COMPLEX TIMBRAL MODULATION
1. Using a 1⁄4” patch cable, connect the CP-251 LFO Triangle
output to an Attenuator Input
2. With another 1 ⁄4” patch cable, connect the Attenuator
Output to the Minitaur’s FILTER CV jack.
3. On the Minitaur, set the LFO RATE control and the VCF
LFO AMOUNT controls to the 12 o’clock position.
On the CP-251, set the LFO Rate control to 1 o’clock and adjust the
Attenuator to +3 on the dial. This will result in a complex modulation
effect as the Filter Cutoff Frequency is modulated by both LFOs. Setting
the LFO rates considerably higher will result in even wilder timbral
textures, while very low settings will create slowly evolving complex
filter sweeps. For a “random stepping” filter effect, use the S&H Out 1
in place of the LFO Triangle out.
Using the multiple jack on the CP-251, you can simultaneously route the
LFO or S&H modulation signal to the Minitaur’s Pitch, Filter and Volume
inputs all at once, or split the modulation signal using the multiple jack and
route it into both Attenuators to have two controllable modulation sources.
WE’VE JUST SCRATCHED THE SURFACE
Other CV-equipped gear like our Moogerfooger analog effects can be used
to expand the sonic potential of the Minitaur. We encourage you to experiment;
whether you are trying to create an original sound or duplicate an existing
sound, experimentation is part of the fun!
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APPENDIX C - CARING FOR THE MINITAUR
Clean the Minitaur with a soft, slightly moist cloth only – do not use solvents
or abrasive detergents. Heed the safety warnings at the beginning of the
manual. Don’t drop the unit. If you are shipping your Minitaur to the factory
for servicing, we recommend using the original shipping carton, or an ATA
approved Road Case.
AN IMPORTANT NOTE ABOUT SAFETY
: Do not open the chassis. There are
no user serviceable parts in the Minitaur. Maintenance of the Minitaur
synthesizer should be referred to qualified service personnel only.
APPENDIX D - USING THE CP-251 WITH THE
MINITAUR
The Moog CP-251 Control Processor makes an ideal companion to
the Minitaur. It provides an LFO with two waveforms (Triangle/Square),
a Sample & Hold circuit with two outputs (Stepped/Smooth), a Lag
Processor, Noise source, and a Mixer and two Attenuators. The CP-251
greatly expands the sonic palate of the Minitaur, allowing for the creation
of new sonic textures.
Here are some possible configurations for using the CP-251 with the
Minitaur. Grab some patch cords and try these suggestions!
NOISE AS AN AUDIO SOURCE
You can use the CP-251 Noise source as an audio source to add inter-
esting artifacts to an existing sound (for example, creating the
illusion of ‘breath’ ) or process the noise just by itself to create snare,
wind, and surf sounds. Simply route the CP-251 Noise output through
an attenuator and then into the Minitaur’s Audio In jack. Noise never
sounded so good!
NOISE AS A CONTROL VOLTAGE
You can use the CP-251 Noise source as a Control Voltage by simply
routing it to any of the Minitaur’s CV inputs (PITCH, FILTER and VOLUME),
but a better method is to route the Noise through an Attenuator first:
1. Using a 1⁄4” patch cable, connect the CP-251 Noise output
to an Attenuator input.
2. With another 1 ⁄4” patch cable, connect the Attenuator
output to one of the Minitaur’s CV jacks.
This will allow you to raise or lower the Noise level as desired, adding
just a touch of noise to add realism to a sound, or a blast of noise for
extreme sonic effect.
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Summary of Contents for MINITUAR
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