

STRING

This

sqund

is

quite

percussive

with

a

lingering

decay.

It

is

most

useful

for

creating

guitar-like

or

harpsichord-type

effects,

including

that

of

a

folk

guitar.

STRIKE

STRING

In

the

upper

registers

this

voice

is

that

of

an

electronic

piano.

In

the

lower

registers

it

provides

an

interesting

sound

similar

to

that

of

an

electric

bass

guitar.

PICK

STRING

Banjo

type

sounds

are

provided

with

the

hollow

sound

characteristic

of

this

voice.

In

the

lower

registers

it

can

simulate

the

plucked

sound

of

the

string

bass,

or

bass

violin.

BELL

In

the

upper

octaves

a

fine

bell

sound

is

provided

by

this

voice.

In

the

lower

octaves,

the

huge

sound

of

a

large

carillon

can

be

reproduced.

LUNAR

This

versatile

voice

perhaps

is

most

characteris¬

tic

of

the

Moog

sounds.

It

provides,

in

its

various

adjustments,

a

wide

variety

of

timbre

changes

with

which

you

can

produce

many

popular

electronic

"Moog"

sound

effects.

It

is

most

effective

when

used

with

SUSTAIN,

4

Modulation

The

four

function

tabs

labeled

MODULATION

on

the

front

of

the

unit

provide

a

selection

of

modulation

types.

The

two

MODULATION

slide

controls

on

the

slide

control

panel

adjust

the

RATE

and

DEPTH

of

modulation.

VIB

(VIBRATO)

This

tab

provides

a

frequency-modulation

vibrato

similar

to

the

type

used

in

electronic

organs.

However,

the

wide

range

of

effects

offered

by

the

two

slide

controls

extends

the

capability

of

this

effect

far

beyond

vibrato

and

into

the

realm

of

the

synthesizer.

When

the

VIB

tab

is

depressed,

the

basic

frequency

of

a

note

is

varied

(or

''wiggled'')

to

a

degree

deter¬

mined

by

the

DEPTH

control

and

at

a

rate

determined

by

the

RATE

control.

RATE

The

rate

of

modulation

may

be

varied

from

approx¬

imately

one

second

at

"0"

to

a

rate

so

fast

that

at

"10”

the

sound

becomes

a

buzz.

However,

even

at

extreme

settings,

the

basic

character

of

the

"QUICK-

SET"

voices

is

still

apparent.

For

instance,

MUTE

BRASS,

with

VIB

plus

RATE

at

10

becomes

a

BUZZ-WAH

type

of

effect.

With

slower

settings

it

is

easy

to

obtain

the

effect

of

trills

between

notes,

regardless

of

the

voice

selected.

DEPTH

This

control

adjusts

the

degree

or

intensity

of

modulation.

For

vibrato

(VIB),

increasing

DEPTH

corresponds

to

greater

frequency

variation.

This

frequency

variation

may

be

adjusted

from

less

than

one-half

step

(on

the

scale)

to

more

than

one

octave.

For

tremulant

(TREM),

increasing

DEPTH

corresponds

to

greater

timbre

variation.

This

flexibility,

combined

with

the

RATE

control,

makes

possible

synthesis

of

such

effects

as

"out

of

tune"

strings,

huge

bells

whose

clanging

sounds

interfere

with

each

other,

quarter

tone

scales,

trumpet

"shake"

effects,

and

a

myriad

of

others.

TREM

(TREMULANT)

This

tab

provides

modulation

of

the

harmonic

content

of

the

tone.

The

harmonic

content,

or

timbre,

is

varied

at

a

rate

determined

by

the

RATE

control

and

with

an

intensity

determined

by

the

DEPTH

control.

NOTE:

VIB

and

TREM

can

be

used

together.

REP

(REPEAT)

The

repeat

lab

affects

only

those

"QUICK-

SET"

voices

which

have

built-in

timbre

changes.

The

timbre

change

associated

with

a

specific

voice

will

be

repeated

over

and

over

again

at

a

speed

controlled

by

the

RATE

slide

control.

This

is

easily

demonstrated

by

depressing

MUTE

BRASS,

REP,

OCTAVE

1

and

2,

and

setting

RATE

at

0.

Play

a

sustained

tone,

then

slowly

move

the

slide

control

to

10

and

return,

while

sustaining

the

tone.

NOTE:

The

DEPTH

slide

control

has

no

effect

on

the

REP

function.

+unrut

This

control

provides

a

most

versatile

tool

in

achieving

the

distinctive

sounds

associated

with

the

MOOG

synthesizer.

It

affects

the

type

of

modu¬

lation

obtained

by

two

of

the

other

MODULATION

functions,

VIBRATO

and

TREMULANT.

When

this

tab

is

in

the

up

position,

•HXirut

VIB

and

TREM

are

with

a

square-wave

pattern.

The

variation

of

frequency

(VIB),

or

variation

of

timbres

(TREM),

will

be

very

abrupt

and

choppy,

with

discon¬

tinuities.

With

VIB,

for

instance,

a

definitive

variation

in

frequency

can

be

obtained,

like

a

trill.

When

rut

is

depressed,

a

sine

wave

type

of

modulation

is

obtained

which

provides

a

smooth

variation

of

timbre

or

frequency

-

almost

a

glissando.

The

difference

between

the

two

effects

is

easily

discernible

in

the

following

characteristically

MOOG-

type

settings.

Depress

+torut

,

MUTE

BRASS,

OCTAVE

2,

VIB,

set

RATE

at

3,

and

DEPTH

at

6.

Depress

any

key

on

the

keyboard

and

listen

to

the

smooth

variation

in

frequency

as

you

keep

your

finger

on

the

key.

Then

raise

the

tab

marked

+LOrut

and

observe

the

abrupt

variation

in

frequency.

Repeat

the

above

steps

with

TREM

instead

of

VIB,

and

then

combine

the

two.

Slide

Control

Panel

H

HI

iipiii

CONTOUR

COLOR

EMPHASIS

'»*•!;

■

**>«*

if

WITffl!!

VOLUME

GLIDE

FILTER

CONTROLS

Once

a

"Quick-Set"

tab

voice

selection

is

made,

further

refinement

and

adjustment

of

that

voice

may

be

made

by

using

the

three

slide

controls

labeled

FILTER.

CONTOUR

This

controls

the

speed

of

the

timbre

change

associated

with

the

onset

of

the

voice,

and/or

the

timbre

change

associated

with

the

release

of

that

voice.

The

wide

range

of

this

control

can

provide

both

slow

settings

(useful

for

simulation

of

bass

violin

or

tuba

effects)

and

fast

timbre

change

settings

(which

can

provide

wild

chirping

effects).

COLOR

This

acts

as

a

brightness

control,

but

it

has

such

a

wide

range

that

it

can

have

major

effect

on

the

basic

sound

itself.

Your

choice

may

lie

anyvyhere

between

adding

in

all

of

the

high

harmonics

you

wish,

or

eliminating

them.

EMPHASIS

This

control

adds

a

resonance

frequency

area

to

the

spectrum

of

the

tone.

At

"0",

spectrum

of

the

"Quick-Set"

sound

is

unchanged.

As

the

control

is

pushed

forward,

the

intensity

of

the

sound

within

a

pre-selected

resonance

area

is

increased.

At

maxi¬

mum,

there

is

a

well

defined

narrow

sharp

peak

in

the

spectrum

of

the

tone.

FILTER

CONTROLS

SUMMARY

Remember,

the

"Quick-Set”

tabs

establish

an

overall

range

of

sound

and

the

three

Filter

slide

controls

give

you

a

wide

selection

and

control

within

the

limitations

of

that

range.

Try

this:

1.

Depress

OPEN

BRASS

tab,

and

set

the

slide

controls

at

"0".

2.

Play

a

few

notes

on

the

keyboard.

3.

Play

again

with

various

settings

of

the

COLOR

slide

pot.

The

range

of

sound

will

be

from

that

of

a

very

dull

trumpet

to

a

very

brassy

one.-

4.

Now

do

the

same’with

the

EMPHASIS

control.

The

sound

will

range

through

cornet,

trumpet,

and

flugelhorn

characteristics.

5.

Repeat

with

various

settings

of

the

CONTOUR

control.

It

will

show

the

wide

range

of

contoured

timbres

in

the

onset

of

the

tones.

ADDITIONAL

CONTROLS

MODULATION

CONTROLS

See

discussion

under

MODULATION

on

page

5.

GLIDE

This

is

one

of

the

most

interesting

of

the

Moog

effects.

Depress

the

GLIDE

tab

and

set

the

GLIDE

slide

control

at

6.

Play

any

note

on

the

keyboard.

Release

this

note

and

quickly

play

a

second

note

some

distance

away.

The

sound

automatically

glissandos

from

the

first

note

to

the

second.

The

setting

of

the

slide

control

determines

the

speed

of

the

glissando,

(10

is

slow

-

1

is

fast).

Try

a

melody

of

detached

notes

and

notice

the

succession

of

glide

attacks.

VOLUME

The

VOLUME

slide

control

provides

finger-tip

adjustment

of

fine

gradations

of

the

Satellite

output.

Major

changes

in

sound

level

are

obtained

by

means

of

the

rotary

knob

on

the

back

of

the

unit.

Moog

Satellite

Schematic

Diagram

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How

to

Order

Service

Parts

Service

parts

are

stocked

only

at

our

Customer

Service

Department

in

Sepulveda,

California.

Please

order

all

your

requirements

from:

THOMAS

ORGAN

COMPANY

CUSTOMER

SERVICE

DEPARTMENT

8345

HAYVENHURST

AVENUE

SEPULVEDA,

CALIFORNIA

91343

A.

Use

your

own

order

form,

letter,

or

postcard.

B.

Place

your

order

on

our

Customer

Service

Department

Electronic

Secretary

in

the

evening

(dial

Area

Code

213,

telephone

number

893-4416)

or

-

-

C.

In

case

of

extreme

rush,

call

the

Customer

Service

Department

during

the

day

at

Area

Code

213,

telephone

number

894-7161

and

ask

for

extension

356

or

357.

Parts

List

SATELLITE

P.C.

BOARD

ASSEMBLY

SATELLITE

CONTROL

P.C.

BOARD

ASSEMBLY

SCHEMATIC

PART

SCHEMATIC

PART

LOCATION

NUMBER

DESCRIPTION

LOCATION

NUMBER

DESCRIPTION

C2,C3

18-5217-3

220uF,

25V

(Electro)

Cl

,C2

18-5217-3

220uF,

25V.

(Electro)

C4

18-5214-3

1,5uF,

20V

(Tantalum)

D1.D2.D3.D4

86-5045-3

Diode,

Silicon

(Power

C15-.C25

18-5215-3

2,2uF,

50V

(Electro)

IN4004)

C31

18-5216-3

220uF,

6,4V

(Electrol

D5

86-5044-3

Diode,

Silicon(Signal

D1

thru

D12

86-5044-3

Diode,

Silicon(Signal

1N

4148)

IN4148)

R7.R8.R9

24-5350-0

100K,

Pot

Slide,

(Linear)

R1.R47.R98,

1

R10.R12

24-5352-0

500K,

Pot

Slide,

(Log)

R103.R139.R174.)

•

24-5340-3

100K

Ohm.

Trim

Pot

R11.R13

24-5351-0

100K,

Pot

Slide,

(Log)

R190

J

T1

80-5008-0

Transformer,

Power

R4

24-5335-3

500

Ohm,

Trim

Pot

IC1.IC2

13-5018-6

Intergrated

Circuit,

R10

24-5338-3

2

OK

Ohm,

Trim

Pot

(OP-Amp.

741)

R16.R21

24-5337-3

10K

Ohm.

Trim

Pot

01

86-5148-2

Transistor.

NPN

(2N3904)

R17.R79

24-5342-3

100

Ohm.

Trim

Pot

35-36000-0

Satellite

Control,

P.C.

R25

24-5341

-3

2

Meg.

Ohm,

Trim

Pot

Bd.

Assy.

R130.R132

24-5339-3

2K

Ohm,

Trim

Pot

R160

24-5336-3

1

K

Ohm,

Trim

Pot

MISCELLANEOUS

CABINET

PARTS

LIST

R6.R7

61-100201-2

10K

Ohm.

1/4W,

1%

Film

11-5837-0

Panel,

Rear

Controls

R9

R13.R19.R48

R18

R20

R80

R81.R82

61-442301-2

61-150301-2

61-681001-2

61-475201-2

61-174101-2

61-511201-2

442K

Ohm,

1/4W.

1%

Film

150K

Ohm.

1/4W,

1%

Film

681

Ohm,

1/4W.

1%

Film

47.5K

Ohm.

1/4W,

1%

Film

1.74K

Ohm.

1/4W,

1%

Film

51.IK

Ohm.

1/4W,

1%

Film

R114

61-5000-1

1

K

Ohm,

3%

Temp.

Comp.

J2

IC1

13-5020-6

Intergrated

Circuit,

J3

(Voltage

Reg.

723)

J4

IC2,IC3,IC4,

*

1

R238

IC5.IC6.IC7.

IC8.IC13.IC21,

IC22

7

13-5018-6

Intergrated

Circuit,

(OP-Amp.

741)

R237

IC9.IC10.IC12,

IC14,IC15,IC16,

113-5019-6

Intergrated

Circuit,

1

Cl

7,1

Cl

8

(OP-Amp.

CA-3080)

1

Cl

1,1

C19.IC20

13-5015-6

Intergrated

Circuit.

(Transistor

Array

SG-3821)

IC23

13-5074-3

Resistor

Matrix

Q1

Q2.Q4.Q6.Q7,

Q9.Q10.Q11,

012,013.014,

86-5150-2

Transistor,

(PNP

TIS93)

Q15,Q17,Q25,

Q26.Q27.Q31,

•86-5149-2

Transistor,

(PNP

2N3906)

034,035,036,

Q43.Q44.Q46,

Q47,Q48.Q50

.

03,05,08,016,

'

Q18,Q19,Q21.

Q24.Q28.

Q29,

030,033,037,

Q38,Q39.Q40.

Q49

■

86-5148-2

Transistor,

(NPN

2N3904)

Q20,Q32,Q41,

Q42.Q51

J

f

86-5147-2

Transistor,

(FET,

N-CHAN.

E203)

Q22.Q23

86-5146-2

Transistor,

(FET.

N-CHAN.

El

12)

45-5049-0

Connector,

12-Pin

Male

Polar

45-5043-5

Terminal.

1C,

4-Pin

Socket

45-5044-5

Terminal,

1C,

7-Pin

Socket

45-5022-2

Socket,

1C,8-Pin

Circular

77-5129-0

Spacer,

1C,

Socket,

7-Line

35-35990-0

Satellite,

P.C.

Bd.

Assy.

SW1

thru

SW21

J1

40-5133-0

40-5134-0

69-5367-0

89-5083-0

21-

5355-1

45-5022-1

45-5023-1

45-5076-3

45-5024-1

24-5353-0

24-5354-0

52-5220-0

52-5221-0

77-5130-0

49-5330-0

49-5331-0

23-5017-0

22-

5023-0

23-

5051-1

23-5053-1

62-8268-1

62-8269-1

62-8270-1

62-8271-1

62-8272-1

62-8273-1

62-8274-1

62-8275-1

62-8276-1

62-8277-1

62-8278-1

62-8279-1

62-8280-1

62-8281-1

62-8282-1

1

1-5847-0

11-5848-0

26-5004-0

70-5201-0

97-5351-0

70-5202-0

Overlay.

Slider

Panel

Overlay,

Front

Controls

Switch,

with

Quick-Tab

Lamp.

Pilot

with

Clip

Housing,

24-Pin

Female

Socket.

6-Pin

(Accessory!

Jack,

Phone

Jack,

RCA-Phono

Jack.

Phone

(Shorting

Type)

5OK

Ohm,

Pot

Rotary

(Level)

100K

Ohm,

Pot

Rotary

(Tune)

Knob,

Rotary

(Push-on)

Knob,

Slide

Pot

Standoff,

P.C.

Bd.

Mounting

Foot,

Rubber

Foot,

Adjustable

Cord.

A.C.

Power

Strain

Relief

Cable.

Output

Accessory

Adapter.

"Y"

"A"

Key

Natural

(Ivory)

"B"

Key

Natural

(Ivory)

"C"

Key

Natural

(Ivory)

"D"

Key

Natural

(Ivoryj

"E"

Key

Natural

(Ivory)

“F"

Key

Natural

(Ivory)

"G"

Key

Natural

(Ivory)

"C"

End

Key

Natural

(Ivory)

"A"

Key

Natural

(Black)

"B"

Key

Natural

(Black)

"C"

Key

Natural

(Black)

”D"

Key

Natural

(Black)

"E"

Key

Natural

(Black)

"F"

Key

Natural

(Black)

"G"

Key

Natural

(Black)

62-8283-1

Sharp

Black

Channel,

Natural

Channel.

Sharp

Bushing,

Guide

Spring,

Key

Return

Screw,

Key

Spring,

Contact

Accessory

and

Connections

For

operation

the

Satellite

Synthesizer

unit

should

be

placed

on

a

horizontal

surface

in

a

location

which

will

not

interfere

with

its

operation.

NOTE;

Avoid

placement

in

close

proximity

to

electronic

circuitry,

as

on

the

top

of

some

electronic

organs,

because

excessive

hum

may

result.

LO-LEVEL

OUTPUT

(30

millivolts

RMS),

Phone

Jack

.

HI-LEVEL

OUTPUT

(1

volt

RMS),

RCA

Phono

Jack

designed

for

use

with

Guitar

Amplifier,

P.A.

Systems,

designed

for

use

with

Electronic

Organs.

("Y"

Adapter

etc

-

and

Accessory

extension

cable

are

included

with

your

unit).

satellite;

rear

panel

Connection

Instructions

SINGLE

CHANNEL

ORGANS

(MONAURAL)

Disconnect

the

RCA

Phono

plug

from

Amplifier

Input

Jack

and

insert

the

"Y”

Adapter

plug

into

the

Amplifier

Input

Jack.

Connect

Accessory

extension

cable

plug

into

"Y”

Adapter

socket

and

insert

the

plug

on

the

other

end

of

the

extension

cable

into

the

HI-LEVEL

OUTPUT

jack

on

your

Satellite

unit.

Connect

the

organ

plug

(pre¬

viously

removed)

into

the

other

"Y"

Adapter

socket.

DUAL

CHANNEL

ORGANS

(STEREO)

Disconnect

the

RCA

Phono

plug

from

the

Right

or

Main

Channel

Amplifier

Input

Jack

and

insert

"Y"

Adapter

plug

into

Right

or

Main

Channel

Input

Jack.

Connect

the

Accessory

extension

cable

plug

into

the

"Y”

Adapter

socket

and

insert

the

plug

on

the

other

end

of

the

extension

cable

into

HI-LEVEL

OUTPUT

jack

on

your

Satellite

unit.

Connect

the

Right

or

Main

Channel

plug

(previously

removed)

into

the

other

"Y”

Adapter

socket.

NOTE:

Do

not

connect

the

Satellite

Synthesizer

into

Leslie

or

Left

Channel

Input.

FILTER

CONTROL

INPUT

This

jack

is

provided

for

the

control

of

the

Timbre

with

a

Moog

Pedal

controller.

ACCESSORY

SOCKET

Permits

the

attachment

of

a

Foot

Pedal

to

control

several

Synthesizer

features.

(Consult

your

dealer

for

avail¬

ability

of

Moog

Accessories).

Care

of

Your

Moog

Satellite

Your

new

MOOG

SATELLITE

Synthesizer

is

carefully

designed

to

give

you

maximum

pleasure

and

satisfaction

with

a

minimum

of

care.

Following

these

tips

on

the

care

of

your

Synthesizer

will

help

keep

it

"showroom

new".

•

LOCATION

As

with

any

electronic

instrument,

avoid

placement

in

direct

or

prolonged

sunlight.

Normal

variation

of

temperature

will

not

affect

the

tuning

or

electronic

circuitry

of

the

synthesizer.

Storage

location

should

be

chosen

to

avoid

placement

in

front

of

hot

air

registers,

or

beside

an

outside

doorway

in

winter,

as

these

elements

may

affect

the

finish

of

the

cabinet.

•

CABINET

Quality

hardwoods

are

used

in

your

MOOG

SATELLITE.

Therefore,

a

minimum

amount

of

care

will

insure

you

of

having

a

piece

of

furniture

that

will

retain

its

beauty.

An

occasional

dusting

with

a

soft,

dry

cloth

should

remove

both

fingerprints

and

dulling

film.

To

clean

the

keys

a

soft

cloth

dampened

in

a

mild

soap

solution

should

remove

even

the

most

persistent

stains.

Under

no

circumstances

should

solvents

or

cleaning

fluids

be

used

to

clean

keys

or

cabinet.

•

POWER

REQUIREMENTS

This

instrument

must

be

operated

from

a

standard

120

V.A.C.

60

Hz

power

outlet.

Normal

line

voltage

variation

will

not

affect

its

operation.

Power

requirements

of

this

unit

are

very

low.

All

Solid

State

circuits

are

operated

at

a

very

low

voltage

and

component

life

is

therefore

extended.

•

SAFETY

Your

MOOG

SATELLITE

Synthesizer

has

been

designed

for

maximum

safety

in

its

operation

and

trouble

free

performance.

However,

repair

or

service

of

electronic

products

should

be

done

by

qualified

personnel

familiar

with

the

hazards

relating

to

electricity

and

electronic

circuitry.

The

risk

of

repair

or

service

must

not

be

assumed

by

the

customer.

Your

dealer

will

provide

a

competent,

experienced

service

technician

for

that

purpose.

Please

contact

your

dealer,

if

your

unit

needs

repair

or

service.

•

CONCLUSION

And

now

as

you

play

....

Let

us

offer

you

our

best

wishes

for

a

happy

and

rewarding

experience

with

your

new

MOOG

SATELLITE

Synthesizer.

We

know

it

will

bring

you

great

pleasure

and

creative

satisfaction.

ALL

COMPONENTS

-

ONE

YEAR

FROM

DATE

OF

ORIGINAL

SALE.

CABINETRY

-

90

DAYS

FROM

DATE

OF

ORIGINAL

SALE.

We

warrant

your

Moog

Satellite

Synthesizer

to

be

free

of

defects

in

material

or

workmanship.

We

agree

to

remedy

any

such

defect

by

repairing

or

replacing

at

our

option

with

a

new

or

equal

part

in

exchange

through

an

authorized

dealer

or

service

technician.

This

does

not

apply

to

any

instrument

subjected

to

misuse,

neglect,

accident

or

acts

of

God

or

improper

servicing

performed

by

other

than

an

authorized

dealer

or

service

technician

which

in

any

way

affects

the

reliability

of

or

detracts

from

the

performance

of

this

product.

This

warranty

does

not

cover

labor

or

transportation

costs

for

the

instrument

or

any

part

thereof.

For

your

protection

and

future

reference,

please

keep

this

warranty

along

with

your

bill

of

sale.