Moog modular - Friday night Jam

 A impromptu jam last might. 

My mate Ed and I decided to play with the old Moog.

This hasn't been used in a while so it was good to see most things worked.

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The old VCOs drifted a lot so it was a battle to keep things in tune.

This is the old moog:

Who's the girl (playing that 1960ish Moog Modular)?

Above are some Synthesizer.com sequencers / modules

and other misc 5U modules

Patch notes:

The two 960 sequencers are synced.

The right is the master.

They control various filters, VCAs etc of Moog 

I'm using one sequential switch to add variation to the sequences

Its triggered from the 1st 960 and the Klee 

-------------------------

Two Q960 sequencers can be synchronized or used independently to create complex sequences. They can be patched together to create longer sequences, or one can be used to modulate parameters of the other. 

Here's a more detailed explanation:

1. Synchronization: 

To run two Q960 sequencers at the same speed, the clock output of the first sequencer can be patched into the shift input of the second.

Ie; Use the osc of the 1st sequencer to shift the osc of the second sequencer.

To create a slower tempo on the second sequencer, you can use a clock divider (like the Q962) to reduce the clock speed before patching it into the second sequencer.

2. Creating Longer Sequences:

By patching the step output trigger from the first sequencer into the shift input of the second, you can create sequences that are multiples of the original length. 

For example, chaining two 8-step sequencers in this way can create a 16-step sequence, or even a 24-step sequence by using the three rows of the Q960 

3. Independent Use and Modulation:

One Q960 can be used to transpose the sequence of the other, by patching the first sequencer's step output to the second sequencer's shift input and using its CV output. 

You can also use one sequencer's CV output as a modulation source for another, controlling parameters like filter cutoff or VCA. 

One sequencer can control the gate of another to create rests or shorter phrases within a longer sequence. 

4. Additional Tips:

The Q960 has a reset input, and the reset can be triggered at any point in the sequence, allowing for complex rhythmic patterns. 

The Q962 sequential switch can be used for various purposes, including dividing the clock, muting sounds, and controlling the sequence direction.

Q162 - sequential switch used as a Clock divider module

 The Q962 is a specific type of clock divider, likely a module within a modular synthesizer system.

 It's designed to take an incoming clock signal and produce a series of divided clock signals, meaning the output clock pulses occur at a slower rate than the input. This is useful for creating rhythmic variations and controlling other modules with different timing relationships. 

manual

https://shop.synthesizers.com/cdn/shop/files/q962data.pdf?v=14249181206263548610

Here's how a clock divider like the Q962 might be used:

1. Basic Division:

Connect the incoming clock signal to the input of the Q962.

Each output of the Q962 will provide a clock signal divided by a specific factor (e.g., /2, /4, /8, etc.).

These divided clocks can then be used to trigger other modules, such as sequencers, envelopes, or LFOs, creating different rhythmic patterns. 

2. Creating Rhythmic Complexity:

By using multiple outputs of the clock divider with different division factors, you can create complex rhythmic patterns that evolve over time.

For example, you might use a /2 clock to trigger a kick drum, a /4 clock to trigger a snare, and a /8 clock to trigger a hi-hat, creating a basic drum beat.

You can then experiment with different combinations and offsets to create more intricate rhythms. 

3. Combining with Logic Modules:

Clock dividers can be combined with logic modules (AND, OR, XOR gates) to create even more complex rhythmic variations.

For example, you could use an AND gate to combine the output of a /2 clock and a /3 clock, resulting in a clock pulse that only occurs when both clocks are high, creating a new rhythmic pattern.

4. Timing and Modulation:

Clock dividers can be used to control the timing of other modules, such as LFOs (low-frequency oscillators) or envelopes.

By using a divided clock signal to modulate the rate or amplitude of an LFO, you can create rhythmic variations in the LFO's output.

Similarly, a divided clock can be used to trigger envelope generators, creating percussive sounds with varying attack and decay times. 

5. Performance Techniques:

During live performances, clock dividers can be used to create dynamic changes in the music by switching between different division ratios or combining them in various ways.

This allows for transitions between different rhythmic feels or for creating build-ups and breakdowns in the music. 

Example:

Imagine you have a sequencer that is running at a certain tempo. You can use the Q962 to divide that tempo and then use the divided clocks to trigger other modules. For example: 

/2 (half speed): Could trigger a bassline or a longer melodic phrase.

/4 (quarter speed): Could trigger a percussive element like a tom-tom or a short melodic phrase.

/8 (eighth speed): Could trigger a hi-hat or a subtle rhythmic embellishment.

/16 (sixteenth speed): Could trigger a very fast, subtle rhythmic element.

By combining these different divisions, you can create a complex and evolving rhythmic landscape. You can also use the logic modules to combine the divided clocks in different ways, creating even more intricate patterns. 

In essence, the Q962, and clock dividers in general, are powerful tools for creating rhythmic complexity and dynamic changes in modular synthesizers.

Moog index page

 Moog Index page

• Moog General
  + Clocking the Korg SQ 10 - S triggers
  + Moog CABLE -S-trig to V-trig
  + Modular Clocks - Analog, MIDI , PPQN
  
  
  Moog - Mother 32/ DFAM/ SubHarmonicon
  
  + Moog Mother 32 - Sequencer shortcuts 
  + Moog Mother 32 - sequencer - recording your first  pattern (keyboard mode)
  + Mother 32 - sequencer - editing a pattern - step mode
  + Moog Mother 32 - set up mode - assignable output, midi channel, tempo input settings
  + Moog Mother 32 - sequencer - Step Mode - slides, glides, ratchets, rolls  
  + Mother 32 & DFAM - Live jamming ideas
  + Moog Mother 32 & DFAM Jam # 1  
  + Moog sub harm & DFAM 10 ..... live jam with patch notes
  
  + Moog DFAM - Patch Rhythm bass
  + Moog Subharmonicon - patches A
  + Moog Subharmonicon - Short patch examples 
  
  
  Moog Modular
• + 901 VCO 
• + Moog 921 vs 921a/921b combinations
• + 961 INTERFACE
  + 907 Fixed Filter Bank.
  + 911 - Envelope Generator
•    + My 5U sequencer setup
•    + Moog modular - Friday night Jam
• + Q162 - sequential switch used as a Clock divider module
• + Triggers & the mOOG 961 INTERFACE

My 5U sequencer setup

 Currently I have five sequencers in my large format 5U setup

1. Moog 960

2. Two q960 synthesizer dot com  sequencers

3. Klee

4. MFOS sequencer.

The MFOS is difficult to clock without a mod.

These modifications often involve using a simple op-amp circuit (like a TL072) and a CD40106 inverter to boost and shape the incoming clock signal.

In some cases two CD40106 hex inverters connected in series may be necessary in order to give the gates and triggers being fed to the MFOS gear CMOS characteristics.

The op-amp acts as a buffer and gain stage to amplify the incoming clock signal. The CD40106 then inverts the signal and shapes it into a clean square wave that the sequencer can understand.

Till I get around to doing this I've found that the output of the MFOS sequencer drives the others quite well. Here is the basic patch.

Moog 921 vs 921a/921b combinations

 The Moog 921 is a standalone, full-featured voltage-controlled oscillator (VCO), whereas the 921A (Oscillator Driver) and 921B (Oscillator) are a two-part system designed to work together, allowing a single driver to control the core functions of multiple oscillators simultaneously. 

Here are the key differences:

Moog 921 (Standalone Oscillator)

Integrated Design: The 921 is a single, complete module that contains all control functions and outputs.

Independent Control: Each 921 module has its own individual 1V/Oct input for pitch control and individual pulse width control, allowing for greater flexibility in creating separate melodic lines or independent LFO functions.

Features: It includes additional features like an "Auxiliary Output" with its own attenuator and a dedicated low-frequency oscillator (LFO) range switch with better stability at low frequencies compared to the 921B in LFO mode. 

Moog 921A & 921B (Two-Part System)
Master/Slave Architecture: The 921A serves as a "master" control module (driver) that sends common control voltages to one or more "slave" 921B oscillator modules.

Shared Control: The 921A's frequency and pulse width controls affect all connected 921B modules simultaneously. This setup is ideal for creating rich, unison sounds or stable oscillator banks that tune together, as all oscillators track from a single control source.

Module Functions:

921A Oscillator Driver: This module has no audio outputs. It provides CV control for frequency (pitch) and pulse width modulation for the connected 921Bs.

921B Oscillator: This module generates the audio waveforms (sawtooth, triangle, sine, pulse) but relies on the 921A for the main 1V/Oct pitch tracking and pulse width control signals.

Efficiency: The 921A/B system was designed in the original Moog modular systems to save panel space and potentially cost, as only one set of main controls (the 921A) was needed for a bank of oscillators. 

In essence, the choice between the two designs depends on whether you need a single, versatile, independent oscillator (921) or a bank of oscillators that can be controlled from a single master source (921A/B combination). 

If you most frequently use banks of oscillators in unison, the 921a/b is designed for that purpose.

If you need the flexibility to use oscillators in separate voices, the 921 will be the one you want.

A single Moog 921A Oscillator Driver can control up to 12 Moog 921B Voltage Controlled Oscillators. 

The units are typically hardwired together via the power bus or a specific connector on the back of the modules, removing the need for extra patch cables for basic control.

For most practical modular synthesis setups, it is common to use banks of three oscillators per driver.

Mogue mixer & VCA - NLC build notes - part 2

 I started this build back in 2019.

Finally catching up. Sorry for the delay.

I blame a combination of slackness and covid.

Part one is here.

Mouge Mixer/VCA- build notes

 

The Moog CP3 is a classic so its  always interesting to study the circuits.

iT HAS two (inverted) outputs. : a +ve & a -ve 

It also has a passive mix bus without the use of op-amps.

The module uses transistors.

And I was unsure what parts to use. The LM394 is obsolete.

What to do? Should I use some cheap Chinese copy off Ebay , ... or maybe a Russian clone ???

I decided to try some matched some BC547s first.

The LM394 consists of a pair of super matched NPN transistors

The Emitter-base voltage is matched to 50 mV

The BC547 is also a NPN transistor

First , you need to match the BC547s.

Here is some info on the subject of matching

https://djjondent.blogspot.com/2014/08/transistor-matching.html

Vbe (base-emitter voltage) matching is the most common type of matching done.

I like using a Atlas DCA Pro DCA75  

 

Installing headers

pOTS and jacks next.

 

Still testing the transistors.

They need to be matched as closely as possible.

The mixer actually has 2 outputs: a +ve and a -Ve.

It's what you'd expect from a CP3 mixer.

However, the -ve is fed directly to the switching pin of the VCA input.

This output is somewhat distorted.

The +ve output is the jack directly below IN2

 

 

And YES

It does work with the BC547's

You don't need to buy clones from Ebay.

Links
+ NLC blog
+ official build notes & BOM
+ FB builders

+ Wiki

+ + Transistor Matching

 

---------------------------------------------------------------------------------------------------
Click here to return to the NLC Build Index:
http://djjondent.blogspot.com.au/2015/03/non-linear-circuits-ncl-index.html 

Modular Synthesizers 101 - Elk Elektroniks Class

I'm looking forward to the upcoming synthesizer meeting on the 21st November at

Elk Electronics. It's just 1 week away. The class will be held in Wollongong, NSW, AUSTRALIA.

Check out the FB link for more details

https://www.elkelektronik.com.au/ 

https://www.facebook.com/elkelektronik/   

Ed has kindly let us use his work space to spread the word about electronic music.

On the 21st, we will be starting at the beginning and asking the fundamental question:

What are Modular Synthesizers??

 

So if you are new to modulars and interested to begin the journey, this class is for you.

 

In addition, There will be demos using Eurorack , banana and AE modular synths,

plus a Wasp & Minimoog D.

 

 

Note:

Contact Ed via his facebook link to book a spot. This is a Covid safe event and numbers are limited , so contact him first.

 

---------------------------------------------------------------------------------------------- 

These following notes are aimed for someone who is totally new to modular synthesizers.

They are the first part of the modular synth beginner class.

 

 

What are Modular Synthesizers??

Before we can answer this question, we should realise that all synths are made out of modules.

Even a keyboard synth is made out of modules. They are just fixed in position.  

 
This is a Moog model D. It has a fixed architecture.

The sound starts on the left (Oscillators), passes through a mixer (middle), filters, and amplifier. The final sounds emerge on the right (output). The sounds are shaped with envelopes.

A modular synth is essentially the same.

 

But with a modular synth, these modules are not fixed in position or number.

You are not restricted by manufacturer. There are thousands of modules, from makers all around the world.

You can even make your own.

You can combine modules from Russia or Germany, with some from Japan or the USA (and even Australia).

 

These modules are combined using patch cables.

 

These are lots of different types of cable. The left is a 1/4 inch.

Middle, we have some 3.5mm -- used in Eurorack.

To the right we have banana cables .... used in Serge & Buchla synths.

On the extreme right are breadboard patch cables (used in synths like the AE modular)

 

The cables carry two types of signal:

1. Audio

2. Control Voltages (CV).

 

Control voltages are an analog way to automate the various module settings.

(this will be demonstrated in the class).

 

Because there is a huge range & number of modules to pick from, getting started can be a daunting process. But the basic modules common to all modulars are the same. These (in my humble opinion) are the essential ones to get the ball rolling.

1. Oscillators

2. Mixers

3. Filters

4. Envelope Generators

5. LFOs

6. VCAs

7. Sequencers

8. Midi to CV converters 

The class will use a few synths ... a Eurorack Modular, a Banana Modular, an AE Modular, a WASP and a Moog Model D.

You are welcome to bring your own, if you have a synth.

There will also be an oscilloscope, so you can see the sounds.

 

--------------------------------

1. Oscillators

 

These Oscillators, or VCOs are what make your sounds.

VCO = Voltage Controlled Oscillator.
 

2. Mixers

These mix the sounds that come from the oscillators.

 

 

3. Filters

These shape the tones coming out of the synth.

It's a big part of whats called subtractive synthesis. 

Subtractive ....meaning we are removing specific sonic frequencies from the oscillator.

Lots of different types...eg: Low  Pass, High Pass, Band Pass & notch.

Low Pass (LP): allows low frequencies to pass through.

High Pass (HP):  let the high frequencies through.

Band pass (BP):  allows only a narrow band of the frequency spectrum to pass through.

Notch :  (opposite of a BP) . It filters out a narrow band of the frequency spectrum

 

4. Envelope Generators.

These generate voltage envelopes.

They can be triggered by lots of different types of modules, but the most common is a keyboard. 

The envelope has a particular shape which is set by the user.

 

The most common type of envelope has 4 settings or stages 

A = Attack

D = Decay

S = Sustain

R = Release

 

 

5. LFOs

Low Frequency Oscillators.

These are another source of control voltages which you can use to automate various module settings.

You can use them like a simple envelope generator.

As the name suggests, they are also oscillators, similar to a audio VCO, but they operate a much slower frequencies, and (mostly) you can't hear them.

 

 

6. VCAs

Voltage Controlled Amplifer .

It's an amplifier whose level can be controlled by another module that produces CVs (such a a LFO or EG)

 

 

7. Sequencers

These modules generate a series of control voltages to tell a synth to play a series of notes.

They are like an human-less automated keyboard

 

 

8. Midi to CV converters 

These modules are usually connected to a midi keyboard ( though there are other options too). 

They convert midi signals into control voltages.

 

Moog 911 - Envelope Generator

Moog 911 Envelope Generators need S-triggers to start their cycle.

Moog's designers wanted people to be able to plug in a simple foot switch to trigger sounds, 

The original design of this module is from around 1968. 

The Moog 953, 952 or 962 Keyboard will produce S-triggers.

"So will Moog Ribbon Controllers, Percussion controllers , Sequential Controller Complements and Envelope Followers" (Moog Manual)

In comparison,  V-triggers start at zero volts and rise to a standard level .. usually 3V.

Specs

Trigger Input : Switch Trigger

Output Impedance 10K ohms

Time range on T1, T2, T3: 2 milliseconds to 10 secs.

Peak DC output on Esus : 5.5V (+/-10%)

The 911 plugs into the Moog modular using a 22 pin PCB/edge card connector.

It's a ADSR envelope generator.

The pin out is as follows:

1. +12V at30mA

2. GND

3. -6V at 15mA

14. Trigger out

15. Shield

21. S-trigger in ........to Trigger switch (Jones S-302)

22. Shield

The Moog manual suggests a regulated AC supply, such as a Moog Model 901 or dry batteries.

Max current is 50 milliamperes.

Range of T1: 10 ms to 10 secs (attack)

Range of T2: 10 ms to 10 secs (delay)

Range of T3: 10 ms to 10 secs (Release)

Range of  Esus:  0 to Emax

Esus = sustain.

Emax = voltage at which T2 begins. = 5.5V +/- 10%

You trigger the 911 by closing a switch. So unlike most EG's you will encounter today, no voltage is supplied to trigger the module ... its quite the opposite.

You need a 916 interface to convert CVs to S-triggers

" the 911 Envelope Generator produces a single voltage contour whose time/voltage variation
 is determined by potentiometers T1, T2, T3, and a time constant sustaining level potentiometer (Esus).
Closure of the input trigger switch directs the voltage contour to T3 (final decay) regardless of
what stage (T1, T2 or E) was in current operation."

                                                                                                              (Moog Manual)

"The 911 Envelope Generator completes one of the most important musical functions:
That of producing a variable one-shot control voltage contour in time.
This output is thus capable of controlling any voltage controlled module – most notably
a Voltage Controlled Amplifier – resulting in the articulation of a single sound."
                                                                                                                 (Moog Manual)

A common module to pair with the 911 is the 911A - The Dual Trigger Delay.

This can create multiple or combined DC voltage contour outputs.

mOOG 907 Fixed Filter Bank.

Fixed Filter banks have been around from the earliest days.
But they are often misunderstood.
They look like simple graphic equalizers. This is not the case.
In the case of a EQ, each band has a boost & cutoff. If all the sliders were in the centre position
the input will be the same as the output.
In the case of the 907, the output is definitely not the same as the input. The frequency changes as it passes through each stage.
The knobs for each stage are attenuators. They do not have gain.

The 907 is a beautiful module to behold. It seems so simple, yet it's classic design is an example of why Moog modulars are still revered around the world.
We have just 2 jacks --- input & output.
In between there are 10 filters. 8 bandpass & a low & high pass at either end (shelf filters).
(The later Moog 914 provided 12 instead of 8 filters).

The 907 has 8 bandpass fixed-frequency filters spaced at approximately half-octave intervals:
They have centre frequencies of 250Hz, 350Hz, 500Hz, 700Hz, 1Khz, 1.4KHz, 2KHz, and 2.8KHz.
Each of the BPFs has a single knob for boosting or cutting frequencies within it's range.

There is no voltage control.

The special sound of the 907 is I think due to the the sharp sonic notches produced between the adjacent filter bands. Some people say it's because of the inductors used in their manufacture.

+ Inductors, ferric beads, noise reduction methods, etc
Inductors are basically coils of wire.
Each band uses a LC-filter ... which is a capacitor/inductor combo.

The filter has a total of 10 overlapping LC networks.
The claim is that they introduce nonlinear irregularities.

I don't know -)

"The fixed filter bank is often referred to as a Formant Filter

907 filter Specs:

Signal Input impedance: 10k ohm
Signal Output impedance: 680 ohm
Signal Gain: unity
Output Noise:  -65 dB
Output Polarity : No Shift
LP attenuation at Fc : 24dB
HP attenuation at Fc : 24db
Attenuation of Passbands : 24dB/octave

Pin assignments:
1. +12V (+/-10% at 20mA)
2. Gnd
3. -6V at 10mA
8. Signal input
9. Signal Ground
21. Signal output
22. Signal ground

"The Fixed Filter Bank is often referred to as formant filter because it can be set
 to emphasize or attenuate midrange frequencies, which fall within a particular band,
 no matter how the frequencies of the signal are moved.
Like many acoustic instruments, a characteristic set of formants, are always a part of the
resultant output (given a particular complex waveform). Emphasized bands of this sort are
particularly evident with double reed instruments.
Thus, this filter is part of the patch for these simulations.
In addition, completely different timbres can be set up for different ranges of the same tone,
if the output of the filter is recombined with unfiltered frequencies at different levels. "

                                                                                                                 (Moog Manual)

--------------------------------------------------------------------------

There are quite a few fixed filter banks in the modular world.
Eurorack: The Doepfer A128, Analogue Systems RS215, Behringer 914, AJH Fixed Filter Bank 914,
Aion 907A FFB.

Serge: Serge Kitchen 1 panel, Serge EQ Shifter, Serge M-Class Audio Interface. Serge Resonant EQ.

Buchla : 296 - spectral processor, 296e & 295 .

Don described the 296 thus:
"It has 16 channels of filtering, but they cover the same frequency range of a 24 channel 3rd octave filter because they are constant BARK FILTERS  and the channels are wider

Moog also introduced a series of filterbanks into one of their pedals:
The MuRF. : Multiple Resonance Filter Array
The MF 105 came out around 2004. It's a classic pedal.

It contains 8 resonant BPFs, with their own level sliders, a sine LFO, and a sequencing envelope generator. You can control the tempo with a pedal or knob. Its really cool to sequence the different filter settings.
There are 24 preset patterns
Rhythmic variations can be created by adjusting the levels of the filters.

Moog, Korg & Yamaha trigger CABLE V-trig to S-trig

Some pics for making a S-trig to V-trig cable.
Useful is you don't have a Moog 961 conversion module
 + 961 INTERFACE 

tHIS  first cable uses two 1/4 inch jacks.
To convert V-trigs from a 960 sequencer to S-Trigs.

It will also work well to convert a V-trigger from a Eurorack clock (for example) to a S-trig.

This cable is also compatible with old Korg (eg MS 20) & Yamaha synths

 Just 3 components:
10K resistor
1N4148 diode
2N3904 transistor

 Bluetack is a easy way to hold the components together while soldering.

Prevent shorts. Insulate !

 

If you are triggering a KORG SQ-10 sequencer, the sequence mode switch

 must be in either of these two settings for the s-trigger to work.

Links

+ Clocking the Korg SQ 10 - S triggers  

+ Modular Clocks - Analog, MIDI , PPQN

Triggers & the mOOG 961 INTERFACE

.... iT'S  interesting that old Moog Modulars use both S-trigs & V trigs.

 Triggers might be produced by sequencers, the key on a keyboard, drum controllers & foot pedals.

They are useful for starting an envelope generator or advancing a sequencer.

A S-trig is just a passive switch closure to ground.The voltage starts high, and when the trigger occurs the voltage shorts to ground. It's also known as a switch trigger or shorting trigger.

Moog Keyboards produce S-trigs. 

Moog 911 Envelope Generators need S-triggers to start their cycle.

In comparison,  V-triggers start at zero volts and rise to a standard level .. usually 3V.

The 911 plugs into the Moog modular using a 22 pin PCB/edge card connector.

It's a ADSR envelope generator.

The pin out is as follows:

1. +12V

2. GND

3. -6V

14. Trigger out
21. to Trigger switch (Jones S-302)

The Moog manual suggests a regulated AC supply, such as a Moog Model 901 or dry batteries.

Max current is 50 milliamperes.

Range of T1: 10 ms to 10 secs (attack)

Range of T2: 10 ms to 10 secs (delay)

Range of T3: 10 ms to 10 secs (Release)

Range of  Esus:  0 to Emax

Esus = sustain.

Emax = voltage at which T2 begins. = 5.5V +/- 10% 

You trigger the 911 by closing a switch. So unlike most EG's you will encounter today, no voltage is supplied to trigger the module ... its quite the opposite.

The 960 sequencer produces V-triggers.

V-triggers start at zero volts and rise to a standard level .. usually 3V.

In the Moog Modular world, the S-trigger uses a special  2 blade Cinch Jones connector.

The V-trig uses the standard 1/4 inch jack. 

 So how do you get a trigger from the 960 sequencer to start a envelope cycle of a 911 EG.

To convert triggers from one to another, you can use a special conversion cable or the 961 interface

There are 2 types of this module..... the P (portable) and the C (console).
The above module is the P-type ... used for portable systems.

This is a audio to V-trig converter.
Plug in any audio source (like an old drum machine) into the jack on the left.
It will be transformed into a voltage trigger.

The control is a sensitivity knob.
The console version has this section right at the top of the module.

This is the V-trig to S-trig converter.
My module, has been modified somewhat, so may look a bit confusing. However, the V-trigs (from your 960 sequencer) enter into the jacks on the left, and S-trigs exit via the dual blade Cinch J plug.

There are 2 input sections: A & B
Any inputs into column A will have the same duration as the outputs
The Column B in jacks are connected to a Switch-On Time knob.

This allows you to control how short or long the “ON” duration is for S-Trig signals. (40ms to 4 seconds). You can use this to trigger the 911 envelope generator. 

                                                                                                                                                                                                                                             

                                                                                                                                                                                                                                

  Links        

+ Modular Synthesis                 

     
+ Here are the Mouser links for the Moog connector hardware:
https://www.mouser.com/ProductDetail/571-5-530501-5
https://www.mouser.com/ProductDetail/571-582388-9
 

Moog models using the S-Trigger system

• Moog Modular System 15
• Moog Modular System 35
• Moog Modular System 55
• Moog Modular System 3C
• Minimoog Model D
• Moog Sonic 6
• MicroMoog
• Moog Liberation
• Moog Source
• Moog Taurus
• Moog Prodigy
• Moog Rogue
• Moog Sattelite
• MinitMoog
• Moog Ribbon Controller
• Moog Sample & Hold Controller
• Moog Drum
• Moog 1130 Drum Controller
• Moog Modular Keyboards 
• Moog Mother 32 ??

I've got two Synthesizer.com Q961 modules

SynthMania: Q961 & 963

https://youtu.be/jviRYZaFDO4?si=1keabQ_U7acCczQ9

Behringer also produce a variation of the 961