CONCERTMATE MG-1 PDF

Find great deals for MOOG Concertmate Mg-1 Analog Synthesizer – Vintage Mg1 Realistic S. Shop with confidence on eBay!. I pulled my Concertmate MG-1 synthesizer out of storage for my next Arduino project (to be described later), only to find that it wasn’t working quite right. The MG-1 was manufactured by Moog Music for Radio Shack for their Concertmate line of casio-like keyboards. However, the MG-1 is a true Moog, somewhere.

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Thanks to Eric White and C. The Realistic Concertmate MG-1 is an analog synthesizer manufactured by Moog Music in and sold by Radio Shack from to under their ” Realistic ” brand name.

MOOG Concertmate Mg-1 Analog Synthesizer – Vintage Mg1 Realistic S

In addition, the contour input showed it was picking up some crosstalk from the oscillator 1 trace that runs next to it, and this was being amplified into the buzzing noise. The MG-1 was produced in great quantities for distribution in the consumer market. These are some nice synth hits and bass lines from this cheap Moog.

Moog synthesizers RadioShack Analog synthesizers Monophonic synthesizers. All of the sound-generating features come together in a mixer allowing the levels for the two monophonic tone sources, noise, bell tone and polyphony to be adjusted independently.

Realistic Concertmate MG-1 | Vintage Synth Explorer

I opened up the MG-1 and adjusted this, but unfortunately it made no difference at all. The second problem was that when I set the contour for an attack and decay, the note got louder and softer, but as the note got softer it was replaced with a buzz at concermate frequency of oscillator 1. This allows the creation of Saw- and Ramp- waves, as well as asymmetrical Triangle waves and unusual trapezoids, not otherwise found through modulating with the LFO alone.

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Date Produced – I studied it and the schematic, and my first guess was that there was concertmmate DC offset going into the CA amplifier, resulting in an amplified DC signal in the output. Radio Shack were marketing this synth to the home-keyboard crowd. They expected people to hook it up to their home stereo systems. This allows the creation of Saw- and Ramp- waves, as well as asymmetrical Triangle waves and unusual trapezoids, not otherwise found through modulating with the LFO alone.

It was produced without some standard Moog features, such as pitch and modulation wheels, as a cost-cutting measure aimed at achieving a lower price mgg-1 the consumer market. This is the very source of cheap Moog bass! Although there are stereo plugs, they both had the same mono output. Register a new account. Due to the fact that this keyboard was marketed to a home-keyboard crowd, the design uses bright color graphics and a simplified terminology. All signs pointed to a problem with the CA amplifier chip, mmg-1 was somehow amplifying a big DC signal.

What a cool synth. Second, both Rogue oscillators share the same waveforms and octave range selectors, whereas on the MG-1 there are separate selectors for each. Polk for providing information. The square wave based polyphony section is described as a “cheesy organ sound” [2] by some, and well-used by others. The output goes into the master volume control, and then to the synthesizer outputs.

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The MG-1 did not have an external speaker.

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The similar Moog Rogue came after the MG Unique Modulation Options Although this keyboard is often erroneously described as having “less” features than its Moog siblings, the Liberation and the Rogue, there is a patch which only the MG-1 can do: The multiple notes of polyphony feed into the single filter, giving a paraphonic result. Since the polyphony section is independently tunable, it can function as a rudimentary third oscillator, allowing the user to create more complex tones than on similar 2-oscillator synths.

The Realistic Concertmate MG-1 is an analog synthesizer manufactured by Moog Music in and sold by Radio Shack from to under their “Realistic” brand name. Audio Clip 2 A few more warbly analog sounds from the MG This is the benefit concertmaet not having the standard pitch- and mod-wheels.

Therefore, it is true that the Poly tones are not “faded out” by the Fall time release contour setting when a key is released. Next, I stared at the schematic for the contour generator that feeds into the CA amplifier, but couldn’t see how that could be going wrong.