LABYRINTH

MUSE
USER’S MANUAL
 When you connect with an instrument, whether it’s a guitar or a violin or
a set of drums or an electronic instrument, there is an interaction that’s outside
of what’s actually going through your finger. There is a connection – I hesitate
to use the word “spiritual” – but it has to do with the forces that we know
we living things can exert and can respond to.

DR. ROBERT MOOG

IMPORTANT SAFETY INSTRUCTIONS MANUAL VERSION

WARNING - WHEN USING ELECTRIC PRODUCTS, THESE BASIC PRECAUTIONS SHOULD ALWAYS This manual reflects Muse as of firmware Version 1.1.0. It is a living document and will be updated as
BE FOLLOWED: enhancements are made to your instrument.

1. Read all the instructions before using the product. Register your instrument at moogmusic.com to stay updated with the latest firmware releases, patch
2. Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a libraries, and further exciting content.
wet basement, or near a swimming pool or the like.
3. This product, in combination with an amplifier and headphones or speakers, may be capable of Check the version of your Muse by pressing the MENU button in the PROGRAMMER and scrolling
producing sound levels that could cause permanent hearing loss. Do not operate for a long period down to VERSION.
of time at a high volume level or at a level that is uncomfortable.
4. The product should be located so that its location does not interfere with its proper ventilation.
5. The product should be located away from heat sources such as radiators, heat registers, or other
products that produce heat. No naked flame sources (such as candles, lighters, etc.) should be
placed near this product.
6. Do not operate in direct sunlight.
7. The product should be connected to a power supply only of the type described in the operating
instructions or as marked on the product.
8. The power supply cord of the product should be unplugged from the outlet when left unused for
a long period of time or during lightning storms.
9. Care should be taken so that objects do not fall, and liquids are not spilled, into the enclosure
through openings.

There are no user serviceable parts inside. Refer all servicing to qualified personnel only.

NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device,
pursuant to Part 15 of the FCC rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses, and can
radiate radio frequency energy and, if not installed and used in accordance with the instructions, may
cause harmful interference to radio communications. However, there is no guarantee that interference
will not occur in a particular installation. If this equipment does cause harmful interference to radio
or television reception, which can be determined by turning the equipment off and on, the user is
encouraged to try to correct the interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment to an outlet on a circuit different from that to which the receiver
is connected.
• Consult the dealer or an experienced radio/TV technician for help.

CAUTION: Please note that any changes or modifications made to this product not expressly approved by Moog Music
could void the user’s authority granted by the FCC to operate the equipment.
CONTENTS UNPACKING AND INSPECTION
Check the contents of the shipping carton. Be careful when unpacking your new Moog Muse so that nothing
06 UNPACKING AND INSPECTION is lost or damaged. We recommend saving the carton and all packing materials in case you ever need to
06 SETUP AND CONNECTIONS ship the instrument for any reason.
07 MUSE OVERVIEW
08 MUSE ARCHITECTURE Muse ships with the following items:
10 MUSE VOICE ARCHITECTURE 1. MOOG MUSE 8-Voice Polyphonic Analog Synthesizer
10 MUSE SOUNDS 2. IEC Cable
11 PLAYING MUSE 3. Quick Start Guide
11 KEYBOARD AND LEFT-HAND CONTROLLER 4. Registration Card
13 LOADING AND EXPLORING SOUNDS 5. Safety & Warranty Manual
14 CREATING AND SAVING SOUNDS
16 HOW TO SYNTHESIZE WITH THE MOOG MUSE
24 MUSE MODULES
24 REAR PANEL AND CONNECTORS
SETUP AND CONNECTIONS
25 OSCILLATORS
Find somewhere stable and secure to place your new Moog Muse. It weighs 14.55 kilograms (32 lbs) so
28 MODULATION OSCILLATOR
place it on a table or stand with enough support. Before exploring the Moog Muse we need to provide it
31 MIXER
with power and hook it up to an audio monitoring system.
33 FILTERS
36 ENVELOPES
40 VCA
43 DIFFUSION DELAY
48 OUTPUT
50 LFO 1+2
56 PITCH LFO
59 ASSIGNABLE CONTROLLERS
63 CLOCK
65 ARPEGGIATOR
72 SEQUENCER
74 SEQUENCER OPERATION
76 SEQUENCER VIEW
79 STEP VIEW
87 PROGRAMMER
87 NAVIGATION
92 BANK/PATCH
94 MOD MAP
99 ARP/SEQ/STEP POWER
100 VOICE CONTROL
You will first need to connect your Moog Muse to a properly wired AC voltage source. Moog Muse uses an
103 CHORD
internal power supply that can accommodate AC power sources ranging from 100 to 240 volts and either
105 SETTINGS
50 or 60 cycles (Hz). Power is connected via an IEC power cable.
105 GLOBAL SETTINGS
105 MIDI
106 CV
AUDIO
107 TUNING Turn both the MAIN OUT and HEADPHONES knobs all the way down.
108 FIRMWARE UPDATES AND LIBRARY MANAGEMENT
• HEADPHONES
110 SPECIFICATIONS
Connect your headphones with a 1/4” TRS (Tip/Ring/Sleeve) connector to the Headphone jack on the front
113 SERVICE AND SUPPORT
left of Muse (under the PITCH and MOD wheels). Slowly increase the HEADPHONES knob to a
116 APPENDIX A: MIDI CC
comfortable listening volume.

• MAINS
Connect a 1/4” TRS cable from the MAIN OUT LEFT (MONO) jack on the rear of Muse to the left audio
input on a mixing console, audio interface, or other amplified speaker system. Connect another 1/4”
TRS cable from the MAIN OUT RIGHT jack on the rear of Muse to the corresponding right audio input
on your system to hear Muse in full, immersive stereo. If necessary, you may use the MAIN OUT LEFT
(MONO) output for a mono sum of Muse, but it is not recommended. Slowly increase the MAIN OUT
knob to a comfortable listening volume.

7
MUSE OVERVIEW
Muse is an innovative eight voice bi-timbral polyphonic synthesizer. Only the fourth polysynth produced
by Moog over a period of nearly 5 decades, Muse represents years of engineering and design efforts.
Muse is an intuitive yet powerful instrument – intended to be rugged and portable for touring purposes,
as well as the center of a modern production studio. With deep analog synthesizer history built into
every corner of its voice architecture, Muse utilizes digital control for flexible modular capabilities, patch
memory recall, and advanced sequencing. Muse is designed to grow with its user, from the first en-
counter with its knob-per-function panel and performance controls, through years of deep sound design
and exploration.

A 61-key semi-weighted Fatar keyboard with velocity and aftertouch, Left Hand Controller, a programmable
Macro knob, and two pedal inputs allow for expressive control of Muse. The interactive Programmer lets you
store and recall up to 256 patches and sequences while giving you access to countless configuration
parameters and performance-oriented customizations for Muse’s eighteen modules. Further, each patch
is bi-timbral, with two completely independent synthesizer timbres capable of being split across the
keyboard, stacked and layered together, and having voices allocated to either timbre via the Voice
Control module.

Muse is not only an expressive and colorful analog polyphonic synthesizer but a full compositional
workbench. An advanced Arpeggiator lets you program rhythms, configure unique patterns, generate
full melodic ideas, and save those arpeggiator configurations for each patch. A complex Sequencer
allows you to record sequences of up to 64 steps, allocate each note to either timbre, and save your
sequence in a bank of 256 total sequences. Each sequence exists independently of a patch, allowing
for on-the-fly patch switching within the same musical idea. Armed with parameter recording, probabi-
listic functions, and microscopic editing of every single note in the sequence, the Muse sequencer is
an endless playground for musical arrangements.

A powerful Modulation Map can store up to sixteen modulation routings per-timbre, thirty-two per-
patch – each routing featuring controller scaling and mathematical functions. Two flexible global or
per-voice LFOs with customizable waveshapes, a dedicated Pitch LFO, assignable envelopes, and 16
independent per-voice random voltage generators supply a wealth of modulation sources. Comprehensive
I/O via both MIDI and control voltage integrate Muse into a studio of any size.

8 9
MUSE ARCHITECTURE

VOICE x8

LFO 1 PITCH
LFO
LFO 2
NOISE
ARPEGGIATOR SOURCE MOD MATRIX
TIMBRE VCA
STEREO
VCAs
ENVELOPES

CLOCK A
OSCILLATOR 1
LP HP LP
OSCILLATOR 2
MODULATION
OSCILLATOR RING
MODULATOR
VCF 1 VCF 2
SEQUENCER

PITCH WHEEL
PROGRAMMER VOICE DRY/FX
CHORD LOW
/UI CARDS CUT SELECTOR

DIFFUSION
DELAY

OUTPUT
TIMBRE/
MOD WHEEL VOICE
ALLOCATOR
KEYBOARD DRY BUS

10 11
MUSE OVERVIEW (Cont.) PLAYING MUSE
Muse is an expressive instrument designed for players and sound explorers alike. Its front panel gives access
to all parameters of its powerful synthesis engine, while its 61-key keyboard with velocity and aftertouch,
MUSE VOICE ARCHITECTURE Left-Hand Controller with Pitch and Mod wheels, and programmable MACRO knob all provide for deep
and dynamic playability and control. Let’s explore how to play Muse, how to load sounds, and the basics
Each of Muse’s eight analog voices begins with two Voltage-Controlled Oscillators (OSCILLATOR 1 + 2)
of how to create and save sounds.
whose topology is derived from the Minimoog Voyager but which feature unique wave shaping and wave
mixing controls and deep programmable analog FM possibilities. A third Voltage-Controlled Oscillator
(MODULATION OSCILLATOR) can function at audio rate for extra thick sounds or at sub-audio rate for
polyphonic modulation via its pre-routed modulation depth panel controls. With a total of 24 analog 8-VOICE POLYPHONIC
ANALOG SYNTHESIZER

Voltage-Controlled Oscillators (VCOs), Muse quickly moves from heavy bass tones to delicate polyphonic
textures and everywhere in between.

All three analog VCOs are brought together alongside the RING MOD of OSC 1 + 2 (via a ring modulator
circuit derived from the Moogerfooger MF-102) and a NOISE source in a newly imagined asymmetric
clipping MIXER. The MIXER’s circuit is derived from the Moog CP3 module but allows for a clean mix of all
analog sources as well as overall saturation of the mix via the OVERLOAD control. That mix is then sent to
two Voltage-Controlled FILTERS (VCFs) – both are discrete transistor ladder filters based on the leg-
endary Moog 904a filter from the late 1960s. These filters can be routed in different configurations and
FILTER 1 is switchable between lowpass and highpass while FILTER 2 is a dedicated lowpass filter. Discrete
transistor Voltage-Controlled Amplifiers (VCAs) based on the Moog 902 module (now in stereo) can dis-
tribute each voice in the stereo space.
MOD

Each voice contains two variable-curve ADSR ENVELOPE generators (one routed to the FILTERS and
the other routed to the VCA) which can be assigned to modulate any parameter on Muse’s panel. Muse’s
three LFOs (LFO 1+2, PITCH LFO) can be configured to be either global or per-voice and assigned anywhere
for deep modulation capabilities. All eight voices are brought together in the DIFFUSION DELAY KEYBOARD AND LEFT-HAND CONTROLLER
– a mesmerizing vintage-voiced signal processor which can create filtered echoes, diffused tonal smears,
or which can be bypassed for a fully analog signal path. The main interface for Muse is its keyboard. Keyboard tracking, velocity, and aftertouch can be routed as
modulation sources via the ASSIGNABLE CONTROLLERS module. Located to the left of the Keyboard is
the Left-Hand Controller, providing further expressive and performance controls.
MUSE SOUNDS
GLIDE
Muse ships with a total of 224 bi-timbral patches – each a sound world in and of themselves with plenty
Increasing the GLIDE control will increase the amount of time it takes to move
to explore. The factory patch library is grouped thematically into 14 banks (banks 15 and 16 are left blank
from one note to the next, creating a portamento effect.
and ready to be filled with your own sounds).

TIP: GLIDE can be turned ON or OFF individually for OSCILLATOR 1, OSCILLATOR 2, and the
1 - MUSE 5 - KEYS 9 - LEAD 13 - CINEMATIC MODULATION OSCILLATOR via their respective MORE menus.

2 - CLASSIC 6 - PLUCK 10 - SPLITS (1) 14 - ODDITY GLIDE TIP: Deeper configuration options for GLIDE are available via the ASSIGNABLE CONTROLLERS MORE menu.

3 - FAST PAD 7 - METAL 11 - SPLITS (2) 15 - USER (1)

KB OCTAVE
4 - SLOW PAD 8 - BASS 12 - ARP 16 - USER (2) Shifts the octave of the keyboard down (< button illuminated) or up (> button
illuminated). In the default octave range neither button will be illuminated.

Register Muse online to gain access to additional patch libraries and refer to the FIRMWARE UPDATES AND
LIBRARY MANAGEMENT section of this manual for details on importing and exporting patches from Muse.

MUSE SOUND DESIGNERS:

Eric Frampton, Danny Wolfers, Drew Schlesinger, Jexus, Cloudface, Manny Fernandez, Lisa Bella Donna, Max Ravitz,
Erik Norlander, Steve Dunnington, Stephen Petoniak, Kevin Carballo, Chris Miller

12 13
PLAYING MUSE (Cont.) PLAYING MUSE (Cont.)

HOLD
The HOLD button behaves in much the same way as a sustain pedal, but with
LOADING AND EXPLORING SOUNDS
a few important differences. When the HOLD button is ON (illuminated) notes
The PROGRAMMER is the primary interface on Muse for loading patches, saving patches, and creating
being held when the button was pressed will continue to sound. If new notes are
sequences and modulation maps. The SELECT and VALUE encoders are used for scrolling through
added in a legato style – that is, they are played while other notes are still held –
parameters for editing (SELECT) and editing the currently highlighted parameter (VALUE) while the four
these new notes will be added to the current stack of held notes. If new notes are
SOFT BUTTONS found below the screen change their function based on the current screen view. A more
added in a non-legato fashion (where all of the notes have been released before
thorough guide of all PROGRAMMER features can be found later in this manual, but for now let’s just
the new notes are played) the previous notes will stop sounding and the new notes
focus on how to navigate through patches and load them.
will take their place. The HOLD button also acts as a latch for the Arpeggiator.

PITCH
The spring-loaded PITCH wheel is used to bend the pitch of OSCILLATORS 1 + 2
and the MODULATION OSCILLATOR (when KB TRACK is ON) up or down by a
PROGRAMMER
predetermined amount. The PITCH wheel additionally affects the keyboard modu-
lation source in the MOD MAP as well as filter KB tracking. Pitch bend defaults to
+/- 7 Semitones.

TIP: Pitch wheel range can be set via the MORE menu in the ASSIGNABLE CONTROLLERS module.

MOD
The MODulation wheel is a performance control that is typically used to control the
amount of modulation in a patch – scaling the modulation depth from a particular
source to a particular destination. The MOD wheel can be freely assigned as both
modulation source and modulation controller via the ASSIGNABLE CONTROLLERS
section and the MOD MAP.

MACRO
In the ASSIGNABLE CONTROLLERS section you will find the MACRO knob – a BANK PATCH MOD MAP ARP SEQ STEP
flexible knob with no function by default, but can be used just like the MOD WHEEL
as another point of modulation control. Experiment with the MACRO knob much
as you would the MOD WHEEL, using it as a further point for expression and to
introduce anything from subtle patch movement to radical patch morphing.

BANK/PATCH MOD MAP ARP SEQ/STEP

HEADPHONES
Below the Left-Hand Controller on the front of Muse is a 1/4” stereo headphones Patch storage Main interface ARPEGGIATOR SEQUENCER
output. The HEADPHONES knob in the OUTPUT module controls the volume of and management for modulation rhythm loading & saving,
the signal at this output. editing programming and advanced settings,
advanced settings and per-step
editing
HEADPHONES

14 15
PLAYING MUSE (Cont.) PLAYING MUSE (Cont.)

Finally, any patch location without a patch

SELECTING A PATCH already saved will be identified as INITIAL
PATCH. Loading it will load an initialized patch
Clicking the PATCH button in the PROGRAMMER
that can serve as a nice starting point for
will bring up the PATCH view, displaying the
creating a new sound. You can also load the
name of the currently selected patch. Buttons
initialized patch by pressing the INIT button
1 through 16 on the PROGRAMMER can be
in the PROGRAMMER and clicking either
used to select any of the 16 patches in the
the soft button PATCH to initialize the entire
current bank.
patch, or one of the soft buttons TIMBRE
A/B to initialize only one timbre. As the screen says, loading the initialized patch via the INIT button will
As you play any given patch, explore how patches respond to velocity and aftertouch as well as the MOD
not overwrite a saved patch. Any changes made after using INIT still need to be saved.
WHEEL and MACRO KNOB. Muse patches utilize some combination of these expressive controls, so a
patch may be much more than initially meets the eye. You can always look in the MOD MAP to explore
each of the modulation routings in the currently loaded patch (more about the MOD MAP can be found
later in this manual).
SAVING A PATCH

If you have a sound you would like to save as

SELECTING A BANK a patch, press the SAVE button (PATCH in
the PROGRAMMER must be selected). The
Pressing the BANK button in thePROGRAM- SAVE PATCH view will ask you where you
MER will bring up the BANK view, displaying would like to save the current patch – defaulting
the name and number of the current bank to the currently selected patch location (whose
as well as a list of the patches in that bank. corresponding PROGRAMMER button will be flashing). You can save to the current location if you want to
Use PROGRAMMER buttons 1 through 16 to overwrite the patch at that location or choose a new patch location with the PROGRAMMER buttons.
switch to any of the 16 available banks. You
can also scroll through the list of patches In the EDIT NAME view use the SELECT and
in a bank with the SELECT encoder and select VALUE encoders to enter a name for your
any patch by pressing down on the SELECT patch. Press the RANDOM soft button to
encoder. generate some random words for inspiration.
Once you have a patch name you are satisfied
with, press SAVE NAME to return to the
CREATING AND SAVING SOUNDS SAVE PATCH view and press CONFIRM to
save your patch to the currently selected
To create your own entirely new sounds, you can begin from one of three different starting points. Pressing (blinking) patch location.
the PANEL button in the PROGRAMMER will override any saved panel settings and revert them to those
currently expressed by the knobs, sliders, and switches on the front panel. This is a great starting point NOTE: You can use the INIT button to delete characters on the EDIT NAME page, and the combination of SHIFT + INIT can insert spaces.
for creating new sounds since all panel controls will represent their current setting. It’s important to save
before disengaging the PANEL button, as changes made while PANEL was engaged will not be retained
when reverting to the stored patch.

NOTE: PANEL will only revert to the panel settings for the currently active timbre – indicated by the TIMBRE A/B buttons in the VOICE
CONTROL module. TIMBRE functionality will be covered later in this manual. Additionally, pressing PANEL will not affect parameters
found in the MORE pages.

Alternatively, you can load any patch and

use it as a starting point. Synthesis settings
will be those saved in the patch and not
(necessarily) match the physical settings
of the front panel. Moving a panel control
(FILTER 2 CUTOFF knob, for example) will
immediately override the setting for that
parameter in the patch and remain overridden
by the panel control until the patch is reloaded. An asterisk will appear next to the patch name whenever a
control is changed from its preset value.

NOTE: You can use the COMPARE button to compare the saved version of the current PATCH with the edited version. Press COMPARE
(LED will light up) and the saved version will play, while with COMPARE unlit the currently edited version will play.

16 17
HOW TO SYNTHESIZE WITH THE MOOG MUSE HOW TO SYNTHESIZE WITH THE MOOG MUSE (Cont.)
In this section we will walk through the process of synthesizing a sound on the Moog Muse. We will visit all of
Muse’s eighteen different modules and explore the many ways they can each influence the creation of new
and distinctive sounds. If you are new to analog synthesizers, this section will help you better understand
ANALOG SIGNAL PATH
the basics of analog synthesis as well as Muse’s layout. But even if you already have a solid grasp of how
Let’s begin with the elements of the analog signal path – the OSCILLATORS and MODULATION OSCILLATOR,
analog synthesizers work, this section will help familiarize you with Muse’s workflow (and you may learn
MIXER, FILTER, and VCA.
something new in the process).

Press a key and you will hear OSC 1 sounding – a basic sawtooth wave. As you hold down a key, fade in OSC 2
on the MIXER to hear OSC 2, creating a much richer musical tone. Two oscillators offer more sound design
STARTING POINT options than one, so play with the FREQUENCY control of OSC 2 to adjust the amount of detuning between
the two oscillators.
When designing a new patch you can start
from an existing patch (by loading a PATCH),
TIP: Setting the FREQUENCY of OSC 2 just slightly above or below noon is a common way of turning the static sound of only one
an initialized patch (by either pressing INIT
oscillator into a much richer and textured tone. When OSC 2 is just slightly detuned from OSC 1 the two oscillators interact and interfere
or loading a blank PATCH), or with the current
with each other to give motion to the sound through phase cancellations – a sound reminiscent of a chorus effect. In fact, chorus was
panel settings (by pressing PANEL).
often used on many classic single oscillator poly synths to mimic the sound of detuned dual oscillators.

For this walkthrough we will start with the

Tune OSC 2 down an octave from OSC 1 by setting the OCTAVE of OSC 2 to 8’. Since OSC 1 is stored as a
initialized patch. Press BANK and select bank
Press BANK and select bank 15 to sawtooth wave in the initial patch, play with the WAVE MIX and PULSE WIDTH controls of OSC 2 to get a
15 to load the first of the two USER banks
1 load the first of the two USER nice square wave to complement OSC 1 – setting WAVE MIX fully to the right and ensuring PULSE WIDTH
included on Muse as factory default. Press banks included on Muse as
factory default. is at noon.
PATCH and select patch 1 to begin designing
a sound from scratch.
In the MIXER you can play with the relative levels of OSC 1 and OSC 2 as well as their RING MODulated
Press PATCH and select
output to add some extra metallic harmonic and inharmonic tones. Also present in the MIXER is a white
2 patch 1 to begin designing a
sound from scratch.
NOISE generator and the MOD OSC, which can function at low frequencies for modulation or as a third
audio-rate oscillator to add extra thickness to your tone. Each channel in the mixer is at a strong unity
gain level when the fader is at its maximum, and the OVERLOAD slider will overdrive the sum - adding
overtones in the way the Moog CP3 mixer did back in the 1960s.

8-VOICE POLYPHONIC
ANALOG SYNTHESIZER
The MIXER output is fed into the two FILTERs, which in this initial patch are set up in series with FILTER
1 as a highpass filter and FILTER 2 as a traditional Moog lowpass ladder filter. While the FILTERs can be
rerouted, linked, and configured for dramatic timbral movement, for this walkthrough let’s keep things
simple. Keep FILTER 1 completely open (which in the case of a HIGHPASS filter means the CUTOFF knob
is fully counterclockwise) and turn your attention to FILTER 2, turning the CUTOFF down to around 12
o’clock for a smoother, almost electric piano tone.

Let’s add a bit of movement with the FILTER ENVELOPE by turning the FILTER 2 ENVELOPE AMOUNT
control a bit clockwise from 12 o’clock, adjusting how much the envelope opens the filter. The FILTER
ENVELOPE sliders adjust the shape of the envelope contour in response to your playing. Take time to play
If you would like to match the panel controls to the settings of the initialized patch, you can refer to the
with how these controls interact before settling on a nice brassy tone with FILTER 2 ENVELOPE AMOUNT
figure above. It is not necessary to match your panel settings, as the initialized patch settings will already
set to around 2 o’clock (right around the + sign on the panel) and the ATTACK, DECAY, SUSTAIN, and
be loaded in memory and as you go through and change the panel controls each control will be overridden
RELEASE sliders of the FILTER ENVELOPE all set to around 25% (or the second line from the bottom).
by whatever panel changes you apply. However, it may be a good idea to take the time to match your
Muse’s panel to the above initialized patch so that you have a clearer visual idea of everything that is going
MOD

With the VCA ENVELOPE controls we can adjust the envelope contour used to control the volume of Muse.
on as we proceed.
Setting SUSTAIN to maximum will let our notes sustain at full volume for as long as we hold down the keys.
Set around 50%, the notes will sustain at half their volume while the dynamics of each note over time are
set by ATTACK, DECAY, and RELEASE. For this brassy sound we can keep the VCA ENVELOPE settings
at their initialized settings: ATTACK set to 0%, DECAY 25%, SUSTAIN 90%, and RELEASE set around 35%.

18 19
HOW TO SYNTHESIZE WITH THE MOOG MUSE (Cont.) HOW TO SYNTHESIZE WITH THE MOOG MUSE (Cont.)

Using the ASSIGNABLE CONTROLLERS

ADDING MODULATION module we can assign performance controls
throughout Muse. Press AT to bring up the
Muse is a modulation powerhouse and springs to life with its powerful and deep modulation capabilities.
quick assign view to assign keyboard after-
You can animate any sound by moving a knob with your hand, but when we speak of modulation we mean
touch. With the quick assign view open, move
programming some voltage source in Muse (an LFO, an envelope, or anything else) to move a knob for you.
FILTER 1 CUTOFF fully clockwise and press
In this section we will look at the many ways to add modulation to a patch.
ENTER to assign aftertouch to modulate the
highpass filter. Play a key and then depress
The first (and most basic) source of modulation
further to activate aftertouch, which will turn up the FILTER 1 CUTOFF. Turn the RESONANCE of FILTER 1
in Muse is one of its two general LFOs. Let’s
fully clockwise for a more dramatic effect.
use LFO 1 to modulate the FILTER 2 CUTOFF,
adding some nice low frequency movement
to the lowpass filter. Press the ASSIGN button
on LFO 1 to bring up the quick assign view.
USING THE MOD MAP
Moving a panel control will assign that knob
If you would like a more subtle range of
as the destination for LFO modulation as well
aftertouch movement you can edit your
as set the depth of modulation. Modulation routings can be set to a positive or negative value. This means
modulation in the MOD MAP. Click MOD MAP
that when using the quick assign view, a setting of noon on the destination knob will result in no modulation.
in the PROGRAMMER and (if you’ve been
Setting the destination knob above noon will result in a positive modulation depth and a setting below
following this walkthrough precisely) you will
noon will result in a negative modulation depth. Turn the FILTER 2 CUTOFF knob fully clockwise to set 100%
find the aftertouch modulation you just created
modulation from LFO 1 to the filter cutoff. Press ENTER on the PROGRAMMER to confirm.
by pressing button 2 in the PROGRAMMER’s
bank of 16 buttons – thereby accessing
TIP: Though the FILTER 2 CUTOFF knob is now at maximum, FILTER 2 CUTOFF is still set where we last left it around noon – the quick
the second modulation slot. You will see
assign process didn’t change that. You can move the FILTER 2 CUTOFF knob back to noon for visual coherence if you like.
AFTERTOUCH as the source, VCF1 CUTOFF
as the destination, and 100 as the modulation
Set the RATE of LFO 1 to around 11 o’clock, keep the WAVEFORM set to triangle, and try adjusting the
depth. Using the SELECT encoder, highlight
AMPLITUDE control of LFO 1 to see how it influences modulation depth. The AMPLITUDE knob is a handy
the modulation depth setting (found under
way to control lots of modulation at once, as it scales the strength of LFO 1 at the source and will apply to
the VCF1 CUTOFF destination) and use the VALUE encoder to scale it back to around 50 for more subtle
every destination LFO 1 is assigned to. In this case, AMPLITUDE set around 9 o’clock provides nice subtle
aftertouch movement.
filter vibrato.
Let’s create another modulation routing using the MOD MAP itself. Press button 3 to move to the third
LFO 2 is exactly the same as LFO 1, so instead let’s turn our attention to the PITCH LFO. Turn the AMPLITUDE
modulation slot (which should be empty if you’ve been following this walkthrough closely). Using the
of LFO 1 all the way down so we can focus more precisely on our pitch modulation. The PITCH LFO is a
SELECT encoder, highlight the modulation SOURCE and turn the VALUE encoder to scroll through the
dedicated LFO for modulation of the three audio OSCILLATORS (OSC 1, OSC 2, the MOD OSC, and global
modulation sources until you see RAND TRIG (UNI) to choose a unipolar instance of Muse’s sixteen per-voice
DETUNE) and is optimized for vibrato duties. Click OSC 1 and OSC 2 to turn on modulation routing to the
random voltage generators. RAND TRIG generates a distinct random value for each voice with every key
two primary OSCILLATORS and you will hear a nice subtle vibrato applied to the oscillators. AMOUNT is
press. Further, because there are technically 16 independent random voltage generators in the MOD MAP,
scaled to around two semitones at full strength to allow for precise vibrato effects. The initialized settings
every slot in the MOD MAP where RAND TRIG is used will generate a separate set of per-voice random
of the PITCH LFO give us a nice vibrato sound right out of the gate, so let’s keep RATE set to around 9:30,
values! Set the modulation destination as VCF2 RES by highlighting the DEST box with the SELECT encoder
SHAPE set to noon (for a triangle wave) and AMOUNT set to around 3 o’clock.
and scrolling with the VALUE encoder until you’ve hit VCF2 RES.

TIP: Like the two LFOs, the PITCH LFO can be assigned anywhere via the ASSIGN button.
TIP: You can also click down the SELECT encoder on the DEST box setting it blinking. Now when you move a control – in this case the
RESONANCE knob on FILTER 2 – you will select that destination. Click SELECT again or simply scroll away from highlighted box using
An extremely powerful source of modulation in Muse is the MODULATION OSCILLATOR – an analog os-
the SELECT encoder to confirm.
cillator that can function as a third audio oscillator alongside the two OSCILLATORS but which can also
be slowed to LFO rate and has many pre-configured modulation routings on the panel. Raise the FILTER
AMOUNT to noon and then press FILTER 2 to turn on modulation routing to the FILTER 2 CUTOFF – you
will suddenly hear a lot of filter movement! Since the MODULATION OSCILLATOR is a per-voice analog
oscillator, each voice has its own analog MODULATION OSCILLATOR modulating its filter, creating subtly
phased modulation between voices. Press the FILTER 2 button again to disable the modulation as we
move forward.

20 21
HOW TO SYNTHESIZE WITH THE MOOG MUSE (Cont.) HOW TO SYNTHESIZE WITH THE MOOG MUSE (Cont.)

Modulation controllers let you use a secondary control to scale the modulation depth for expressive ARPEGGIOS AND CHORDS
movement. This allows you to effectively add an extra Voltage-Controlled Amplifier (VCA) on the output
of the modulation source which will be controlled by the modulation slot’s selected controller. Let’s add the Muse contains two powerful modules for programming patterns – the ARPEGGIATOR and the SEQUENCER.
modulation wheel next to the keyboard as a controller by clicking the SELECT encoder while the CNTRL box Hold down a chord and press ON in the ARPEGGIATOR to immediately begin arpeggiating the held
is highlighted and then pressing the MOD WHL button in ASSIGNABLE CONTROLLERS. Set the modulation chord. Press HOLD in the Left-Hand Controller to hold the chord for you, continuing the arpeggiator
depth under DEST to 0 and then set the modulation depth under CNTRL to 100. Move the modulation wheel and freeing your hands. Both the ARPEGGIATOR and SEQUENCER are driven by the TEMPO set in the
up to fade in the resonance modulation – you will hear the resonance change every time you press a new key. CLOCK module, but each can be set to a rhythmically related tempo by their respective CLOCK DIV knobs.
You can use the MOD WHEEL to scale the amount of this modulation, with more pronounced random
resonance modulation with the MOD WHEEL set near its maximum and more subtle modulation with the TIP: With DIRECTION set to PTN, numerous advanced pattern configurations are available in the MORE menu, including up/down
MOD WHEEL set lower. You can use the same controller to control multiple modulation routings in the MOD movement, leapfrog motions, and inner/outer alternating behavior.
MAP to turn one sound into a completely new one by moving a single control.
NOTE: TEMPO settings are stored with a sequence - not with a patch.
NOTE: It’s important to note that the summed value
between the DEST and CNTRL modulation boxes cannot Use the DIRECTION switch to toggle the
exceed a positive depth of 100 or go below a negative direction between the order the notes were
depth of –100. For example, if the DEST box is set to played (ORD), a configurable pattern (PTN),
50, the CNTRL box will max out at 50, and the same will or random (RND) and adjust the range with
happen with negative depths. the OCTAVE RANGE switch. The FW/BK
button will turn on pendulum back and forth
behavior. Press ARP in the PROGRAMMER to
bring up the ARP view, where you can use the
step buttons (1-16) to program a rhythm or further configure your arpeggio (see the ARPEGGIATOR
SAVING PATCHES section below).

It’s a good idea to get into the habit of saving

You can also use the CHORD module to play
sounds as you work on them. With the PATCH
back chord sequences with the ARPEGGIATOR.
button selected in the PROGRAMMER, press
First turn the ARPEGGIATOR off (via the ON
the SAVE button. You will be prompted to
button) and make sure HOLD in the Left-Hand
select a patch location in the current BANK
Controller is off. Press LEARN in the CHORD
with the 1-16 buttons. Confirm your location,
module and play any chord (say a C minor
edit the name to something you think fits with your sound (or press RANDOM for some inspiration), and click
chord – C, D#, G). Press the CONFIRM soft
SAVE PATCH to save your patch into memory.
button in the PROGRAMMER to store the
chord, press ON in the CHORD module, and then pressing a single key will play back a minor triad with
the pressed key as the root. Take it one step further by turning ON the ARPEGGIATOR and playing a
BI-TIMBRALITY AND VOICE CONTROL chord – which will now play a sequence of minor triads with each key pressed as their root!

Muse is a bi-timbral synthesizer, meaning that at any time it can play two completely different sounds, both TIP: Combined with the KEY functionality in the CHORD module (see the CHORD section below), the ARPEGGIATOR is capable of
of which can be stored in a single patch. The VOICE CONTROL module will show you which timbre you entire compositions itself.
are currently editing via the lit A or B button - so far we’ve been editing timbre A in this walkthrough.
Press B and you will immediately be presented with the initialized patch again, which you can edit just as Turn the ARPEGGIATOR off, turn CHORD mode off, and turn HOLD off as we turn our attention to the
we have done up to this point with timbre A to create a completely separate sound. You can toggle back SEQUENCER.
and forth between timbres with the A and B buttons, edit the relative volumes of each timbre with the
VCA LEVEL knob in the VCA section, and further edit how the two timbres interact with each other in
the VOICE CONTROL MORE menu.

The VOICE CONTROL module is a powerful control hub – you can press SPLIT to split the keyboard (with
TIMBRE A playing below middle C and TIMBRE B above it) or you can press STACK to have every key
play back both TIMBRES simultaneously. For now, though, let’s just continue with the sound we’ve been
programming for TIMBRE A by disabling any STACK or SPLIT functionality and pressing A to focus on TIMBRE A.

NOTE: The key on the keyboard for timbre SPLIT can be found in the VOICE CONTROL MORE menu. If you want to switch which timbre
is assigned to either side of the split, this can be done via the SWAP TIMBRE SETTINGS option in the VOICE CONTROL MORE menu.

22 23
HOW TO SYNTHESIZE WITH THE MOOG MUSE (Cont.) HOW TO SYNTHESIZE WITH THE MOOG MUSE (Cont.)

CREATING A SEQUENCE For advanced sequencer functionality, you can press STEP in the PROGRAMMER to edit each individual
step in the currently active sequence. Choose a step with the step buttons (1-16) and use the PROGRAMMER
While all ARPEGGIATOR settings are saved per patch, the SEQUENCER allows you to create global
to edit the notes in that step, alter gate lengths and velocities, access probability settings, and access
sequences that can be used with any patch in Muse. With up to 256 saved sequences, your musical ideas
parameter recording to allow the sequencer to modulate most panel controls on Muse. The sequence
and compositions can live independently of patches and you can audition patches on the fly to find
length (among other settings) can be configured in the SETTINGS page in SEQ or STEP view and steps
the best sound for any sequence you’re working on.
17 through 64 can be accessed for STEP editing with the PAGE button. Refer to the SEQUENCER section
later in this manual for a thorough dive into everything Muse’s SEQUENCER is capable of.
Press the SEQ button in the
PROGRAMMER to bring up
1 the sequencer view. Muse
comes with 14 banks of 16
sequences – one for each STEREO ANIMATION
factory PATCH.
Finally, let’s turn back to the audio signal path and explore the stereo capabilities of Muse. Run an arpeggio
Let’s load up a new sequence
by first pressing the SEQ or sequence to have some sounds playing and adjust PAN in the VCA section to pan Muse from left to
BANK soft button to enter
2 sequence bank selection mode right. Leave PAN centered and increase PAN SPREAD – you will notice that as you turn up the knob you
and then pressing location 15 will increasingly pan Muse’s eight voices across the stereo field. PAN SPREAD is a powerful stereo control
to switch to sequence bank 15,
which is full of initialized new that can immediately create a wide stereo image from your patches.
sequences.

Press SEQ BANK again to TIP: In the VCA MORE menu you will find numerous settings to govern PAN SPREAD behavior, including the ability to control per-voice
switch out of sequence bank LFO phase based on a voice’s pan position.
3 selection and press location
1 to load sequence 1 in
sequence bank 15. Muse features an extremely powerful DIFFUSION DELAY – a digital delay that adds motion and multi-
dimensionality to your sound and which can be fully bypassed per timbre. Click the TIMBRE A button
Press REC in the to route TIMBRE A to the DIFFUSION DELAY and you will begin to hear the echoes produced by the
SEQUENCER to begin
recording a sequence. With DIFFUSION DELAY. You can play with the left and right TIME controls as well as FEEDBACK to change
each note or chord played
4 the sequencer will advance the delay times and density of echoes respectively, while the CHARACTER knob will filter the feedback
one step - use the ADV
button to skip to the next – operating as a lowpass filter to the left of noon and a highpass filter to the right. With a rhythmic pattern
step (thereby entering a rest). playing from either the ARPEGGIATOR or SEQUENCER, press the LINK DELAYS button as well as CLOCK
SYNC to sync the DIFFUSION DELAY to multiples or divisions of the master clock. With the delays linked,
You will see the PROGRAMMER switch to the STEP view and move through the steps of the sequence
the TIME-R knob will set the delay time for both delays, while TIME-L will create a timing offset between
as it advances. Press REC to exit step recording mode and press PLAY to play back your sequence (press
channels for even bigger stereo sounds.
PLAY again to stop playback.). Pressing SHIFT+REC (REC will blink) will turn REC to overdub mode,
allowing you to add additional layers to your sequence using the same entry method described above
A wealth of configurable options can be
without replacing notes.
found in the DIFFUSION DELAY MORE
TIP: Press INIT+REC to undo any notes added since the last time REC was turned on. menu, accessed with the triangular MORE
button found at the top of the module. The
You may also turn on REC while the sequencer is playing to enter LIVE RECORD mode, replacing notes
CHARACTER knob is a programmable knob
in your sequence live as you play. Pressing SHIFT+REC (REC will blink) while the sequencer is playing will
capable of many functions. By default it
switch to overdub mode, allowing you to add live overdubs on top of the current sequence.
functions as a DJ-style lowpass/highpass
Press SEQ in the PROGRAMMER to name filter (lowpass below noon, highpass above)
your sequence, change the sequence length, but is also capable of adding diffusion to the delay signal. Scroll down to CHRCTR DIFFUSE, turn it ON,
quantize the timing of a sequence, and more adjust the CHARACTER knob to around 1 o’clock, and play with the MORE menu’s CHRCTR DIFFUSE TIME
(see SEQUENCE SETTINGS in the SEQUENCER setting to hear the DIFFUSION DELAY as it smears the delay through a series of all-pass filters – imitating
section below). Each step button (1-16) will the effect of the delayed sound bouncing off the walls in a larger and larger room.
correspond to a different saved sequence
location in the current bank. Once you have
a sequence you like you can press SAVE in
the PROGRAMMER - you will be prompted to select a sequence location with the 1-16 buttons, confirm
a sequence name, and finally save the sequence into memory.

TIP: Hold SHIFT and press the LOCK PATCH soft button to lock the current patch to the sequence, which will load the locked patch every
time you load the sequence.

24 25
MUSE MODULES MUSE MODULES (Cont.)

REAR PANEL AND CONNECTORS OSCILLATORS

Each of Muse’s eight voices contains three Voltage-Controlled Oscillators: OSCILLATOR 1, OSCILLATOR 2,
and a MODULATION OSCILLATOR for a total of 24 analog oscillators within Muse. OSCILLATORS 1
and 2 are at audio rate and are designed for a wide range of sonic possibilities, while the MODULATION
OSCILLATOR is an extremely versatile design capable of low frequency modulation and can also act as
a third audio rate oscillator (for more information see the MODULATION OSCILLATOR section below).
MAIN OUT LEFT (MONO)
1/4” TRS output containing the left channel of Muse’s main output, with its volume set by the MAIN VOLUME
OSCILLATORS 1 and 2 are the main tonal sound sources on Muse. Each OSCILLATOR provides individual
control in the OUTPUT section. Will contain a mono sum of Muse’s stereo output if no connection is present
control of octave, waveform, and frequency settings. The pair of OSCILLATORS also feature bi-directional
in the MAIN OUT RIGHT output.
Frequency Modulation (FM) routings, enabling complex, harmonically-rich timbres. The controls for each
MAIN OUT RIGHT OSCILLATOR will be described once, but the functionality applies to both OSCILLATORS.
1/4” TRS output containing the right channel of Muse’s main output, with its volume set by the MAIN VOLUME
control in the OUTPUT section.

8-VOI
SUSTAIN ANAL
1/4” TS Sustain pedal input, which will sustain and hold any keys when pedal is pressed. Envelopes will hold
at their sustain stage and begin their release stage when pedal is depressed. Configurable in the CV menu.

EXPRESSION
1/4” TRS Expression pedal input providing +5 volts on the ring connector. A compatible expression pedal
(such as the Moog EP-3) will attenuate this voltage and is routable anywhere in Muse via the ASSIGNABLE
CONTROLLERS section.

CLOCK IN
3.5mm analog clock input, allowing Muse to be synced to any external clock source. Clock sync options
are available in the CLOCK section of Muse. Expects analog clock of 4 pulses per quarter note (PPQN).

CLOCK OUT
3.5mm analog clock output - configurable via the CLOCK MORE menu.

CV IN 1, 2
Two 3.5mm control voltage inputs, selectable as modulation sources or controllers via the MOD MAP.

CV OUT 1, 2
Two 3.5mm control voltage outputs, selectable as modulation destinations via the MOD MAP.

MIDI IN
5 pin DIN connector for receiving MIDI messages from external source.
FREQUENCY
MIDI THRU Detunes each oscillator from the pitch associated with a keyboard note. The
5 pin DIN connector - MIDI signal present at MIDI IN input is passed to MIDI THRU unchanged for daisy FREQUENCY knob is a bipolar control, and when set to noon will be in tune with
chaining MIDI devices together. the keyboard note (if a C is pressed, a C will sound based on the OCTAVE setting).
Turning the knob clockwise will increase the pitch of the oscillator up to a perfect
MIDI OUT fifth (+7 semitones) and turning the knob counter-clockwise will decrease the
5 pin DIN connector which will output configurable messages from MUSE (see MIDI Settings). pitch of the oscillator down to a perfect fifth below the note (-7 semitones).
FREQUENCY
USB B
TIP: Detuning the OSCILLATORS by setting FREQUENCY at noon for OSCILLATOR 1 and setting
USB-B connector for interfacing with a computer or other host MIDI device.
FREQUENCY a little bit off from noon for OSCILLATOR 2 is a classic method of adding thickness and
USB A (HOST) body to your sound. By holding down SHIFT while you adjust FREQUENCY you can fine-tune the
USB-A connector for connecting to other instruments with Muse as the MIDI host. FREQUENCY setting.

POWER
Power is supplied to Muse via an IEC connector.

26 27
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

OCTAVE 1 2
Selects the octave for each oscillator. The OCTAVE options Engages audio-rate frequency modulation routing where OSCILLATOR 1 modulates
are 16’, 8’, 4’ and 2’ - a standard based around classic pipe the frequency of OSCILLATOR 2 based on the FM AMOUNT knob setting.
organ stop footage settings.
TIP: With 1<2 engaged simultaneously with the 1>2 button, cross modulation can be achieved between
OSCILLATORS 1 and 2 based on the FM AMOUNT knob settings. Utilizing the FM MIN/MAX amount
options in the MORE menu allows you to program asymmetrical frequency modulation!
WAVE MIX
The WAVE MIX section is comprised of 2 knobs and a
slider. This combination of controls allows for pure
TRIANGLE, SAWTOOTH, SQUARE, and PULSE waveforms
as well as unique shapes achieved through creative
OSCILLATOR MORE MENU
mixing of the available waveforms.
Press the triangular MORE button at the
top-right corner of either OSCILLATOR to
The left knob is a crossfading control that allows users to
access more parameters available for
mix between a TRIANGLE waveform at the fully counter-
adjustment. These parameters will appear
clockwise position and a SAWTOOTH waveform at the
on the PROGRAMMER screen and can be
fully clockwise position.
adjusted using the SELECT encoder, VALUE
encoder, and SOFT BUTTONS in the
The right knob is a PULSE WIDTH control that allows users
PROGRAMMER. Press the BACK button
to set width of the PULSE waveform, with a SQUARE
in the PROGRAMMER to exit and return
waveform available at the noon position.
to the HOME view.
The slider is an additional crossfading control that allows
GLIDE (ON, OFF. DEFAULT: ON)
users to mix between the TRIANGLE/SAWTOOTH mixture
Selects whether the currently selected
on the left side of the slider and the PULSE waveform on
OSCILLATOR has glide applied to its
the right side of the slider.
keyboard tracking.
SYNC 2 1
Engages oscillator sync of OSCILLATOR 2 to the phase of OSCILLATOR 1. This 2>1 FM MIN AMT (0-100. DEFAULT:0)
means that OSCILLATOR 2’s waveform will be forced to reset based on the phase
of OSCILLATOR 1. The effect of OSCILLATOR SYNC becomes more and more 2>1 FM MAX AMT (0-100. DEFAULT:100)
pronounced as OSCILLATOR 2’s pitch is increased above OSCILLATOR 1, yielding
increasingly harmonically rich timbres as OSCILLATOR 2 is forced to align itself 1>2 FM MIN AMT (0-100. DEFAULT:0)
with OSCILLATOR 1’s phase.
1>2 FM MAX AMT (0-100. DEFAULT:100)

FM AMOUNT With the above FM MIN/MAX AMT settings you can dial in the range of Frequency Modulation via the
Controls the depth of audio-rate frequency modulation (or cross FM AMOUNT knob. You can even set independent FM ranges for 2>1 and 1>2 to create crossfading
modulation) between the two OSCILLATORS. cross-modulation and asymmetrical FM tones with a single knob! Modulation of the FM AMOUNT
knob via the MOD MAP allows you to create dynamic FM motion.
TIP: The range of this control can be configured in the MORE menu allowing you to dial
in precise FM depths for performance and per-oscillator minimum and maximum FM
depth limits - even allowing for inverted FM relationships on either side of the knob.

1 2
Engages audio-rate frequency modulation routing where OSCILLATOR 2 modulates
the frequency of OSCILLATOR 1 based on the FM AMOUNT knob setting.

28 29
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

KB TRACK
MODULATION OSCILLATOR Enables keyboard control of the frequency of the MODULATION OSCILLATOR.
This is especially useful when using the MODULATION OSCILLATOR as a third
The MODULATION OSCILLATOR is a versatile utility oscillator that can be used either as a third
OSCILLATOR in a patch but can be equally interesting when using the
audio-rate oscillator, or an LFO with unique per-voice functionality. When used as an audio-rate
MODULATION OSCILLATOR as a per-voice LFO.
oscillator you have access to waveforms unique from OSCILLATORS 1 and 2 - SINE, RAMP, and NOISE.
When used at low frequencies the MODULATION OSCILLATOR behavior is unique in that it is
always per-voice, providing 8 individual LFOs which allow for unique out-of-phase cyclic modulations.

WAVEFORM
Selects
8 the waveform of the MODULATION OSCILLATOR. The available shapes
-VOICE POLYPHONIC
ANALOG
are SINE,SYNTHESIZER
SAWTOOTH, RAMP, SQUARE, and NOISE.

KB RESET
Resets the MODULATION OSCILLATOR’s wave cycle to its starting point every time
a key is pressed. This can allow for more predictable and repeatable modulation
behavior when using the MODULATION OSCILLATOR as a modulation source.

UNIPOLAR
Enables unipolar mode for the MODULATION OSCILLATOR (when engaged),
shifting the oscillator to operate between 0V and +5V. Otherwise, the MODULATION
OSCILLATOR is bipolar, operating from –2.5V to +2.5V (just like the two main
OSCILLATORS).

FREQUENCY
Controls the frequency of the MODULATION OSCILLATOR. The range of this knob
will differ based on the associated AUDIO button setting. When the AUDIO button PITCH AMOUNT
is off, the range will operate from sub-audio frequencies to around 1kHz when Determines the depth at which frequency modulation of the OSCILLATOR section
fully clockwise. When the AUDIO button is on, the range will operate from around occurs based on the OSC 1 and OSC 2 routing buttons.
20Hz when fully counterclockwise to around 3 kHz when fully clockwise.
• OSC 1
Enables frequency modulation of OSC 1 via the MODULATION OSCILLATOR.
TIP: Holding the SHIFT button in the PROGRAMMER while adjusting the FREQUENCY knob will allow
for fine tune control. • OSC 2
Enables frequency modulation of OSC 2 via the MODULATION OSCILLATOR.
AUDIO
Sets the MODULATION OSCILLATOR to operate at audio-rate frequencies. This
FILTER AMOUNT
way you can use the MODULATION OSCILLATOR as a third OSCILLATOR in a
Determines the depth at which cutoff frequency modulation of the FILTER section
patch or for audio-rate modulation duties.
occurs based on the FILTER 1 and FILTER 2 routing buttons.

• FILTER 1
Enables cutoff frequency modulation of FILTER 1 via the MODULATION
OSCILLATOR.

• FILTER 2
Enables cutoff frequency modulation of FILTER 2 via the MODULATION
OSCILLATOR.

MOD 30 31
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

PWM AMOUNT
Determines the depth at which pulse width modulation of the OSCILLATOR section
MIXER
occurs based on the OSC 1 and OSC 2 routing buttons.
The MIXER allows the user to mix the different sound sources of Muse before being routed into the
• OSC 1 FILTER section. While historically Moog synths feature mixers that will soft clip and saturate signals
Enables modulation of the duty cycle of the OSC 1 pulse/square at full strength, this isn’t necessarily ideal for polyphonic sound. To allow for broader flexibility, Muse
waveshape via the MODULATION OSCILLATOR. defaults to mixing signals precisely and cleanly, however the classic Moog mixer behavior can still be
achieved by using the OVERLOAD slider to add soft clipping and saturation.
• OSC 2
Enables modulation of the duty cycle of the OSC 2 pulse/square
waveshape via the MODULATION OSCILLATOR.
8-VOICE POLYPHONIC
VCA AMOUNT ANALOG SYNTHESIZER
Determines the depth at which the MODULATION OSCILLATOR will modulate the
amplitude of the Voltage-Controlled Amplifier (VCA), providing a tremolo effect.

PAN
Enables pan-position modulation of a voice in the stereo field by inverting the
phase of the MODULATION OSCILLATOR sent to the right VCA.

MODULATION OSCILLATOR MORE MENU

GLIDE (ON, OFF. DEFAULT: ON)
Selects whether the MODULATION
OSC 1
OSCILLATOR has glide applied to its
Controls the volume of OSCILLATOR 1 in the MIXER.
keyboard tracking.

RING MOD
Controls the volume of the RING MODULATOR in the MIXER. The RING
MODULATOR is a four-quadrant multiplier outputting the sum and difference tones
resulting from all frequencies present in OSCILLATOR 1 and OSCILLATOR 2. The
RING MODULATOR creates a signal that is rich with harmonic and inharmonic tones.

32 MOD 33
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

OSC 2
Controls the volume of OSCILLATOR 2 in the MIXER.
FILTERS
FILTERS 1 and 2 are the main source of timbral shaping on Muse, allowing you to remove selected harmonics
from the signal before reaching the VCA. Both filters are discrete Moog transistor ladder filters with FILTER
1 able to operate as either a lowpass or highpass filter while FILTER 2 is a dedicated lowpass filter. Each
FILTER features independent control of cutoff frequency, resonance, envelope amount, and keyboard
tracking. The mirrored controls for each FILTER will be described once, but the functionality applies to
both FILTERS.

MOD OSC
Controls the volume of the MODULATION OSCILLATOR in the MIXER – allowing
you to create patches with 3 analog audio oscillators when using the MODULATION
OSCILLATOR at audio rate. At low frequencies the MODULATION OSCILLATOR
modulates the DC offset of the audio going into the MIXER, which can lead to
8-VOICE POLYPHONIC
interesting effects when the signals in the MIXER clip. ANALOG SYNTHESIZER

NOISE
Controls the volume of the white NOISE generator in the MIXER.

OVERLOAD
Global control that applies to the other 5 levels set by the faders in the MIXER
section. It overdrives the mix, adding warm asymmetric saturation like the classic
Moog CP-3 mixer from the 1960’s and emphasizing even harmonics. The LED
next to OVERLOAD will show the amount of clipping output from the MIXER.
With OVERLOAD set to full strength, signals can still be mixed cleanly by setting
channel faders to around halfway up their travel.
CUTOFF
Sets the cutoff frequency of the FILTER, determining which harmonics are removed
from the signal path. A lowpass filter will remove all frequencies above the CUTOFF
while a highpass filter will remove all frequencies below the CUTOFF.
MIXER MORE MENU
As of right now this module does not have any more menu settings, but we included a more menu in case
that changes in the future. Please register your instrument at moogmusic.com to be notified of future CUTOFF
firmware updates.
HIGH PASS
Sets FILTER 1 to be a highpass filter, filtering out all frequencies below the
CUTOFF setting.

34 35
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

RESONANCE
Emphasizes the CUTOFF frequency of the FILTER by feeding the output of the
FILTER MORE MENU
FILTER back to its input - creating a resonant peak at the CUTOFF frequency.
As of right now this module does not have any more menu settings, but we included a more menu in case
When turned fully clockwise the RESONANCE will reach a point of self-oscillation
that changes in the future. Please register your instrument at moogmusic.com to be notified of future
and generate a sine wave.
firmware updates.

TIP: When combined with keyboard tracking, setting RESONANCE fully clockwise allows you to use either
filter as a sine wave oscillator.

LINK FILTERS
Enables control of the CUTOFF frequency of both FILTERS from FILTER 2’s CUTOFF
knob. When LINK FILTERS is engaged, adjusting the CUTOFF knob of FILTER 1 will
create an offset spacing between FILTER 1 and FILTER 2 while adjusting FILTER 2’s
CUTOFF knob will move both FILTERS simultaneously. To set both FILTERS to
the same setting while linked, set the CUTOFF knob of FILTER 1 to noon.

NOTE: Depending on filter modes and ORDER, this enables you to use one CUTOFF knob to control a
stereo lowpass filter, a bandpass filter, or a notch filter.

KB TRACK
Enables keyboard control of the CUTOFF frequency, allowing notes played higher
on the keyboard to have a brighter sound. 1:2 provides half the amount of keyboard
tracking while 1:1 provides full keyboard tracking, allowing you to “play the filter” with
the keyboard.

TIP: KB tracking amounts other than 1:2 and 1:1 can be programmed via the MOD MAP.

ENVELOPE AMOUNT
Routes the FILTER ENVELOPE to modulate the CUTOFF frequency of the FILTER.
ENVELOPE AMOUNT is a bipolar control allowing for positive or negative modulation
of the FILTER CUTOFF.

ENVELOPE AMOUNT

ORDER
Configures how the audio signal from the MIXER is routed through the two FILTERS.

• SERIAL
Signal is routed through FILTER 1 first and FILTER 2 afterwards.

• STEREO
Signal is routed to both FILTER 1 and FILTER 2 simultaneously and each
FILTER is hard panned to either side of the stereo field (FILTER 1 on the left
side and FILTER 2 on the right side).

• PARALLEL
Signal is routed to both FILTER 1 and FILTER 2 simultaneously,
and then the signal from both FILTERS is mixed together (in mono) before
reaching the VCA.

TIP: With ORDER set to SERIAL and FILTER 1 set to HIGH PASS, a bandpass filter will result.
With ORDER set to STEREO and both filters as LOW PASS, a stereo lowpass filter will result.
With ORDER set to PARALLEL and FILTER 1 set to HIGH PASS, a notch filter will result.

36 37
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

ATTACK
ENVELOPES Sets the length of time it takes for the ENVELOPE to rise from its current value
(zero if at rest) to its maximum value.
An ENVELOPE is a versatile modulation source that gives structure to a sound over time. Muse features
two ENVELOPE generators per voice: the FILTER ENVELOPE which is normalized to control the FILTER
CUTOFF and the VCA ENVELOPE which is normalized to control the Voltage-Controlled Amplifier (VCA)
level. Both ENVELOPES are classic Attack, Decay, Sustain, Release (ADSR) envelopes whose shape over
time are controlled by each parameters’ respective faders and respond to gate information coming from
the keyboard. Muse’s ENVELOPES are especially flexible in that users can individually adjust the curve
of the ATTACK, DECAY, and RELEASE timing stages from fully exponential, to linear, to fully logarithmic,
DECAY
allowing for deep customization of envelope shape to cater to any sound design need.
Sets the length of time it takes for the ENVELOPE to fall from its maximum value
to the level set by the SUSTAIN slider while a key is held.
Both the FILTER ENVELOPE and VCA ENVELOPE are identical, so the following controls apply to both.

SUSTAIN
Sets the level the ENVELOPE settles to after the DECAY stage and the level the
envelope sustains at while a key is held down.

RELEASE
Sets the length of time it takes for the ENVELOPE to fall from its current value to
zero after a key is released.

LOOP
Engages a cyclical behavior that allows the ENVELOPE to function similarly to an
LFO. With the LOOP button ON, the ENVELOPE will move through its stages and
at the end of RELEASE stage the ATTACK stage will re-trigger automatically.
AMPLITUDE

VELOCITY
Engages dynamic amplitude control of the ENVELOPE via the VELOCITY of a key
press – resulting in envelopes with larger amplitude when a key is pressed harder
and lower amplitudes when a key is pressed softly.

ATTACK DECAY SUSTAIN RELEASE

TIME
38 39
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

ASSIGN MULTITRIG (OFF, ON. DEFAULT: OFF)

Allows you to assign the ENVELOPE to modulate a panel control - opening the Enables MULTITRIG functionality for the envelope generator when operating Muse in either UNISON or
quick assign page and creating a slot in the MOD MAP. Press ASSIGN and turn MONO mode. With MULTITRIG ON, the envelope generator will retrigger each time a new key is played.
the knob associated with the desired modulation destination - the knob being With MULTITRIG OFF, a new key press will only trigger the envelope if no other keys are held. Legato
turned will then set the depth of modulation applied to that destination. Press playing will not retrigger the envelope. This is the standard behavior of classic monosynths like the Mini-
ENTER to confirm the routing. moog Model D.

NOTE: Any modulation routing can be further edited in the MOD MAP menu – see the MOD MAP section.

ENVELOPES MORE MENU

VELO AMT
Scales the effect VELOCITY has on the
envelope amplitude when enabled while
determining the minimum amplitude you
can hit with velocity. Set to 100%, VELOCITY
has a profound effect and allows you to hit
very quiet notes. As VELO AMT is lowered
the minimum amplitude increases and the
velocity curve is rescaled, making the overall
velocity effect less pronounced.

VELO RESPONSE (SOFT/MEDIUM/HARD.

DEFAULT: MEDIUM)
Selects the velocity curve used in response to
your playing. SOFT is a compressed velocity
curve for those with a softer playing style,
while HARD is more exaggerated so that it
is easier to achieve softer velocities with a
harder playing style. MEDIUM is somewhere
in between.

ATTACK CURVE
Selects a curve for the ENVELOPE ATTACK stage - ranging from 100% logarithmic, through linear,
to 100% exponential.

DECAY CURVE
Selects a curve for the ENVELOPE DECAY stage - ranging from 100% logarithmic, through linear,
to 100% exponential.

RELEASE CURVE
Selects a curve for the ENVELOPE RELEASE stage - ranging from 100% logarithmic, through linear,
to 100% exponential.

NOTE: The default Attack/Decay/Release curves are modeled to fit the curves of the analog envelope generators used in the Moog 911
modules and in Grandmother/Matriarch.

VOICE STEAL MODE (RESET, FROM RELEASE. DEFAULT: FROM RELEASE)

Selects how the envelope reacts when the voice count forces a voice steal. RESET allows the envelope’s
attack stage to start from zero when stealing a voice. FROM RELEASE allows the envelope’s attack stage
to start from the stolen voice’s current release level.

40 41
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

PAN SPREAD
VCA Spreads allocated voices apart giving a wider feel to the stereo image. Muse
features 2 distinctive styles of PAN SPREAD configurable in the MORE menu: L/R
The Voltage-Controlled Amplifier (VCA) section allows for amplitude articulation on Muse and is controlled
and EVEN. With PAN SPREAD set fully counterclockwise, all voices will always
by default by the VCA ENVELOPE.
play in the same position in the stereo field based on the PAN knob setting. When
turned clockwise one of two things will happen:

• L/R Mode
Each new allocated voice will be hard-panned left and right in an alternating
fashion with the distance of panning away from center set
by PAN SPREAD.

• EVEN Mode
All 8 voices will be spread evenly from left to right across the stereo field with
the width of stereo voice spread from left to right set by PAN SPREAD.

TIP: PAN SPREAD can allow for some particularly interesting binaural modulation behaviors when used
with the LFO PHASE SPREAD option in the VCA MORE MENU. The VCA’s MORE menu additionally
contains further options for governing PAN SPREAD distribution in the stereo field.

VCA MORE MENU

ENV AMT
Determines the depth of VCA modulation from
the VCA ENVELOPE. The default is 100%, but
this setting allows you to reduce (or fully defeat)
modulation from the VCA ENVELOPE.

VCA LEVEL OFFSET

Volume control for the currently active timbre (A/B) before it reaches the voice Adds an offset to the VCA (from 0% to 100%
summing busses (and therefore before the DIFFUSION DELAY). such that the VCA is open by some amount even when no notes are being played, causing all voices to
drone. Adding an OFFSET will simultaneously reduce the ENV AMOUNT (as the amplifier cannot open
more than 100%).
PAN SPRD RAND (ON, OFF. DEFAULT: OFF)
Allows the PAN SPREAD knob to randomly place voices in the stereo field with each new voice allocation.
Behavior when enabled depends on the PAN SPRD MODE setting below:

PAN
• L/R
Bipolar control for manual adjustment of the pan-position of the currently active
Randomly allocates between center and either left or right – depending on where that note
timbre (A/B) in the stereo field, allowing for binaural stereo effects in bi-timbral
would have been allocated to. Two back-to-back notes will not fall on the same sides – voices will
patches by hard panning each timbre to opposite sides of the stereo field.
still alternate.

• EVEN
Randomly allocated between center and the position the note would have been allocated to if PAN
SPRD RAND were disabled.

42 43
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

• PAN SPRD MODE - (L/R, EVEN. DEFAULT: L/R)

Selects whether the PAN SPREAD knob will place each of Muse’s eight voices in a dedicated
DIFFUSION DELAY
fixed position in the stereo field from left to right. When set to L/R (default), PAN SPREAD
The DIFFUSION DELAY is a powerful stereo signal processor inspired by the sonic character of vintage
functions by allocating voices left and right in an alternating fashion. The level of panning is
digital rack units. It is highly configurable and can be catered to a user’s needs. Whether it’s providing
controlled by the PAN SPREAD knob, with a fully counterclockwise position resulting in all
stereo delays with ping pong behavior, filtered multi-tap tape echo-style delays, or reverb -like dreamy
voices being centered, while a fully clockwise position will hard-pan voices. When set to EVEN,
chorused-diffusion trails, Muse’s DIFFUSION DELAY is a sonic playground for time-based effects.
all voices will be assigned a fixed position in the stereo field spread evenly from left to right.
The width of that spread is controlled by the PAN knob setting, with a fully counterclockwise
Delay times can be synced to the global tempo for musically related divisions or multiplications, and the left
position resulting in all voices being centered, while a fully clockwise position will spread all 8
and right delay channels can be offset from each other for immersive stereo effects. The CHARACTER
voices as wide as they can go.
knob and its extensive MORE menu settings can provide numerous ways of configuring the filtering, tap
behavior, and diffusion of the delayed signals individually or in combination. Each of Muse’s two TIMBRES

TIP: This setting can be useful in tandem with the ARPEGGIATOR or SEQUENCER to achieve repeatable patterned
can be routed to (or bypass completely) the digital DIFFUSION DELAY processor – preserving the
movement that cascades across the stereo field. When PAN SPREAD RANDOMIZE is on, each voice will be randomly
completely analog audio signal path of Muse if the user so desires.
distributed between the PAN knob setting and its fixed stereo position.

• LFO PHASE SPRD - (ON, OFF. DEFAULT: ON)

Enables8-VOICE POLYPHONIC
LFO phase differentiation between voices playing on either side of the stereo field
ANALOG SYNTHESIZER
for immersive stereo modulation effects. With this setting ON, when the PAN SPREAD knob
is increased LFO modulation for voices allocated to the left side will maintain their current
phase setting while LFO modulation for voices allocated to the right side will be shifted out
of phase. A 100% PAN SPREAD setting will yield a 180-degree phase shift between LFO
modulation on the left and right sides of the stereo field. This means that any rising modulation
will be falling on the opposite side and vice versa, leading to interesting binaural movement.

TIP: With PAN SPREAD MODE set to EVEN, LFO phase will be spaced evenly apart for each voice according to its

position in the stereo field - resulting in an octature LFO effect.

TIME-L
Sets the initial delay on the left channel of the DIFFUSION DELAY.

44 45
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

TIME-R TIMBRE A
Sets the initial delay on the right channel of the DIFFUSION DELAY. Routes TIMBRE A to the DIFFUSION DELAY when engaged. TIMBRE A is fully
bypassed for a completely analog signal when disengaged.

LINK DELAYS TIMBRE B

Links both channels of the DIFFUSION DELAY, allowing you to control the delay Routes TIMBRE B to the DIFFUSION DELAY when engaged. TIMBRE B is fully
times of both channels from the TIME-R knob. With LINK DELAYS engaged, bypassed for a completely analog signal when disengaged.
adjusting the TIME-L knob will create a timing offset between the left and right
channels, while adjusting TIME-R knob will move both channels equally in parallel.

CLOCK SYNC
Syncs both delay channels to the global TEMPO. Once engaged, both TIME knobs
will only be able to jump between tempo divisions of the global TEMPO.
DIFFUSION DELAY MORE MENU
SYNC TYPE (COMBO, STRGHT, TRIP, DOT.
DEFAULT: COMBO)
Determines whether the TIME knobs can hit
all clock divisions (COMBO), only straight
divisions, only triplet divisions, or only dotted
note divisions when CLOCK SYNC is enabled.
FEEDBACK
Routes a portion of the DIFFUSION DELAY’S output back to its input, building up
PING PONG MODE (ON, OFF. DEFAULT: OFF)
multiple repeats and a cascade of delay trails. FEEDBACK is variable from single
Enables a style of stereo ping pong delay in
to infinite repeats and everything in between.
which each delay channel is placed in the feedback path of the other. This results in a delay feedback be-
havior that jumps back and forth between the left and right sides of the stereo field as the right delay’s
feedback is fed into the left delay, and then the left delay’s feedback is fed into the right delay, and so on.
The ability to set left and right delay TIME knobs independently allows for unique stereo ping pong rhythms.

TIME MODE (CROSSFADE, PITCH SHIFT. DEFAULT: CROSSFADE)

CHARACTER
Selects between two different TIME knob behaviors: a crossfading mode that eliminates pitch artifacts
Variable macro control whose function depends on the settings in the MORE
when changing delay times or a pitch shifting mode similar to classic analog delay devices (such as the
menu and is saved per-patch. Can be used to control delay filtering, multi-tap
MF-104 Analog Delay).
behavior, and diffusion effects individually or in tandem. By default it acts as a
combination “DJ style” lowpass/highpass filter for the delayed signal – with no
RESOLUTION (12-BIT, 16-BIT. DEFAULT: 12-BIT)
filtering at 12’ o’clock, increasing highpass filtering above noon, and increasing
The tone of DIFFUSION DELAY is inspired by classic early digital delays and allows users to select between
lowpass filtering below noon.
CHARACTER a 12-bit mode (reminiscent of late 70’s to early 80’s delays) or 16-bit mode (reminiscent of late 80’s and
90’s delays).
TIP: Refer to the MORE MENU options below for an overview of the various functions the CHARACTER knob can perform.

CHRCTR FILTER (OFF, ON, INVERT. DEFAULT: ON)

MIX
Enables the CHARACTER knob to control filtering of the main delay tap based on the CHARACTER FILTER
Crossfader to control the balance between Muse’s dry signal and the output of the
TYPE chosen below. INVERT allows you to flip the filtering behavior (e.g. with “DJ” filter type INVERT places
DIFFUSION DELAY. Fully counterclockwise, the DIFFUSION DELAY is completely
the highpass filtering below noon and the lowpass filtering above noon).
bypassed at the output. Fully clockwise, only the DIFFUSION DELAY processed
signal is present at the output.

46 47
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

CHRCTR FILTER TYPE (DJ, TILT, BPF, NOTCH. DEFAULT: DJ) HPF (20 HZ – 500 HZ. DEFAULT: 20 HZ)
Determines the type of filtering applied to the main delay tap if the CHARACTER FILTER setting is enabled Controls the cutoff frequency of a fixed high-pass filter placed ahead of the delay lines but in the feedback
(either ON or INVERT). The possible filter types are: path. Variable from 20 Hz to 500 Hz.

• DJ - DJ-style filter with a highpass filter above noon and lowpass filter below noon LPF (2 kHZ – 11.75 kHZ. DEFAULT: 11.75 kHZ)
• TILT - Tilt equalizer, boosting highs and cutting lows above noon while boosting lows and cutting Controls the cutoff frequency of a fixed low-pass filter placed ahead of the delay lines but in the feedback
highs below noon path. Variable from 2 kHz to 11.75 kHz
• BPF - Resonant bandpass filter
• NOTCH - Notch (bandstop) filter with a wide notch MAIN OUT MIX (ON, OFF. DEFAULT: ON)
Setting to enable (or disable) the DIFFUSION DELAY on the main output.
CHRCTR MULTI-TAP (OFF, ON, INVERT. DEFAULT: OFF)
Enables multi-tap delay behavior via the CHARACTER knob. Inspired by classic tape echo controls, each HEADPHONE MIX (ON, OFF. DEFAULT: ON)
channel of the DIFFUSION DELAY uses a four-tap configuration. The main delay tap is controlled by the Setting to enable (or disable) the DIFFUSION DELAY on the headphone output.
TIME L/R knobs, tap 2 plays at half the TIME setting, tap 3 plays at 1/3 the TIME setting, and tap 4 plays
at 1/4 the TIME setting.
DELAY CHARACTER MULTI-TAP
With CHARACTER MULTI-TAP set to
ON, the CHARACTER knob will act in
a bi-polar fashion.

• Above noon - tap 2 will be mixed

in with the main tap, after which
it will crossfade to tap 3, and
then tap 4 at the fully clockwise
position - allowing for a mixture
of the main tap with tap 2, 3, or 4.

• Center position (noon) yields no

additional taps.

• Below noon - a mixture of tap

2+3 will be mixed in with the
main tap, after which it will
crossfade to a mixture of tap
3+4, and then a mixture of taps
2+4 at the fully counter-clockwise
position, allowing for a mixture
of the main tap with a group of
two of the other taps.

The INVERT setting flips this behavior placing the 3-tap mixtures above noon, and the 2-tap mixtures
below noon. Note that it is not possible to mix all 4 taps at once.

CHRCTR DIFFUSE (OFF, ON, INVERT. DEFAULT: OFF)

Enables diffusion behavior in the delay via the CHARACTER knob. Diffusion occurs before the delay lines
but is in the feedback path. Diffusion smears the sound using all-pass filter networks to achieve reverb
type tones. Turning the CHARACTER knob above noon will yield standard diffusion, with the max diffusion
depth at the fully clockwise position. Turning CHARACTER below noon will yield chorused diffusion, with
the max chorused diffusion depth at the fully counterclockwise position. The INVERT setting will flip this
behavior (chorused diffusion above noon, standard diffusion below noon).

CHRCTR DIFFUSE TIME (0.00 MS – 12.00 S. DEFAULT: 6.00 S)

Sets the diffusion time when diffusion is enabled – from zero milliseconds to 12 seconds.

48 49
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

HEADPHONES
OUTPUT Sets the volume level of Muse’s signal at the HEADPHONES output jack (found
on the front of Muse underneath the Left-Hand Controller).
The OUTPUT section controls the final output signal from Muse, providing dedicated MAIN OUT and
HEADPHONE levels, a MAIN OUT MUTE button, and a LOW CUT EQ control.

HEADPHONES

LOW CUT
Global single-pole highpass filter for removing low frequency content from Muse’s
final output signal to aid with mixing. The setting of this knob is stored per patch.

OUTPUT MORE MENU

As of right now this module does not have any more menu settings, but we included a more menu in case
that changes in the future. Please register your instrument at moogmusic.com to be notified of future
firmware updates.

MAIN OUT
Sets the volume level of Muse’s signal at the MAIN OUT LEFT (MONO) and MAIN
OUT RIGHT output jacks.

MUTE
Clickless muting of Muse’s MAIN OUT signal.

50 51
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

WAVEFORM
LFO 1+2 Selects the wave shape of the LFO. The available shapes are TRIANGLE, SAWTOOTH,
SQUARE, RANDOM, and a USER selectable shape (selectable via the MORE menu).
LFOs 1 and 2 are two identical Low Frequency Oscillators (LFO). They allow for cyclic modulation to be
applied to multiple destinations on Muse’s panel via the MOD MAP and each has an AMPLITUDE control
to scale the strength of modulation sent downstream to all assigned destinations. Both LFOs are highly
configurable via their respective MORE menus with variable range settings for each, global or per-voice
options, and a wide range of special user-selectable waveforms. The mirrored controls for each LFO will
be described once, but the same functionality applies to both.
KB RESET
Resets the LFO to its starting point in its wave cycle every time a key is pressed,
allowing for more predictable and-
repeatable modulation behavior.
8 VOICE POLYPHONIC
ANALOG SYNTHESIZER

ASSIGN
Allows you to assign the LFO to modulate a panel control - opening the quick
assign page and creating a slot in the MOD MAP. Press ASSIGN and turn the knob
associated with the desired modulation destination - the knob being turned will
then set the depth of modulation applied to that destination. Press ENTER to
confirm the routing.

NOTE: Any modulation routing can be further edited in the MOD MAP menu – see the MOD MAP section.

RATE
Controls the frequency of the LFO. The range of this knob defaults to 0.01 Hz–40.00
Hz but has a maximum range of 0.00 Hz – 1.00 kHz (configurable in MORE menu). LFO 1+2 MORE MENU
TIP: Range settings in the MORE menu for RATE are saved on a per-patch basis, so you can dial in each USER WAVE
LFO’s range to an appropriate one for better performance control! Selects a custom waveform to occupy the 5th waveform position.

TIP: When the waveform is set to RANDOM, the RATE knob can fully stop LFO movement when set to its
minimum value. Use this in combination with KB RESET to create random modulation that only changes
WAVEFORM: CHEBY
when new keys are pressed. This behavior is default when the RANDOM waveform selected but can be
disabled in the MORE menu.

AMPLITUDE
Controls the global amplitude of the LFO, acting as an attenuator placed before
any modulation destinations.

TIP: If an LFO is used in the MOD MAP to modulate several destinations simultaneously at differing
amounts in your patch, the AMOUNT knob will function as a macro and control the depth of all those
modulation routings at once.

52 53
MOD
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

WAVEFORM: CHIRP WAVEFORM: FOLD TOOTH

WAVEFORM: FAUX DLY WAVEFORM: HALF STEPD

WAVEFORM: FOLD FLAT WAVEFORM: SEASICK

54 55
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

WAVEFORM: STEP STRETCH WAVEFORM: SINE

WAVEFORM: TILT A WHIRL LFO TYPE (GLOBAL, PER-VOICE. DEFAULT: GLOBAL)

Selects whether the LFO operates on a GLOBAL (one global LFO for entire TIMBRE) or PER-VOICE level
(eight separate LFOs – one for each voice).

SYNC (ON, OFF. DEFAULT: OFF)

Syncs LFO to global TEMPO – restricting RATE to jump between multiplications and divisions of the TEMPO.

SYNC TYPE (COMBO, STRGHT, TRIP, DOT. DEFAULT: COMBO)

Determines whether the RATE knob can hit all clock divisions (COMBO), only straight divisions, only triplet
divisions, or only dotted note divisions of the TEMPO when SYNC is enabled.

RATE MIN (0 Hz – 1.00 kHz. DEFAULT: 0.01 Hz)

Selects a lower limit for the setting of the RATE knob.

TIP: With a RATE MIN of 0 Hz you can effectively pause an LFO’s cycle. By using one LFO set to a square wave to modulate a different
LFO’s rate so that the square wave pushes it to 0hz, you can achieve interesting LFO modulation that pauses at the bottom of the

WAVEFORM: WOBBLE square wave while moving at the top of the square wave.

RATE MAX (0 Hz – 1.00 kHz. DEFAULT: 40.00 Hz)

Selects an upper limit for the setting of the RATE knob.

ASSIGN POLARITY (BI, UNI. DEFAULT: BI)

Selects whether the LFO defaults to UNIpolar or BIpolar polarity when using the ASSIGN button to create
modulation routing.

56 57
 8-VOICE POLYPHONIC
ANALOG SYNTHESIZER

MUSE MODULES (Cont.) MUSE MODULES (Cont.)

ENVELOPE
PITCH LFO Enables a unipolar “one-shot” mode that is triggered every time a key is pressed. This
allows the PITCH LFO to be used as an AD-style envelope, with the SHAPE knob
The PITCH LFO is a dedicated modulation source designed for use with Muse’s Voltage-Controlled
adjusting ATTACK and DECAY times simultaneously.
Oscillators (OSCILLATORs 1 and 2 and the MODULATION OSCILLATOR). A variable-skew LFO from
sawtooth through triangle to ramp, the PITCH LFO is specifically dialed in for subtle vibrato amounts and
NOTE: This function ignores any polarity settings in the MORE menu and will always be unipolar.
is capable of one-shot envelope behavior. It can also be routed via the MOD MAP to any other destination.

KB RESET
Resets the PITCH LFO to its starting point every time a key is pressed, allowing
for more predictable and repeatable modulation behavior.

AMOUNT
Bipolar control over the depth of the PITCH LFO’s modulation of its hardwired
destinations. When set to noon the AMOUNT knob will yield no modulation.
Adjusting the knob clockwise from noon will result in positive modulation of the
destination while adjusting the knob counterclockwise from noon will result in
inverted modulation of the destination.

TIP: The PITCH LFO is optimized for vibrato movement, and as such will result in +/- 2 semitone movement
with AMOUNT turned to maximum (in positive or negative direction), allowing for very precise control
over vibrato effects.

OSC 1
Routes the PITCH LFO to modulate OSCILLATOR 1 when engaged.

OSC 2
RATE
Routes the PITCH LFO to modulate OSCILLATOR 2 when engaged.
Control the frequency of the PITCH LFO. The range of this knob defaults to
0.01 Hz–40.00 Hz but has a maximum range of 0.00 Hz – 1.00 kHz (configurable
MOD OSC
via MORE menu).
Routes the PITCH LFO to modulate the MODULATION OSCILLATOR when engaged.

DETUNE
Routes the PITCH LFO to modulate the DETUNE knob in the VOICE CONTROL
MOD section when engaged.
SHAPE
ASSIGN
Bipolar control adjusting the angle of the PITCH LFO’s waveform. At noon the
Allows you to assign the PITCH LFO to modulate a panel control - opening the
waveform is a symmetrical triangle wave. Adjusting SHAPE shifts the TRIANGLE’s
quick assign page and creating a slot in the MOD MAP. Press ASSIGN and turn the
rise and fall times, becoming a SAWTOOTH wave when fully counterclockwise
knob associated with the desired modulation destination - the knob being turned
and a RAMP wave when fully clockwise.
will then set the depth of modulation applied to that destination. Press ENTER to
confirm the routing.

NOTE: Any modulation routing can be further edited in the MOD MAP menu – see the MOD MAP section.

58 59
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

PITCH LFO MORE MENU ASSIGNABLE CONTROLLERS

LFO TYPE (GLOBAL, PER-VOICE. The ASSIGNABLE CONTROLLERS are a collection of expressive controls that can be used as either modulation
DEFAULT: GLOBAL) sources or modulation controllers. Pressing any button will allow you to assign the KEYBOARD, VELOCITY,
Selects whether the PITCH LFO operates AFTERTOUCH, MACRO KNOB, MOD WHEEL, or EXPRESSION PEDAL to modulation destinations via the
on a GLOBAL (one global PITCH LFO for QUICK ASSIGN view.
entire TIMBRE) or PER-VOICE level (eight
separate PITCH LFOs – one for each voice).

SYNC (ON, OFF. DEFAULT: OFF)

Syncs PITCH LFO to global TEMPO – restricting RATE to jump between multiplications and divisions
of the TEMPO.

SYNC TYPE (COMBO, STRGHT, TRIP, DOT. DEFAULT: COMBO)

Determines whether the RATE knob can hit all clock divisions (COMBO), only straight divisions, only triplet
divisions, or only dotted note divisions of the TEMPO when SYNC is enabled.

RATE MIN (0 Hz – 1.00 kHz. DEFAULT: 0.01 Hz)

Selects a lower limit for the setting of the RATE knob.

RATE MAX (0 Hz – 1.00 kHz. DEFAULT: 40.00 Hz)

Selects an upper limit for the setting of the RATE knob.

ASSIGN POLARITY (BI, UNI. DEFAULT: BI)

Selects whether the PITCH LFO defaults to UNIpolar or BIpolar polarity when using the ASSIGN button
to create modulation routing.

MACRO (KNOB)
The MACRO knob is a knob with no dedicated panel function, but which can be
assigned to control one or several functions on Muse. It is an additional knob-based
point of expression that can be thought of as similar in function to the MOD WHEEL
- allowing for dramatic patch morphing controlled from a single knob or can be
a simple controller for a single mod slot in the mod map. Can be programmed as
either a unipolar or bipolar control.

MOD
QUICK ASSIGN
The buttons in the ASSIGNABLE CONTROLLERS
section (as well as the ASSIGN buttons for
LFO 1+2, PITCH LFO, FILTER ENVELOPE,
and VCA ENVELOPE) can be used to quickly
create modulation routings in the MOD MAP.
Press the ASSIGN button of any modulation
source on the panel to bring up the quick
assign view.

60 61
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

Adjusting any panel control will select that parameter as the modulation destination. Continuing to adjust MACRO
the destination panel control will scale the modulation amount in either a positive or negative direction Enters quick assign using the MACRO knob as modulation source.
with a setting of noon resulting in 0% modulation. Click the ENTER button in the PROGRAMMER or click
down on the SELECT encoder to confirm the assignment.

TIP: With the quick assign view open you can press any ASSIGN button on the panel to swap the modulation source or adjust any panel
control to change the modulation destination.

NOTE: Any modulation routing can be further edited in the MOD MAP – see the MOD MAP section.
MOD WHL
(SOFT BUTTON) ADD CNTRL Enters quick assign using the MOD WHEEL as modulation source.
Confirms the current quick assignment, adding it to an empty modulation slot in the MOD MAP. Pressing
ADD CNTRL will bring you to the newly created modulation routing in the MOD MAP with the CONTROLLER
selection highlighted to allow selection of a modulation CONTROLLER.

(SOFT BUTTON) BI-POLAR

Toggles between uni-polar and bi-polar behavior for modulation sources capable of either (LFOs 1+2,
PITCH LFO, the MACRO knob, and the MOD WHEEL).
EXP
(SOFT BUTTON) ADD DEST Enters quick assign using the EXPRESSION PEDAL input as modulation source.
Confirms the current quick assignment (adding it to an empty modulation slot) and begins the quick
assignment process anew using the same source. This is an easy way to quickly generate multiple NOTE: All assignable controllers can be used as modulation controllers as well as modulation sources –
modulation assignments using the same source. configurable via the MOD MAP.

(SOFT BUTTON) CANCEL

Exits the quick assignment without saving.

KB
Enters quick assign using the KEYBOARD as modulation source.
ASSIGNABLE CONTROLLERS MORE MENU
GLIDE TYPE (LCR, LCT, EXP. DEFAULT: LCR)
Selects between three distinct types of Glide
- each one handling the timing of portamento
between two notes a bit differently.

VEL
Enters quick assign using keyboard VELOCITY as modulation source.

• LCR (LINEAR CONSTANT RATE)

In this mode, the Glide Rate is constant, so gliding further takes longer. If the glide takes a specific
amount of time to go one octave, it will take twice that amount of time to glide two octaves.

• LCT (LINEAR CONSTANT TIME)

In this mode, the Glide Time is constant, regardless of the distance traveled. Gliding to a note one
AT octave away will take exactly the same amount of time as gliding to a note two octaves away
Enters quick assign using keyboard AFTERTOUCH as modulation source.
• EXP (EXPONENTIAL)
In this mode, the Glide Rate changes over an exponential curve, slowing as the target note
is approached.

62 63
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

PITCH WHEEL RANGE (0-12. DEFAULT: 7)

Selects the range in semitones for the pitch bend wheel, from 0 (effectively turning off the pitch wheel
CLOCK
for the selected TIMBRE) to 12 (equivalent to an octave).
The CLOCK section establishes the global tempo for Muse – generating a tempo via the internal clock or
by selecting an external clock (analog or MIDI) via the MORE menu.
TIP: You may set the PITCH WHEEL RANGE differently for different TIMBRES in a patch. This can be especially useful in splits or stacks
to have each timbre respond differently to pitch wheel activity.

SUSTAIN ON (ON/OFF. DEFAULT: ON)

Enables or disables activity at the SUSTAIN pedal input for the current TIMBRE.

TIP: You may set SUSTAIN behavior differently for different TIMBRES in a patch, so that one TIMBRE sustains on pedal motion while
the other does not.

MACRO ASSIGN (UNI, BI. DEFAULT: UNI)

Selects whether the MACRO knob defaults to UNIpolar or BIpolar polarity when using the ASSIGN button
to create modulation routing.

M WHEEL ASSIGN (UNI, BI. DEFAULT: UNI)

Selects whether the MOD wheel defaults to UNIpolar or BIpolar polarity when using the ASSIGN button
to create modulation routing.

TEMPO
Controls the tempo of the internal clock, setting its quarter-note value. Its default
range is 30 Beats Per Minute (BPM) at the lowest knob setting to 300 Beats Per
Minute at the knob’s maximum setting.

MOD
TAP TEMPO
Generates a TEMPO setting via a series of successive presses on the TAP TEMPO
button, which will override the TEMPO knob’s setting. Adjusting the TEMPO knob
will revert to the setting determined by the TEMPO knob. TAP TEMPO mode is
governed by the same range limits as the TEMPO knob, i.e. 30 BPM to 300 BPM.

TIP: The CLOCK’s MORE menu contains an option allowing users to select whether TAP TEMPO will
derive its setting from a series of two taps on the TAP TEMPO button or averaging four taps on the
TAP TEMPO button - catering to different users’ levels of rhythmic accuracy.

64 65
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

CLOCK MORE MENU ARPEGGIATOR

CLOCK SOURCE (AUTO, INTERNAL, The ARPEGGIATOR is a powerful compositional tool which takes the notes being held on the keyboard
ANALOG, MIDI IN, USB. DEFAULT: AUTO) and plays them one at a time in a repeating, rhythmic pattern. Arpeggiators are commonly used to generate
Determines the master clock source for Muse patterns of notes while holding down chords, giving you control over the direction of those patterns, the
– either the INTERNAL clock, external ANALOG number of octaves the patterns span, and the rate of arpeggiation.
clock (via CLOCK IN), external clock via the 5
pin MIDI IN jack, or external clock via USB.
Muse’s ARPEGGIATOR goes much deeper than others by giving you access to fascinating and deep pattern
structures with note leapfrogging, alternating pattern options, and serialism mode. Further, you can program
When in AUTO mode, Muse is able to automatically determine a clock source for the user based 8-VOICE POLYPHONIC
rhythms directly in the ARPEGGIATOR, configure probabilistic skipping,
ANALOG and engage loop locking. Muse’s
SYNTHESIZER
on certain conditions: If an external MIDI START signal is received at either the DIN or USB ports,
ARPEGGIATOR is much more than meets the eye, creating swooping cascades of notes, building rhythmic
MIDI clock will automatically be chosen for the user; if either the SEQUENCER’s PLAY button or the
bases for songs, and generating new and exciting musical ideas.
ARPEGGIATOR’s ON button are physically pressed while the system detects an external analog clock
plugged into the CLOCK IN jack, ANALOG clock will automatically be chosen for the user; and finally if
TIP: Patterns from the ARPEGGIATOR can be recorded in real time into the SEQUENCER for saving, editing, and recall by pressing REC
either the SEQUENCER’s PLAY button or the ARPEGGIATOR’s ON button are physically pressed while
while both the SEQUENCER and ARPEGGIATOR are running.
nothing is plugged into the CLOCK IN jack, INTERNAL clock will automatically be chosen for the user.

ARP START/STOP IGNORE (OFF/ON. DEFAULT: OFF)

Determines whether the ARPEGGIATOR listens to (OFF) or ignores (ON) MIDI START/STOP messages.
When receiving a START message the ARPEGGIATOR will reset to step 1 and begin playback – playback
will stop upon receipt of a STOP message.

SEQ START/STOP IGNORE (OFF/ON. DEFAULT: OFF)

Determines whether the SEQUENCER listens to (OFF) or ignores (ON) MIDI START/STOP messages.
When receiving a START message the SEQUENCER will reset to step 1 and begin playback – playback
will stop upon receipt of a STOP message.

MIDI CLOCK OFFSET BPM (+/- 50 BPM within overall BPM limits. DEFAULT: +0.00)
Sets a tempo offset relative to an external MIDI clock. If an external MIDI clock is set to 120 BPM, Muse may
be set to 121 BPM by setting MIDI CLOCK OFFSET BPM to +1.00 - allowing for tight rhythmic phasing
against an external clock.

TIP: MIDI CLOCK OFFSET BPM will always be reset back to +0.00 after power cycle.

CLOCK DIV
Selects a rhythmic subdivision of the master clock TEMPO to be used as the tempo
of the ARPEGGIATOR.

TIP: Use CLOCK DIVISION TYPE in the MORE menu to exclude certain rhythmic subdivisions from being
accessed by the CLOCK DIV knob. This can be useful during performance to avoid selecting unwanted
rhythmic divisions when playing live.

MOD
66 67
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

ON
Turns on the ARPEGGIATOR, playing notes held on the keyboard in a rhythmic
ARPEGGIATOR SETTINGS
pattern based on the CLOCK DIV, ORDER, RANGE, and STEP settings. Pressing the ARP button in the PROGRAMMER
will bring up the main interface for controlling
TIP: Hold a series of notes on the keyboard and press the HOLD key on the Left-Hand Controller to allow the ARPEGGIATOR.
the ARPEGGIATOR to run without the need to continue holding down notes on the keyboard. Pressing
new keys on the keyboard will replace the current notes with whichever ones are next held down.
STEP BUTTONS
In the ARPEGGIATOR’s initialized state, buttons
1-16 in the PROGRAMMER are lit and a chase
FW/BK
light can be seen moving through the steps
Enables pendulum motion. Arpeggiated notes will first play in the order determined
at a rate based on the CLOCK DIV setting. Pressing a step button will create a musical rest, turning that
by the DIRECTION button from beginning to end, then will play in reverse order
step’s LED off and preventing playback of a note on that step.
from end to beginning.
LENGTH
TIP: When the direction button is set to RND, users will be able to set a FW/BK RANDOM LENGTH in the
Selects a length for the ARPEGGIATOR’s rhythmic pattern based on the STEP buttons, allowing you to
MORE menu. This setting will determine how many steps the random pattern will move forward before
extend the rhythmic pattern beyond 16 steps and up to 64 steps. Groups of 16 steps can be addressed
reversing direction and playing that same pattern backwards. Anytime the arpeggiator is moving forward
using the PAGE button in the SEQUENCER.
the pattern will play notes at random, but anytime the arpeggiator is moving backward, it will mirror the
forward portion of the pattern based on the FW/BK RANDOM LENGTH setting.
(SOFT BUTTON) RESET
Resets the arpeggiator to first note of the arpeggio pattern based on the arpeggiator settings.
DIRECTION
Selects between three different operational modes for the arpeggiator:
GATE LENGTH
Selects a gate length globally for every STEP in the ARPEGGIATOR – from 1% of the step length to 99%.
• ORD
Arpeggiated notes will play in the same order they were originally played on
(SOFT BUTTON) REST SKIP
the keyboard.
Toggles between two modes: SHIFT or SKIP (default: SHIFT). This setting determines the ARPEGGIATOR’s
• PTN behavior when a rest is programmed via the STEP buttons. There are two available settings:
Users can select from a list of different algorithmic arpeggio movement
options in the MORE menu. Defaults to UP (notes play in an ascending order). • SHIFT
The musical note that would have played on a step with a rest is shifted to the next available step
• RND
without a rest. Default behavior – REST SKIP is not highlighted.
Arpeggiated notes will play back in random order.
• SKIP
OCTAVE RANGE The musical note that would have played on a step with a rest is skipped in the arpeggiated pattern.
Selects the number of octaves that will be used to play an arpeggiated pattern Pressing REST SKIP will highlight it and indicate SKIP behavior.
- between 1 to 4 octaves. When more than 1 octave is selected, the arpeggiated
pattern will move through different octaves of the arpeggiator pattern based on GATE PROB
settings in the MORE menu. Selects probability of any STEP to be randomly converted into a rest. With 100% selected, the arpeggiated
pattern will play back exactly as programmed, with 0% selected, the arpeggiated pattern will only contain
rests. With any settings between 1-99%, users are controlling how often a programmed note will randomly
be converted to a rest. This setting applies globally to every STEP in the ARPEGGIATOR.

68 69
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

(SOFT BUTTON) P REST SKIP FW/BK:PIVOT NOTE (ON/OFF. DEFAULT: OFF)

Toggles between two modes: SHIFT or SKIP (default: SHIFT). It functions similarly to the REST SKIP button, Determines whether notes at the beginning and end of the arpeggio pattern are repeated when changing
but only applies to rests that occur due to randomized rests resulting from GATE PROB settings. direction when FW/BK is engaged.

• ON
There are two available settings:
Notes at the beginning and end of the arpeggio will be repeated. (Ex: DOWN + FW/BK played
C1-E1-G1, arpeggiated: G1, E1, C1, C1, E1, G1, G1, E1, C1, etc.)
• SHIFT
The musical note that would have played on a step with a randomized rest is shifted to the next • OFF
available step without a rest. Default behavior – P REST SKIP is not highlighted. Notes at the beginning and end of the arpeggio will NOT be repeated. (Ex: DOWN + FW/BK
played C1-E1-G1, arpeggiated: G1, E1, C1, E1, G1, E1, C1, etc.)
• SKIP
The musical note that would have played on a step with a randomized rest is skipped in the FW/BK: RND LENGTH (2-64. DEFAULT: 2)
arpeggiated pattern. Pressing P REST SKIP will highlight it and indicate SKIP behavior. Determines how many steps the random pattern will move forward before reversing direction and playing
that same pattern backwards when the RND direction and FW/BK settings are both engaged. Anytime
LOCK LOOP and (SOFT BUTTON) LOCK the arpeggiator is moving forward the pattern will play notes at random, but anytime the arpeggiator
The LOCK soft button allows users to lock a certain number of previously played steps to create a pseudo- is moving backward it will mirror the forward portion of the pattern based on the FW/BK RANDOM
sequence. The length of this locked pattern is based on the LOCK LOOP setting ranging from 1-64 steps LENGTH setting.
(a buffer of 64 notes is always captured so the length can be increased/decreased even when locked).
PTN:DIRECTION (UP/DOWN. DEFAULT: UP)
With LOCK engaged, GATE PROBABILITY and RND DIRECTION settings will be ignored, and whatever Determines the direction of ARPEGGIATOR movement when DIRECTION is set to PTN:
was played leading up to LOCK being engaged will play back indefinitely until LOCK is disengaged. For
• UP
example, if the LOCK LOOP is set to 19 steps, when LOCK is engaged, the last 19 steps that played in
Notes are played in order from lowest to highest
the arpeggiated patten will be repeated (this includes steps that were randomly dropped based on the
PROBABILITY settings). • DOWN
Notes are played in order from highest to lowest
LOCK lets you capture and hold onto happy accidents that occur while playing the ARPEGGIATOR or loop
smaller sections within a longer arpeggio during performance. LOCK functionality can further be used PTN:LEAPFROG FW/BK (0-8/0-8. DEFAULT: 1/0)
as a sequence sketch pad of sorts and patterns can be recorded into the SEQUENCER. Skips steps to create leapfrog movement behaviors (i.e. 2 steps forwards/1 step backwards). The FW setting
will determine how many steps are skipped in the forward direction, and the BW setting will determine
TIP: While the ARPEGGIATOR has LOCK engaged, users can still play an alternate set of notes on the keyboard for the ARPEGGIATOR how many steps are skipped in the backwards direction. FW/BW cannot be set to the same number. (Ex:
to use when LOCK is disengaged, this can also be a fun method for adding notes into the LOCK pattern by “playing” the LOCK button. UP + LEAPFROG (2/1) played C1-E1-G1-B1-D2, arpeggiated: C1, G1, E1, B1, G1, D2, B1. DOWN + LEAPFROG
New notes added into a LOCKED pattern will be added in the position they were captured live. (3/2) played C1-E1-G1-B1-D2,
PATTERN:arpeggiated:
LEAPFROG D2, E1, B1, C1, G1.)

DIRECTION UP WITH LEAPFROG FW/BK SET TO 2/1

ARPEGGIATOR MORE MENU
CLOCK DIV (STRGHT, TRPLT, DOTTED,
COMBO. DEFAULT: STRGHT)
Determines whether the CLOCK DIV knob
can hit only straight divisions of the global
TEMPO, only triplet divisions, only dotted
note divisions, or a combination of all (COMBO).

SWING (25% - 75%. DEFAULT: 50%) CHORD PLAYED ARPEGGIATED

Selects an amount to delay every second step of an arpeggiated pattern, with a 50% setting yielding no swing.

OCT MOVEMENT (PTN/NOTE/RND. DEFAULT: PATTERN) DIRECTION DOWN WITH LEAPFROG FW/BK SET TO 3/2
Determines how octave movement is handled in the ARPEGGIATOR. (This setting doesn’t apply to the
RND DIRECTION, which will always use the RANDOM OCTAVE MOVEMENT setting).

• PTN
Allows a full arpeggio pattern to play through before moving to a different octave.
NOTE: Makes the ARPEGGIATOR jump between octaves of a single note before moving to the next note.

• RND
Assigns a random octave within the selected range to each note in the arpeggiated pattern.
CHORD PLAYED ARPEGGIATED

70 71
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

RND:SERIAL MODE (OFF/ON. DEFAULT: OFF)

PTN:ALTERNATE (OFF/INNER/OUTER. DEFAULT: OFF)
Determines whether played notes are allowed to be repeated before all other notes have played in a given
Creates alternating note patterns in combination with the DIRECTION setting. It will be most noticeable
RND arpeggio pattern. This will result in more of a pseudo-random feel as it will prevent the ARPEGGIATOR
when 4 or more notes are played.
from being able to freely repeat notes in a random pattern, and instead force the ARPEGGIATOR to play
through all pressed notes in a simple phrase, and then continue creating random permutations of that phrase.
• OFF
No note alternation occurs (Ex: UP + OFF played: C1-E1-G1-B1-D2, arpeggiated: C1,E1,G1,B1,D2)
• OFF
Notes are allowed to repeat within a pattern before all other notes have played.
• OUTER
(Ex: played C1-E1-G1-B1-D2, arpeggiated: C1, D2, E1, B1, G1, G1, D2.)
Notes are alternated from the outer notes inward, and the starting note would be determined by
the PATTERN DIRECTION setting, with DOWN starting on the highest note, and UP starting on the
• ON
lowest note. (Ex: UP + OUTER played: C1-E1-G1-B1-D2, arpeggiated: C1,D2,E1,B1,G1. DOWN + OUTER
Notes are NOT allowed to repeat within a pattern before all other notes have played.
played C1-E1-G1-B1-D2, arpeggiated: D2,C1,B1,E1,G1)
(Ex: played C1-E1-G1-B1-D2, arpeggiated: [C1, G1, E1, B1, D2], [E1, G1, D2, B1, C1], etc.)

• INNER
Notes are alternated from the inner notes outward, and the starting note would be determined by the
PATTERN DIRECTION setting. When users arpeggiate an even number of notes, UP patterns will
begin on the lower center note, and DOWN patterns will begin on the upper center note. (Ex:
UP + INNER played: C1-E1-G1-B1-D2, arpeggiated: G1,B1,E1,D2,C1. DOWN + INNER played C1-E1-G1
PATTERN:
B1-D2, arpeggiated: ALTERNATE
G1,E1,B1,C1,D2.)
DIRECTION SET TO UP FOR ALL EXAMPLES
OFF

CHORD PLAYED ARPEGGIATED

OUTER

CHORD PLAYED ARPEGGIATED

INNER

CHORD PLAYED ARPEGGIATED

72 73
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

8-VOICE POLYPHONIC
SEQUENCER ANALOG SYNTHESIZER PLAY
Sets the SEQUENCER running, playing back the current sequence (selected via
Muse features a deep and flexible SEQUENCER for composing full melodic passages and bi-timbral the SEQ button in the PROGRAMMER) using the currently active PATCH (selected
arrangements. Where many synthesizers store sequence data as part of a patch, on Muse the SEQUENCER via PATCH). By default, the sequence plays at a rate determined by the global
is fully independent and able to control patch selection as a parameter of sequencing. The bank of 256 TEMPO set in the CLOCK module and the SEQUENCE’s stored clock division set
sequences lives alongside the 256 patches, allowing you to audition different patches while composing by CLOCK DIV.
and playing back a sequence.
When EXTERNAL MIDI CLOCK is selected in the CLOCK module’s MORE menu,
Sequences can be played into the SEQUENCER by either entering a sequence note-by-note (STEP RECORD
the PLAY button will default to being controlled externally by MIDI START/STOP
mode) or by playing live while the SEQUENCER runs, with each note indexed and saved as you play.
messages. This can be disabled in the CLOCK MORE MENU.
Muse’s SEQUENCER allows you to dive deep and edit every single note, with the ability to adjust note
timing down to a microscopic level, engage with generative per-step probability controls, and even step REC
record up to eight different front panel parameter controls per-sequence. Engages recording – entering STEP RECORD mode if the SEQUENCER is not running,
and LIVE RECORD mode if it is. Holding SHIFT and pressing REC will cause it to
blink, this indicates OVERDUB mode, allowing you to record overdubs in either
STEP RECORD or LIVE RECORD modes.

ADV
Advances the SEQUENCER one step, allowing you to audition notes in your sequence
step by step or moving the location of the play-head to begin playing the sequence
from a step other than step 1 when initiating playback. Pressing ADV while holding
SHIFT will move back one step.

TIP: Holding ADV will sustain auditioned notes until ADV is let go.

RESET
Resets the SEQUENCER so that step 1 is the first note played back.

CLOCK DIV
PAGE
Selects a rhythmic subdivision of the master clock TEMPO to be used as the tempo
Selects which section of 16 steps within a sequence the PROGRAMMER is
of the SEQUENCER.
addressing when editing sequences longer than 16 steps – steps 1-16, steps 17-32,
steps 33-48, or steps 49-64.
TIP: Use CLOCK DIVISION TYPE in the MORE menu to exclude certain rhythmic subdivisions from being
accessed by the CLOCK DIV knob. This can be useful during performance to avoid selecting unwanted
NOTE: PAGE is limited by the LENGTH of the current sequence (set in the SEQ SETTINGS menu – see below).
rhythmic divisions when playing live.

74 75
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

You can add overdubs by holding SHIFT and pressing REC – REC will blink, indicating you are in STEP
SEQUENCER OPERATION OVERDUB mode. Whenever REC is blinking, any notes played will be added to the current step rather
than overwriting all notes in the step. In OVERDUB mode, the ADV button will simply advance through
Pressing SEQ in the PROGRAMMER puts
steps without creating rests.
the PROGRAMMER into SEQ mode – which
displays the active sequence information or
allows users to choose a different sequence
from the active sequence bank via the 1-16
LIVE RECORD
buttons. To bring up an initialized sequence,
Press PLAY to run the SEQUENCER, and then hit REC to enter LIVE RECORD mode. Pressing REC will
navigate to one of the user sequence banks
automatically bring you to the STEP view where you can see the chase light moving through the SEQUENCE
by pressing the SEQ BANK soft button,
steps. Playing a note or chord will index it onto the step currently lit by the chase light. By default, gate
pressing location 15 to switch to sequence
lengths are recorded live, so holding a note or chord down will extend its gate length across multiple steps,
bank 15, and then pressing SEQ BANK again
however the note data will be contained in the first step of its length. Anytime a note or chord is played in
to exit sequence bank selection mode. All se-
LIVE RECORD mode, it will replace whatever exists in the currently lit step.
quences in sequence banks 15 and 16 are initial-
ized (and named NEW SEQUENCE), so press
Holding INIT while in LIVE RECORD will scrub sequencer data as it runs through the steps, replacing
location 1 to begin from NEW SEQUENCE
them with rests.
number 1.

Press REC to disable recording. As with STEP RECORD mode, holding INIT and pressing REC will undo
NOTE: You may hold the INIT button and press a sequence location (1-16) while in the SEQ view to initialize a new sequence. Sequence initialization
any changes to your sequence since you last hit REC.
will not overwrite any underlying sequence, as sequence changes are not stored until explicitly saved via the SAVE button (see SAVE SEQUENCE).

Add overdubs by holding SHIFT and hitting REC while the sequencer is playing (REC will now blink) to
The SEQUENCER has two main operating modes: STEP RECORD, which allows you to precisely enter a
enter LIVE OVERDUB mode - notes played will be added to the current step rather than overwriting it.
sequence note-by-note while the SEQUENCER is NOT running; and LIVE RECORD, which allows you to
If more than 8 notes are added to a step, the oldest notes added will be replaced with the most recently
play note data into the SEQUENCER live while it runs using the keyboard. Let’s look at how to enter a
played notes, i.e. the 9th note replaces the 1st, 10th replaces the 2nd, etc.
sequence in either of these modes. By default new sequences will be set to a length of 16 steps, but this
can be adjusted in the sequence SETTINGS menu accessible via the SEQ view soft button.

NOTE: If focused on the STEP VIEW you can still access the sequence SETTINGS menu by holding SHIFT and then pressing the
ARP TO SEQUENCER
SETTINGS soft button.
Muse’s powerful ARPEGGIATOR can create intricate rhythmic patterns and those patterns can be recorded
into the SEQUENCER for saving into memory, recalling later, or further editing and expanding. Simply
press REC while the ARPEGGIATOR is running to begin recording your arpeggios. If in STEP RECORD
STEP RECORD mode, each new note from the ARPEGGIATOR will be sequentially indexed into the current sequence,
ignoring rests from the ARPEGGIATOR. If in LIVE RECORD mode, the SEQUENCER will capture rests
Pressing REC while the sequence is not running (PLAY button is off) will enter STEP RECORD mode –
and rhythmic information coming from the ARPEGGIATOR as well as note values.
switching the PROGRAMMER into STEP mode with each button 1-16 representing a step of your sequence
and armed to begin recording with step 1.

Press a note on the keyboard and you will index that note onto the current step and advance the sequencer
SAVE SEQUENCE
forward one step. Press multiple notes down at once to index a chord onto the current step (the sequencer
Press SEQ in the PROGRAMMER to see the
will only move on to the next step once all keys are released - as long as you are holding the keys down
sequence you’ve entered. When you are ready
you can continue to add notes onto the current step).
to save it into memory press the SAVE button
in the PROGRAMMER (note that the SEQ
Pressing ADV will advance the sequencer a step without indexing any note information, creating a rest.
button in the PROGRAMMER must be lit to
You can also jump to a particular step directly by pressing any of the step buttons 1-16. Alternatively, you
save the sequence). Confirm the location
can always play keys while holding a step button to quickly index notes onto that step (releasing the step
of your sequence with the 1-16 sequence location buttons and press the CONFIRM soft button, which will
button and holding again will allow you to replace notes on that step if you want to change them).
bring you to a page to edit the name of your sequence. Press the SAVE SEQ soft button to save your sequence.

Once you reach the end of the sequence, the sequencer will wrap around back to the beginning and any
TIP: Use PATCH LOCK to store a patch reference with the current sequence before saving. This will allow you to load a particular patch
new notes added to a step will overwrite any note information which was on that step previously.
anytime you load a particular sequence. Hold SHIFT in the SEQ view and click the LOCK PATCH soft button to lock the current patch
with the current sequence. Every time you load this sequence from memory, Muse will ask if you would also like to load its locked
Press REC to end recording and press PLAY to listen back to your sequence.
PATCH or just the sequence.
NOTE: Holding INIT and pressing REC will undo any changes to your sequence since you last hit REC. This way you can experiment
with your sequence – changing things around, adding notes, etc. - and undo those changes if you don’t like the results!

76 77
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

(SOFT BUTTON) SETTINGS

SEQUENCER VIEW Opens the settings menu for the currently
selected sequence. Press the SETTINGS soft
Pressing the SEQ button in the PROGRAMMER
button, SEQ, or BACK to go back to the main
will bring up the main interface for controlling
SEQ view. Settings are detailed below in
the SEQUENCER. You will see the name,
SEQUENCE SETTINGS.
stored tempo, and length of the current
sequence as well as the current CLOCK DIV
Hold SHIFT while in the SEQ view to access
setting. As a sequence plays, it will be visually
additional soft button options:
represented in a piano roll-style animation
flowing down right side of the screen.
(SOFT BUTTON) LOCK PATCH
Clicking the LOCK PATCH soft button will
STEP BUTTONS
lock the currently active PATCH to the currently
Use buttons 1-16 in the PROGRAMMER to select a sequence when in the SEQ view.
active SEQUENCE. With LOCK PATCH
enabled, every time you load the current
(SOFT BUTTON) EDIT NAME
sequence a view will pop up asking if you
Allows you to edit the name of the currently
want to load both the sequence and its locked
selected sequence as indicated by the
patch or load only the sequence.
illuminated step button and sequence name
on screen. When EDIT NAME is pressed,
(SOFT BUTTON) SEQ CHAIN
the first character of the patch name will be
Opens the SEQ CHAIN view, allowing you
highlighted (sequence names have a limit of
to chain up to 8 sequences from the current
12 characters). The SELECT encoder selects
SEQ BANK together. Pressing any of the
which character is being edited and the VALUE
sequence location buttons 1-16 will add that
knob changes the selected character. Pressing the ENTER button (or clicking the SELECT encoder) will
sequence to the chain (you can also use the
confirm the name. While editing names, INIT can be used to delete characters and SHIFT+INIT can be
SELECT and VALUE encoders to change
used to insert spaces.
any of the sequences). There is a single SEQ
CHAIN per bank.
(SOFT BUTTON) ORGANIZE
Allows you to swap the position of two different
Press PLAY to playback the sequence chain – the box with the currently playing sequence will be highlighted.
sequences. When ORGANIZE is pressed you
Press RESET to immediately reset the chain back to the beginning. Pressing PLAY will stop playback and
can select a sequence using the step buttons
reset the chain back to the first sequence.
(1-16). The selected button will start to blink,
indicating that the sequence is waiting to be
CLEAR will clear out the current chain.
moved. Press the step button (1-16) where you
would like to move the selected sequence and
ONE SHOT will set the chain to playback once and then stop (default behavior is for the chain to
press ENTER to confirm the move. The two
continue looping as long as PLAY is on).
sequences will then swap positions.

RND will load the chain with random sequence selections from the current SEQ BANK.
NOTE: ORGANIZE may also be used to organize SEQ BANKS.

(SOFT BUTTON) SEQ BANK

Allows you to select between 16 banks of
SEQUENCE SETTINGS
sequences using buttons 1-16. Each of the 16
SEQ LENGTH (1-64. DEFAULT: 16)
sequence banks contains 16 sequences for a
Sets the length of the sequence, from 1 step
total of 256 available sequences. Sequence
to 64 steps. If sequence steps have been
banks can be named and moved around just
programmed and the sequence length is set
like patch banks by using EDIT NAME and
to be shorter, those steps that now fall outside
ORGANIZE. Press the SEQ BANK soft button,
the sequence length will still retain their
SEQ, or BACK to go back to the main SEQ view.
programmed values - so you can change the
sequence length on the fly as a performative
control.

78 79
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

SEQ DIRECTION (FW, BK, FW/BK, RANDOM. DEFAULT: FW)

Sets the playback direction of the sequencer to advance forward (FW), backward (BW), pendulum forward
STEP VIEW
and backward (FW/BK), or random (RANDOM).
Pressing the STEP button in the PROGRAMMER
will let you directly edit notes, gate lengths,
SWING (25%-75%. DEFAULT: 50%)
velocity, timbre allocation, timing, and more
Adds swing to the sequence, shifting off beats a bit later with SWING above 50% or a bit earlier with SWING
for every individual step in your sequence.
below 50%. A SWING amount of 50% represents no swing.
Use buttons 1-16 in the PROGRAMMER to
select a step within your sequence and use
SCALE (DEFAULT: NONE)
the PAGE buttons in the SEQUENCER to toggle
Selects a scale for the sequence which - combined with the ROOT setting - will be used to quantize notes
between pages for sequences longer than 16
when using note probability, gesture record mode, or with pitch quantizing settings enabled.
steps.
• MAJOR
• NATURAL MINOR At the top of the STEP view you will see the STEP number followed by pages for NOTE, GATE, VEL, TIME,
• HARMONIC MINOR and TIMBRE. Use the SELECT encoder to scroll through these pages for comprehensive editing of the
• MELODIC MINOR information in each step. Each page has different SOFT BUTTONS for advanced programming options.
• MINOR BLUES
• MAJOR BLUES On the main STEP page you will see all the notes in the current step listed. Click any of 1-16 step buttons
• MINOR PENTATONIC to move to that step. By holding down the current step button, you can add new notes to the step via the
• MAJOR PENTATONIC keyboard. Press INIT to clear all notes from the current step.
• WHOLE TONE
• WHOLE-HALF DIMINISHED (SOFT BUTTON) GESTURE
• HALF-WHOLE DIMINISHED Enters gesture recording mode – see GESTURE below.
• DORIAN
• PHRYGIAN (SOFT BUTTON) PARAM REC
• LYDIAN Enters parameter recording mode – see PARAM RECORDING below.
• MIXOLYDIAN
• LOCRIAN (SOFT BUTTON) PROB
Opens the probability menu for the current step – see PROBABILITY below.
ROOT (C, C#, D, D#, E, F, F#, G, G#, A, A#, B. DEFAULT: C)
Selects a root for the sequence SCALE. (SOFT BUTTON) SETTINGS
Opens the settings menu for the current sequence – see SEQUENCE SETTINGS section above.
SEQ TIME QUANT (DEFAULT: OFF)
Temporarily quantizes all data in the current sequence by note values of either 1/64th, 1/32nd, 1/16th, or Press and hold SHIFT to access additional soft button functions:
1/8th. Non-destructive, so if quantization is enabled and then disabled, the pre-quantized information is
recoverable. Defaults to OFF (i.e. full 384th note resolution). (SOFT BUTTON) COIN TOSS
Provides access to the COIN TOSS note lane,
CLOCK DIV (STRGHT, TRIP, DOT, COMBO. DEFAULT: STRGHT) allowing you to load an alternative set of notes
Determines whether the CLOCK DIV knob can hit only straight divisions of the global TEMPO, only triplet (alongside gate lengths, velocities, timing, and
divisions, only dotted note divisions, or a combination of all (COMBO) timbre assignments) in the current step which
can play instead of the programmed notes
NOTE PROB RNGE POLARITY (BI-POLAR, UNI-POLAR. DEFAULT: BI-POLAR)
depending on the NOTE PROBABILITY
Determines whether the range of random notes programmed via the NOTE PROB RANGE setting functions
setting. In effect, COIN TOSS allows the note
in a bi-polar or uni-polar direction. In uni-polar mode notes are only randomly generated above the
probability behavior to randomly “flip a coin” on a particular step that contains COIN TOSS data, resulting
programmed note – in bi-polar mode notes are allowed to be randomly generated both above and below.
in either a step playing note data from the main lane or the coin toss lane.

For example, if you recorded a C minor triad into the main lane on a particular step, and a C minor 1st
inversion triad into the coin toss lane on the same step, with a note probability of 50% for that step, you’ll
get a 50/50 chance of either of the chords playing, while 0% will result in the minor triad playing, and 100%
will result in the 1st inversion playing.

With COIN TOSS selected, hold the current step button (1-16) to load your alternative set of notes in for
this sequence. To clear out the COIN TOSS, press INIT while COIN TOSS is selected. See the PROBABILITY
section below for more information.

80 81
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

(SOFT BUTTON) SEQ VIEW

Displays the current sequence graphically in the style of a piano roll as when in the SEQ view (but with an
GATE
expanded visible note range).
The GATE page displays the gate lengths
of all notes in the current step. Move the
(SOFT BUTTON) FOLLOW
VALUE encoder to increase/decrease the
Allows the sequencer STEP view to follow the SEQUENCER when playing – updating and displaying the
gate lengths of all notes. Press down on the
current STEP as the SEQUENCER runs. The PAGE button in the SEQUENCER will also update when FOLLOW
SELECT encoder and you can select notes
is enabled for sequences longer than 16 steps.
individually for editing (press and hold SHIFT
while turning SELECT to select more than
one note within the current STEP for editing).
NOTE Press BACK to exit individual gate length select. Gate lengths may be set anywhere from a minimum of 1 to
100 as a percentage of the step length, or from the full step length (1S) up to the max length of the current
The NOTE page allows you to edit the notes sequence.
on the current step of your sequence. Each
step can have up to eight notes (reflecting Soft button operations below will apply to all
Muse’s eight voices). As on the main STEP gate lengths in the step or the highlighted
page, you can hold down the 1-16 button gate length(s) when using SELECT to select
corresponding to the current step to replace gate lengths either individually or in groups.
notes in the current step via the keyboard, or
press INIT to delete all notes from the current (SOFT BUTTON) MIN
step. Sets gate length to a minimum value of 1.

Move the VALUE encoder while NOTE is (SOFT BUTTON) DEFAULT

highlighted to move all notes on the current Sets gate length to the DEFAULT GATE LENGTH value as configured in the SEQUENCER MORE menu.
step up or down a semitone. Press down on
the SELECT encoder and you can select (SOFT BUTTON) 1STEP
notes individually for editing (press and hold Sets gate length to a maximum value of 1S (i.e. the entire length of the step).
SHIFT while turning SELECT to select more
than one note within the current STEP for (SOFT BUTTON) TIE
editing). Pressing the SELECT encoder once Sets gate length to a maximum value of 1S (i.e. the entire length of the step) and will not retrigger the
more when highlighting an individual note will set the note blinking – allowing you to edit the note via envelopes of that voice in the next step.
the keyboard. Double-clicking SELECT while an individual note is highlighted will delete the current note,
and double-clicking SELECT again will restore that deleted note. If a note location which never had any (SOFT BUTTON) RND
notes assigned to it is double-clicked, the root note of the scale (assigned via SEQUENCER SETTINGS) Hold SHIFT and the RND soft button will appear in place of TIE – sets gate length to a random value.
will be assigned. Press BACK to exit individual note editing.

(SOFT BUTTON) OCTAVE –1

Transposes notes down by an octave – either all notes in the step, or the highlighted note(s) when using
VEL
SELECT to select notes individually.
The VEL page displays the velocity values
of all notes in the current step – anywhere
(SOFT BUTTON) OCTAVE +1
from 1 to 127. Move the VALUE encoder to
Transposes notes up an octave – either all notes in the step, or the highlighted note(s) when using SELECT
increase/decrease the velocity values of all
to select notes individually.
notes. Press down on the SELECT encoder
and you can select notes individually for
(SOFT BUTTON) INVERSION
editing (press and hold SHIFT while turning
Inverts the current chord – taking the lowest note in the chord and moving it up an octave. Successive
SELECT to select more than one note within
INVERSION operations will continue moving the lowest note up an octave until the upper limit of Muse’s
the current STEP for editing). Clicking SELECT once more while highlighting the velocity value of an
keyboard is reached. Press SHIFT + INVERSION to invert the chord downwards – taking the highest note
individual note will allow you to play in a new velocity value via the keyboard. Press BACK to exit individual
in the chord and moving it down an octave.
velocity value editing.
(SOFT BUTTON) VOICE LEAD
Rearranges all note values in the current step and sorts them from left to right in ascending order.

82 83
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

Soft button operations below will apply to all

velocity values in the step or the highlighted
TIMBRE
velocity value(s) when using SELECT to select
The TIMBRE page displays which TIMBRE (A
them individually.
or B) each note on the current step is allocated
to. Press the SELECT encoder to be able to
(SOFT BUTTON) MIN select and edit the timbre of each note
Sets velocity value to a minimum of 1. individually or press and hold SHIFT while
turning SELECT to select more than one
(SOFT BUTTON) DEFAULT note within the current STEP for editing.
Sets velocity value to the DEFAULT VELOCITY value as configured in the SEQUENCER MORE menu.
Soft button operations below will apply to all
(SOFT BUTTON) MIN timbre values in the step or just the highlighted
Sets velocity value to a maximum of 127. note when using SELECT to select notes
individually.
(SOFT BUTTON) RND
(SOFT BUTTON) A
Sets velocity values to a random value between 1 and 127.
Sets to TIMBRE A.

(SOFT BUTTON) B
TIME Sets to TIMBRE B.

The TIME page allows for microtiming editing

(SOFT BUTTON) RND
of every note in the current step of the
Sets to a random TIMBRE either A or B.
sequence. The timing resolution of Muse is
one 384th note (assuming SEQ CLK DIV is
set to 1/16th notes), meaning there are 23
different microtiming subdivisions available GESTURE
in between every 16th note. Move the VALUE
encoder to shift all notes forward or back in Selecting the GESTURE soft button will enter
time by one subdivision. Press down on the gestural recording mode, allowing you to
SELECT encoder and you can select notes use the VALUE encoder to quickly enter note
individually for editing (press and hold SHIFT information. The GESTURE page features
while turning SELECT to select more than one a soft button for NOTE, VEL, and GATE
note within the current STEP for editing). Press LENGTH, giving you a fun and intuitive way
BACK to exit individual/group timing editing. to enter sequence data or change sequence
parameters on the fly.
Soft button operations below will apply to all
timing values in the step or the highlighted While REC is enabled, holding down one of these soft buttons will replace the NOTE, VEL, or GATE
timing value when using SELECT to select notes individually. LENGTH information the current step with what is displayed on the GESTURE page. Hold NOTE (for example)
while the sequencer is running and REC is enabled and you can use the VALUE encoder to quickly enter
(SOFT BUTTON) -4 notes gesturally. Entering NOTEs via gesture record will overwrite all note information as the sequencer
Jumps timing values back in time by 4 subdivisions. moves through, while holding SHIFT + REC to enter overdub mode will add the gesturally input notes on
top of the current sequence. Rewriting VEL and GATE LENGTH information via gestural recording will
(SOFT BUTTON) RESET update velocity and gate length information for all notes on the current step.
Resets timing values to be on beat.

(SOFT BUTTON) +4
Jumps timing values forward in time by 4 subdivisions.

(SOFT BUTTON) RND

Shifts timing values forward or backward in time by a random value.

84 85
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

• Coin Toss
PARAMETER RECORDING If an alternate note or set of notes has been entered into the COIN TOSS page for any steps (see
COIN TOSS above), that alternate note or set of notes will randomly play based on the probability
Selecting the PARAM REC soft button opens
setting. Set to 100% the COIN TOSS notes will always play, while set to 0% the main programmed
the parameter recording view, allowing you
notes will always play - allowing you to balance the likelihood of either group of notes playing based
to store up to eight panel control parameter
on which side of 50% NOTE PROB is set.
values per step. With parameter recording,
you can sequence up to eight panel controls
directly from the sequencer for rhythmic tonal NOTE PROB RNGE
changes and patch modulations. Sets the range in semitones that the generated randomized note can deviate from the programmed note.
Can be set up to 5 octaves away (limited by the total range of Muse’s keyboard) and can be either unipolar
In LIVE RECORD mode (PLAY and REC on), or bipolar depending on the NOTE PROB RNGE POLARITY setting in the SEQUENCER MORE menu. On
press the PARAM REC soft button to enter the parameter recording view — as you adjust a panel control its steps with multiple notes, NOTE PROB RANGE is rounded to the nearest octave and used to bound
value will be saved per step. You may also update parameter recording values step-by-step in STEP RECORD randomized chord voicings.
mode (with REC on and the sequencer not running).
GATE PROB
Parameter recording stores a single value per panel control per step, so it will naturally produce “stepped” Probability that the current step plays its note information – from 100% probability down to 0%.
parameter changes from one step to the next. Up to eight parameters can be recorded per sequence – the
ninth parameter recorded will replace the first on the PARAM REC view and so on. GATE LNGTH PROB
Probability that the gate length information in the current step will deviate from its programmed value
(SOFT BUTTON) CLEAR ALL – from 0% to 100% probability.
Clears all parameter recording data from the sequence.
GATE LNGTH PROB RNGE
(SOFT BUTTON) CLEAR PARAM Determines how far randomized gate lengths are allowed to deviate from the programmed gate length
Clears the currently highlighted parameter value on the current step. – from 0 to 100.

(SOFT BUTTON) CLEAR STEP VELOCITY PROB

Clears all parameter values for the current step. Probability that the velocity information in the current step will deviate from its programmed value – from
0% to 100% probability.

PROBABILITY VELOCITY PROB RNGE

Determines how far randomized velocities are allowed to deviate from the programmed velocity – from 0
Selecting the PROB soft button opens the to 127.
probability settings view, allowing you to add
random fluctuations and chance operations
to your sequence. Probability settings are SEQUENCER MORE MENU
stored per step, so you can program any-
thing from a single randomly changing step The SEQUENCER’s MORE MENU is unique in
in your sequence to intricate, unstable changes that its settings are non-volatile and will be
throughout your sequence or completely ran- retained across power cycles.
dom chaos.
LIVE REC MODE (GLOBAL/TIMBRE.
DEFAULT: GLOBAL)
Enable the ALL STEPS soft button at the bottom-right of the probability settings view to apply changes
Configures how LIVE RECORD mode handles
to all steps in the current sequence.
notes with different timbres. In GLOBAL mode,
NOTE PROB all note information in a current step is
Probability of NOTE randomization for the current step from 0% to 100%. Note probability will function in overwritten in LIVE RECORD mode. In TIMBRE mode, only the notes in the currently selected timbre are
a few different ways based on what information is in the current step: overwritten in LIVE RECORD mode – notes assigned to the other timbre are kept. In the event of a voice
count conflict, notes in the other timbre will be removed to make room for newly entered notes.
• Single NOTE
A randomly generated note will be selected based on the ROOT and SCALE settings of the
REC TIME QUANT (DEFAULT: OFF)
sequence (found in the SEQUENCER MORE menu) and the NOTE PROBABILITY RNGE below.
Enables and sets time quantization for LIVE RECORD mode. Timing quantization can be set to note values
• Multiple NOTEs of 1/64th, 1/32nd, 1/16th, or 1/8th. Defaults to OFF (i.e. full 384th note resolution).
All notes in the step will be treated as a chord, and a random inversion or voicing will be generated
for that chord based on the NOTE PROB RNGE.

86 87
 MUSE MODULES (Cont.) MUSE MODULES (Cont.)

REC PITCH QUANT (ON/OFF. DEFAULT: OFF)

Enables pitch quantization for LIVE RECORD mode. While in LIVE RECORD mode, any notes entered that
PROGRAMMER
fall outside the current sequence’s ROOT and SCALE settings (set in the SEQUENCE SETTINGS menu) 8-VOICE POLYPHONIC
The PROGRAMMER
ANALOG SYNTHESIZER is the central hub for interacting with Muse. It is where you will find the preset manager
will be nudged upwards to the nearest valid note.
(BANK/PATCH), where you will program modulation via the MOD MAP, and where you can program the
ARPEGGIATOR and SEQUENCER (SEQ/STEP). The PROGRAMMER also gives access to Muse’s configuration
GATE LNGTH REC (ON/OFF. DEFAULT: ON)
menus, MIDI/CV settings, and is where you will navigate settings for the MORE menus found throughout Muse.
Enables recording of gate length information via the keyboard or external MIDI controller when in LIVE
RECORD mode. If OFF, gate lengths all default to DEFAULT GATE LENGTH.
In the center of the PROGRAMMER you will find the main interface screen, the SELECT and VALUE encoders,
and four soft buttons directly below the screen whose function changes depending on what is on screen.
DEFAULT GATE (1-100. DEFAULT: 50)
Below them are six buttons for navigating between the main PROGRAMMER base states – BANK, PATCH,
Sets DEFAULT GATE LENGTH value for use throughout the SEQUENCER.
MOD MAP, ARP, SEQ, and STEP – which will be described later in this section.

DEFAULT VEL (1-127. DEFAULT: 100)

Sets DEFAULT VELOCITY value for use throughout the SEQUENCER.

RESET ON STOP (OFF/ON. DEFAULT: ON)

If enabled, stopping the sequencer via the PLAY button will reset it.

TRANSPOSE (OFF/ON. DEFAULT: OFF)

Enables sequence transposition via the keyboard (or external MIDI controller) during sequence playback.
If enabled, middle C is the default un-transposed position.

ADV QUANT (DEFAULT: 1/16)

Quantizes the press of the ADV button while the sequence plays to either a 1/16th , 1/8th, 1/4, or 1/2 note.
This can allow you to offset the phase of notes in your sequence against a clock source while ensuring
you’re not unintentionally shifting the sequence’s clock phase off the grid when doing so.

SEQ CHAIN DIR (DEFAULT: FW)

Configures the order in which the SEQ CHAIN is played – either forward (FW), backward (BW), pendulum
(FW/BK), or random (RANDOM).

SEQ CHANGE (END OF SEQ/IMMEDIATE. DEFAULT: END OF SEQ)

Configures whether a newly selected sequence is loaded immediately or at the end of the currently playing
sequence.

NAVIGATION
SELECT
The SELECT knob is an endless encoder that allows you to select various values
on screen to adjust by highlighting the value with a ‘selector box’. In a vertically
oriented menu turning the knob clockwise will move the selector box down, and
counterclockwise will move the box up. In a horizontally oriented menu, turning
clockwise will move the selector box to the right, and counterclockwise will move
SELECT the box to the left. (Clicking the SELECT knob serves the same function as the
ENTER button, which can make certain programmer focused tasks more convenient).

MOD

88 89
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

VALUE MENU
The VALUE knob is an endless encoder that allows you to adjust the values high- Opens the global settings menu - see GLOBAL SETTINGS section below.
lighted by the SELECT knob.

VALUE

SHIFT BACK
The SHIFT button allows you to access certain secondary functions on the panel Backs out of any menus to one of the six PROGRAMMER base states.
or via soft buttons by holding down the SHIFT button down while making
adjustments. Once the SHIFT button is released, the panel and screen will revert
back to their primary functions.

Holding SHIFT also allows you to make fine tuning adjustments for any knob or
slider on the Muse front panel.

TIP: If using the MODULATION OSCILLATOR as a third audio oscillator you may want to use SHIFT SAVE
functionality to more precisely tune it to the two main oscillators. Press HOLD and press a key, turn up the The SAVE button allows you to save the current PATCH or SEQUENCE. Each
oscillators in the MIXER, and use the FREQUENCY knob in the MODULATION OSCILLATOR to tune it PATCH will contain ARP and MOD MAP information when saved. Each SEQUENCE
roughly to where you want it. Then hold SHIFT down and continue adjusting FREQUENCY for fine tuning. will contain STEP information when saved.

ENTER TIP: If the patch lock function is engaged within a SEQUENCE you can include a stored PATCH to be
The ENTER button is used anytime confirmation is needed on screen. This can loaded with that SEQUENCE.
be pressed to enter certain sub-menus, or to confirm the saving of a preset. (The
SELECT knob can also be pressed to accomplish the same task at any time).
To save information, press the SAVE button - one of the PROGRAMMER buttons (1-16) will blink to indicate
the destination of the saved PATCH or SEQUENCE. Pressing any other PROGRAMMER button 1-16 will
change the save location, with that respective location now blinking. When in SAVE mode, moving between
BANKS or pressing any other location button won’t load a new PATCH/SEQUENCE but rather change the
location for saving the current PATCH/SEQUENCE.
MIDI
Opens the MIDI menu – see SETTINGS section below. Further information for saving a PATCH or SEQUENCE can be found in their respective sections later in
this manual.

TUNING
Opens the TUNING menu – see SETTINGS section below.

CV
Opens the Control Voltage (CV) settings menu – see SETTINGS section below.

COMPARE
Allows you to compare a saved PATCH with an edited one. With a PATCH loaded,
any changes made to it will be indicated by an asterisk (*) next to the PATCH
name. Press COMPARE (button LED lit) and you will hear the PATCH as saved
in memory. With COMPARE unlit you will hear the edited version.

90 91
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

PANEL INIT
Overrides all preset knob and slider states in the currently selected PATCH and Initializes a BANK, PATCH, MOD MAP, SEQUENCE, or STEP depending on which
reverts to the settings currently expressed by the panel controls. This will have function is currently being addressed by the PROGRAMMER. Initialization will
no effect on the MORE menu settings of a patch. revert back to a neutral ‘un-programmed’ state:

COPY
BANK
Copies information within the various PROGRAMMER base states. It works the
INIT will clear out the current BANK.
same way across the BANK, PATCH, and MOD MAP pages. With a location button
selected, press COPY to store the currently selected BANK, PATCH, etc. into a
PATCH
buffer – indicated by the current location button blinking. Press a new location
INIT will revert either TIMBRE A, TIMBRE
button corresponding to the location you wish to paste to (which will now begin
B, or the entire patch to the initialized
blinking) and press ENTER to confirm.
patch. This will not overwrite the saved
patch.

BANK
MOD MAP
Please note that this action is destructive
INIT will initialize the current slot in the
and will overwrite saved data, so proceed
MOD MAP.
with caution! Press COPY with BANK in the
PROGRAMMER selected and the current
ARP
BANK location will begin to blink. Press the
INIT will initialize the ARPEGGIATOR
location button corresponding to the target
settings.
BANK, which will set that location blinking
as well. Press ENTER to confirm the copy.
SEQ
Hold down INIT and press a sequence
PATCH
location (1-16) to initialize that sequence.
Press COPY with PATCH in the PROGRAMMER
This will not overwrite the sequence.
selected and you will be asked to select the
source PATCH for copying (you may press
STEP
BANK to switch the BANK for the source
INIT will clear all data in the current STEP.
PATCH). Select a PATCH, and you will be
asked if you want to copy the entire PATCH,
only TIMBRE A, or only TIMBRE B.
When the INIT button is pressed to initialize either a BANK, PATCH, or SEQ, a confirmation requiring users
to press ENTER will appear on the screen to prevent accidental deletion of information.
Make your selection, and you will be asked to select a target PATCH location (you may press BANK to
change the target BANK). If you are only copying a single TIMBRE, you can select which TIMBRE (A or
B) in the target PATCH to copy the source TIMBRE to. Press CONFIRM to confirm the copy. This action is
non-destructive and requires an explicit SAVE operation to overwrite saved data.

MOD MAP
Press COPY with a mod slot in the MOD MAP selected and the source mod slot will start blinking. You
may select any number of target mod slots with the location 1-16 buttons – press ENTER to confirm.

92 93
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

(SOFT BUTTON) ORGANIZE

BANK/PATCH Allows you to swap the position of two
different banks. When ORGANIZE is pressed
The BANK and PATCH buttons are the main interfaces for patch storage and management in Muse. A PATCH
you can select a bank using the step buttons
is a stored set of panel settings, MOD MAP routings, and expressivity controls that make up a unique sound.
(1-16). The selected button will start to blink,
Saving a patch allows you to instantly recall any sound you have made on Muse. Each patch contains two
indicating that the bank is waiting to be moved.
separate timbres and all VOICE CONTROL settings are saved on a per-patch basis.
Press the step button (1-16) where you would
like to move the selected bank and press EN-
A BANK is a collection of up to 16 patches, and Muse can contain a total of 16 separate banks. Banks can be
TER to confirm the move. The two banks will
organized so that when the PROGRAMMER is in PATCH mode you can quickly switch between patches that
then swap positions.
are most useful to you. Put all the patches for a particular live gig in one BANK for easy access or organize
your patches into different banks based on mood, feel, specific projects, or whatever makes the most sense to you!
NOTE: Moving a bank will change the BANK #, but banks will retain any stored names.

To load patch 14 in bank 5 (for example): PATCH

Puts the PROGRAMMER in PATCH mode,
allowing you to select between the 16 patches in the current bank using the location
buttons (1-16). Each patch can be named by the user for categorization purposes.

1 2 3 4 (SOFT BUTTON) EDIT NAME

Allows you to edit the name of the currently
Press BANK to focus Press location button Press PATCH to focus Press location
the PROGRAMMER 5 to switch to BANK the PROGRAMMER button 14 to load selected patch as indicated by the illuminat-
on the BANK view number 5 on the PATCH view PATCH number 14 ed step button and patch name on screen.
When EDIT NAME is pressed, the first character
BANK of the patch name will be highlighted. The
Puts the PROGRAMMER in BANK view, allowing you to select between 16 banks of SELECT encoder selects which character is
patches using the location buttons (1-16). Each of the 16 banks contains 16 patches being edited and the VALUE knob changes
(for a total of 256 available patches). Each bank can be named by the user for the selected character. Pressing the ENTER
categorization purposes. button (or clicking the SELECT encoder) will
confirm the name.

(SOFT BUTTON) ORGANIZE

Allows you to swap the position of two different
(SOFT BUTTON) EDIT NAME patches. When ORGANIZE is pressed you
Allows you to edit the name of the currently can select a patch using the step buttons
selected bank as indicated by the illuminated (1-16). The selected button will start to blink,
step button and BANK # on screen. When indicating that the patch is waiting to be
EDIT NAME is pressed, the first character moved. Press the step button (1-16) where
of the bank name will be highlighted. The you would like to move the selected patch
SELECT encoder selects which character is and press ENTER to confirm the move. The
being edited and the VALUE knob changes two patches will then swap positions.
the selected character. Pressing the ENTER
button (or clicking the SELECT encoder) will (SOFT BUTTON) ARRANGEMENT
confirm the name. Brings up the ARRANGEMENT view, displaying
all timbres across all the patches in the current
NOTE: BANK names are limited to 9 characters. BANK and allowing you to select timbres from two different patches.

NOTE: Using ARRANGEMENT is non-destructive and requires an explicit SAVE operation to store the selected TIMBRES as a new PATCH.

94 95
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

MOD MAP SOURCE

Selects the source of modulation. You may select a source by either scrolling through them with the VALUE
The MOD MAP is where all assignable modulation settings are created and stored encoder or pressing down on the SELECT with the source section highlighted (will begin blinking) and
and allows for deep and complex routing of modulation signals throughout Muse. pressing the ASSIGN button corresponding to the desired source. Available modulation sources are:

Modulation routings can be assigned in the MOD MAP in two ways – via quick • LFO 1 (UNI)
assign using the ASSIGN buttons found on Muse’s modulation sources, or via • LFO 1 (BI)
direct programming in the MOD MAP. Refer to the ASSIGNABLE CONTROLLERS • LFO 2 (UNI)
section for an overview of the quick assign procedure. • LFO 2 (BI)
• PITCH LFO (UNI)
• PITCH LFO (BI)
Pressing the MOD MAP button puts the PROGRAMMER in MOD MAP mode, allowing you to select between • RAND TRIG (UNI) (unipolar random value that changes with every key press)
16 different modulation slots using the location buttons (1-16). Within a modulation location, use the • RAND TRIG (BI) (bipolar random value that changes with every key press)
SELECT encoder to select a parameter for adjustment, and the VALUE encoder to scroll through the • VCF EG
available options. The currently selected modulation slot will be brightly lit, while other modulation slots • VCA EG
containing modulation routings will be dimly lit. Currently unused modulation slots will be unlit. • KEYBOARD
• GATE
Each timbre in a patch has 16 available • TRIG
modulation slots. Each slot contains a SOURCE • VELOCITY
of modulation and a DESTINATION. Each slot • AFTER TOUCH
can further contain a CONTROLLER for scaling • MACRO (UNI)
the modulation, and a FUNCTION transform • MACRO (BI)
which will apply a transform function to the • MOD WHEEL (UNI)
modulation SOURCE, CONTROLLER, or BOTH. • MOD WHEEL (BI)
It’s important to note that the summed value • EXPRESSION PEDAL
of the CTRL and DEST boxes cannot exceed • SUSTAIN PEDAL
100 or go below –100. • CV IN 1
• CV IN 2
TIP: When using the VALUE encoder to adjust FUNC, CNTRL, and DEST amounts you can hold SHIFT to engage fine tuning of modulation amounts.
FUNCTION
(SOFT BUTTON) SOLO Applies a transform function to a target signal (selectable via the FUNC DEST soft button – either the
Allows you to audition the effect a particular modulation slot has on its own. With SOLO pressed all other SOURCE, the CONTROLLER, or BOTH). Available functions are:
modulation slots will be temporarily disabled.
SLEW
(SOFT BUTTON) FUNC DEST Slews the signal coming from the target, smoothing out sudden changes and slowing down
Selects the target function destination for the transform function – either SOURCE, CONTROLLER, BOTH movement. Amount increases slew time.
or NONE. The current function destination is displayed above the FUNC column.
CUBIC
Applies waveshaping to the target signal via a cubic function. Amount represents a mix between
(SOFT BUTTON) MUTE
input signal and waveshaped output.
Temporarily disables the current modulation slot.
EXPONENTIAL
Applies waveshaping to the target signal via an exponential function. Amount represents a mix
between input signal and waveshaped output.

96 97
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

LOGARITHMIC
Applies waveshaping to the target signal via a logarithmic function. Amount represents a mix
CONTROLLER
between input signal and waveshaped output.
Selects a controller for the modulation routing. You may select a controller by either scrolling through them
COMPARATOR with the VALUE encoder or pressing down on the SELECT with the controller section highlighted (will
Generates a gate from the target signal. When the signal exceeds a certain threshold, the resulting begin blinking) and pressing the ASSIGN button corresponding to the desired controller.
gate will be high – otherwise it is low. Amount sets the threshold level.
Controllers allow you to use a physical expression controller (Modulation Wheel, Aftertouch, etc.) or a
MAX CLIP
second modulation source (LFOs, Envelopes, etc.) to scale the modulation amount dynamically.
Clips the top of the target signal, preventing it from exceeding a certain threshold. Amount sets the
clipping threshold.
For example: assigning the Modulation Wheel (in UNIpolar mode) as a controller with an amount of 100
MIN CLIP will attenuate the modulation effect fully when the wheel is all the way down and increase the modulation
Clips the bottom of the target signal, preventing it from dipping below a certain threshold. Amount depth to 100% when the wheel is fully up – allowing you to control the amount of modulation with your
sets the clipping threshold. hand. Setting the Controller amount negative will invert the effect – attenuating or even inverting modulation
as the controller is increased.
SYMMETRICAL CLIP
Symmetrically clips the top and bottom of the target signal. Amount sets the clipping threshold but
Note that this controller amount is summed with the amount of modulation routed direct to the destination
will have half the range of the MAX CLIP or MIN CLIP functions as it is applied to the top and bottom
and the sum of the two values cannot exceed 100 or go below -100. If the controller modulation amount
of the signal simultaneously.
is set to 10%, then the most modulation that can be sent direct to the destination is 90%.
TIP: A nice way of creating trapezoidal LFOs from triangle LFOs!
Available modulation controllers are:
SCALE
Scales the target signal, attenuating it at lower amount settings and amplifying it at higher amount
• LFO 1 (UNI)
settings. An amount setting of around 14 represents unity gain, with attenuation down to zero below
• LFO 1 (BI)
that and amplification up to 7 times the input at an amount of 100.
• LFO 2 (UNI)
MAX • LFO 2 (BI)
Logic function that compares the SOURCE and CONTROLLER, outputting whichever of the two • PITCH LFO (UNI)
signals is highest at any given time. With a logic function selected the FUNC DEST soft button is • PITCH LFO (BI)
disabled and set to BOTH. • RAND TRIG (UNI) (unipolar random value that changes with every key press)
MIN • RAND TRIG (BI) (bipolar random value that changes with every key press)
Logic function that compares the SOURCE and CONTROLLER, outputting whichever of the two • VCF EG
signals is lowest at any given time. With a logic function selected the FUNC DEST soft button is • VCA EG
disabled and set to BOTH. • KEYBOARD
• GATE
SUM - Logic function that adds the SOURCE and CONTROLLER signals together, resulting in a
• TRIG
complex modulation signal. With a logic function selected the FUNC DEST soft button is disabled
• VELOCITY
and set to BOTH.
• AFTER TOUCH
DIFF • MACRO (UNI)
Logic function that subtracts the CONTROLLER signal from the SOURCE signal, resulting in a • MACRO (BI)
complex modulation signal. With a logic function selected the FUNC DEST soft button is disabled • MOD WHEEL (UNI)
and set to BOTH. • MOD WHEEL (BI)
• EXPRESSION PEDAL
MULTIPLY
• SUSTAIN PEDAL
Logic function that multiplies the SOURCE and CONTROLLER signals together, resulting in a
• CV IN 1
complex modulation signal. With a logic function selected the FUNC DEST soft button is disabled
• CV IN 2
and set to BOTH.
DESTINATION
Selects the destination for the modulation routing. You may select a destination by either scrolling through
them with the VALUE encoder or pressing down on the SELECT with the destination section highlighted
(will begin blinking) and moving the control of the desired destination. Setting a positive amount will increase
the direct modulation amount (post FUNCTION) from the source to the destination, while a negative
amount will invert the modulation.

98 99
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

Note that this destination amount is summed with the amount of modulation routed through the controller
and the sum of the two values cannot exceed 100 or go below -100. If the direct modulation amount is set COPYING MOD SLOT
to 10%, then the most modulation that can be routed through a Controller is 90%. You can copy a modulation routing from one slot to another by selecting the mod slot you wish to copy
using the location buttons 1-16 and then pressing COPY. The current mod slot will begin blinking and you
Available modulation destinations are:
may then select any other mod slot as the copy destination (remember that currently empty slots will be
• LFO 1 RATE unlit while currently used slots will be dimly lit). Select a destination and then press ENTER to confirm the
• LFO 1 AMP copy procedure.
• LFO 2 RATE
• LFO 2 AMP DELETING MOD SLOT
• PITCH LFO RATE You can delete a modulation routing by selecting the mod slot you wish to delete using the location buttons
• PITCH LFO SHAPE 1-16 and then pressing INIT.
• PITCH LFO AMT
• KEYBOARD (control signal coming from the keyboard – thereby affecting all OSCILLATORS)
• OSC 1 FREQ ARP/SEQ/STEP
• OSC 1 TRI/SAW SHAPE
The ARP, SEQ, and STEP buttons are used for navigation and configuration of the ARPEGGIATOR (ARP)
• OSC 1 PULSE WIDTH
and SEQUENCER (SEQ/STEP). For more information, see their respective sections above.
• OSC 1 WAVE MIX
• OSC 2 FREQ
ARP
• OSC 2 TRI/SAW SHAPE
Puts the PROGRAMMER in ARP mode, allowing you to configure the ARPEGGIATOR.
• OSC 2 PULSE WIDTH
See the ARPEGGIATOR section above for more details.
• OSC 2 WAVE MIX
• OSC FM AMT
• MOD OSC FREQ
• MOD OSC VCO AMT
• MOD OSC PWM AMT
• MOD OSC VCF AMT
• MOD OSC VCA AMT
SEQ
• DETUNE
Puts the PROGRAMMER in SEQ mode, allowing you to select between 16 sequences
• GLIDE
using the location buttons (1-16). Pressing the SEQ BANK soft button allows you
• MIX OSC 1
to select a sequence bank – Muse contains 16 banks of 16 sequences each. Each
• MIX OSC 2
sequence (and sequence bank) can be named by the user for categorization purposes.
• MIX RING MOD
See the SEQUENCER section above for more details.
• MIX MOD OSC
• MIX NOISE
• MIX CLIPPING
• VCF 1 CUTOFF
STEP
• VCF 1 RES
Puts the PROGRAMMER in STEP mode, allowing you to select between 64 steps
• VCF 1 EG AMT
in the current sequence using the location buttons (1-16) and the PAGE button in
• VCF 2 CUTOFF
the SEQUENCER. See the SEQUENCER section above for more details.
• VCF 2 RES
• VCF 2 EG AMT
• LINKED CUTOFF (controls the cutoffs of both filters at once)
• VCF EG ATTACK
• VCF EG DECAY
• VCF EG SUSTAIN
• VCF EG RELEASE
• VCA EG ATTACK
• VCA EG DECAY
• VCA EG SUSTAIN
• VCA EG RELEASE
• VCA LEVEL
• VCA PAN
• VCA PAN SPREAD
• CV OUT 1
• CV OUT 2

100 101
MUSE MODULES (Cont.) MUSE MODULES (Cont.)

STACK
VOICE CONTROL Allows you to control both TIMBRE A and TIMBRE B from the keyboard at the same
time with both playing simultaneously. Engaging STACK also reduces available
The VOICE CONTROL section allows you to control different aspects of voice allocation among Muse’s
polyphony by half (or more) depending on the UNISON settings of either TIMBRE.
eight voices. It allows you to select which TIMBRE is being edited via the main panel controls, whether
a TIMBRE is operating in MONO or UNISON modes, the amount of detuning across voices, and timbre
STACK/SPLIT behavior.

DETUNE
When used polyphonically, DETUNE adds subtle pitch offsets to each voice,
imitating the behavior of an old synthesizer that has slipped from perfect calibration
over years of use. When UNISON mode is engaged, DETUNE creates tuning
offsets between the stacked voices used. When MONO mode is engaged, DETUNE
subtly differentiates the tracking behavior between the two oscillators of the
single mono voice.

UNISON
Enables unison mode on the currently selected timbre, which will stack any currently
unused voices on top of the active ones.

MONO
Enables mono mode on the currently selected timbre, which will restrict the timbre
to operating in a monophonic mode. Only one voice will be used at a time and
polyphonic playing will be disabled.
TIMBRE A/B
Selects either TIMBRE A or B for editing via the main panel controls. The button
corresponding to the currently active timbre being edited will be illuminated.

NOTE: Pressing both TIMBRE A and TIMBRE B at the same time will allow you to adjust settings for both
timbres at once.

SPLIT
Splits the keyboard, allowing you to control TIMBRE A and TIMBRE B from two
different zones on the keyboard. Keyboard split point can be edited via the
VOICE CONTROL MORE page.

102 103
 8-VOICE POLYPHONIC
ANALOG SYNTHESIZER

MUSE MODULES (Cont.) MUSE MODULES (Cont.)

VOICE CONTROL MORE MENU CHORD

SPLIT POINT The CHORD section controls the chord memory functionality on Muse. Chord memory allows you to store
Adjusts the note on the keyboard where the a chord shape in memory and play that chord back from a single key. You can move the chord around on
SPLIT point occurs when SPLIT mode is the keyboard using any key played as the lowest note in the stored CHORD shape.
engaged. If using a SPLIT, TIMBRE A will
always be to the left of the split point and
TIMBRE B to the right. Use SWAP TIMBRE
SETTINGS to swap TIMBRES A and B if you
wish to change their orientation around the
split point.

DYNAMIC VOICE ALLOCATION (OFF, ON. DEFAULT: OFF)

Enables dynamic voice allocation, allowing a TIMBRE to steal voices from the other TIMBRE if its voice count
is exceeded. If TIMBRE A is restricted to 5 notes and is playing a 5 note chord, that leaves 3 voices to TIMBRE
B. With DYNAMIC ALLOCATION enabled, when TIMBRE B plays more than 3 voices it will begin to steal them
from TIMBRE A. With DYNAMIC ALLOCATION disabled, a timbre cannot steal voices from the other timbre.

TIMBRE A VOICE COUNT

Restricts a certain number of voices to TIMBRE A so that TIMBRE B cannot steal voices from TIMBRE A.

TIMBRE B VOICE COUNT

Restricts a certain number of voices to TIMBRE B so that TIMBRE A cannot steal voices from TIMBRE B.

NOTE: The Voice Count settings for TIMBRE A and B will move with respect to each other and always sum to eight to avoid voice
stealing conflicts. If 6 voices are allocated for TIMBRE A then 2 will be allocated for TIMBRE B, etc.

SWAP TIMBRE SETTINGS

Swaps TIMBRES A and B.

Alternatively, KEY mode allows you to store a completely different chord shape for every key on the
keyboard. Combining KEY mode with the arpeggiator can allow you to integrate chords of up to eight
notes into your arpeggiated patterns!

You may also use KEY mode to store only a single note – effectively remapping the keyboard to your needs.
Change C major to a C minor by using KEY mode to store the minor scale notes in place of the major
scale notes and use the chord mode ON button to toggle between keys. This can also be a very handy
performance feature, allowing you to load the right notes for basslines for easy playback on stage.

ON
Engages chord memory. If the KEY button is off, the last learned chord will be used.

104 105
MUSE MODULES (Cont.) SETTINGS

KEY
Engages KEY mode, in which each key of the keyboard contains its own chord.
GLOBAL SETTINGS
Press the MENU button in the PROGRAMMER
to open the global settings page.

SHOW PARAM CHANGES (ON/OFF.

DEFAULT: ON)
Displays panel changes as controls are moved
when enabled – showing the current value as
LEARN
well as the saved value of the current timbre/
Enters chord storage mode, which operates differently based on which chord
patch.
memory mode is being used:
PARAM CHANGE TIME (1.00-5.00 Seconds. DEFAULT: 2.00 Seconds)
Configures display time for popup parameter change display.

VERSION
Displays the current firmware version.

CHORD MEMORY (KEY OFF) PANEL VERSION

Press LEARN and the PROGRAMMER Displays the current panel firmware version.
will bring up the chord memory input
view.Add up to eight notes to your SE BUILD
chord by pressing keys on the keyboard Displays the sound engine version.
and press the CLEAR soft button to
start over if you need to. Press the FPGA BUILD
CONFIRM soft button to confirm the Displays the specific FPGA version.
stored chord shape.

KEY MODE (KEY ON)

Press LEARN and the PROGRAMMER will
MIDI
bring up the chord memory input view.
Press the MIDI button in the PROGRAMMER to open the MIDI settings page.
Add up to eight notes to your chord by
pressing keys on the keyboard. Once KEYBOARD MIDI OUT CHANNEL
you press CONFIRM you will be prompted (ALL, 1-16. DEFAULT: 1)
to press a key to store as a location for Selects a MIDI channel for output of Muse’s
your chord. Pressing a key will store the keyboard information: MIDI NOTE, NOTE ON/
chord. You may press LEARN again to continue storing chords to different key ocations. Every key of OFF, VELOCITY, AFTERTOUCH, and MIDI
the keyboard may contain a different chord in KEY mode. CCs messages.

LHC MIDI OUT CHANNEL (ALL, 1-16.

NOTE: When in KEY mode, any keys that do not have chords stored to them will simply play a single note as usual.
DEFAULT: 1)
Selects a MIDI channel for output of Muse’s Left-Hand Controller (LHC) information: PITCH WHEEL and
MOD WHEEL.

MULTI MODE (OFF/ON. DEFAULT: ON)

Engages MULTI MODE, allowing Muse’s two timbres to be controlled independently via external MIDI
control. If ON, messages at MIDI CHANNEL IN will control TIMBRE A of Muse while TIMBRE B will be
independently controlled via messages at MULTI IN B CHANNEL. If OFF, Muse will handle incoming
MIDI messages as if the local keyboard were being used.

NOTE: In MULTI MODE the STACK and SPLIT buttons in VOICE CONTROL are ignored – STACKS, however, can still be achieved by
sending duplicate MIDI messages to both MIDI channels.

106 107
SETTINGS (Cont.) SETTINGS (Cont.)

MIDI IN CHANNEL (OMNI, 1-16. DEFAULT: 1) ARP CLOCK

Selects a MIDI channel for receiving MIDI information. Will be used to control only TIMBRE A if MULTI Outputs a clock every time the ARPEGGIATOR produces a note. If no notes are held,
MODE is engaged. no clocks are sent.

SEQ CLOCK
MULTI IN B CHANNEL (OMNI, 1-16. DEFAULT: 1)
Outputs a clock pulse on each step while the SEQUENCER is running.
Selects a MIDI channel for receiving MIDI information for TIMBRE B when MULTI MODE is engaged.
GATE A
LOCAL KEYBOARD (ON/OFF. DEFAULT: ON) Outputs a gate signal when the keyboard is played and produces a note in TIMBRE A.
Turns on/off local keyboard control of Muse – allowing you to decouple the keyboard from the internal
GATE B
Muse sound engine.
Outputs a gate signal when the keyboard is played and produces a note in TIMBRE B.

LOCAL LHC (ON/OFF. DEFAULT: ON)

INT CLOCK DIV
Turns on/off local Left-Hand Controller (LHC) control of Muse – allowing you to decouple the LHC from
(1/64th, 1/32nd, 1/16th, 1/8th, Quarter, Half, Whole, or 2 whole notes – with dotted (D) or triplet (T) variations)
the internal Muse sound engine.
Allows the CLOCK OUT to be set to a different clock division than the ARP or SEQ when using the INT
CLOCK setting.
SEND CC (ON/OFF. DEFAULT: ON)
Sets whether Muse sends CC messages via the MIDI OUT and USB outputs.

RECIEVE CC (ON/OFF. DEFAULT: OFF) TUNING

Sets whether Muse receives CC messages via the MIDI IN and USB inputs.
QUICK TUNE touches up the tuning for the current temperature conditions and takes a few seconds. Tuning
MIDI MONITOR measurements taken for quick tune are saved, and Muse will remember environmental conditions to stay in
Turns on the MIDI MONITOR, allowing you to view basic incoming and outgoing MIDI messages. tune in the future. Therefore, the more environments in which you run QUICK TUNE, the more robust your
instrument’s tuning will be.

CV The instrument is calibrated & tuned at the factory in a controlled environment, so do not run full TUNING or
AUTOCAL unless there is a significant problem that cannot be solved by other means.
Press the CV button in the PROGRAMMER to open the Control Voltage settings page.
However, if you must run TUNING/AUTOCAL, there are some guidelines to follow to get a good result.
CV inputs and outputs are programmed via
the MOD MAP. CV IN 1 and CV IN 2 can be 1. Turn off the instrument and let it cool down to the ambient temperature of the room. This can take up
selected as modulation sources or controllers, to several hours of the instrument being off.
while CV OUT 1 and CV OUT 2 can be selected 2. Turn on the instrument and run TUNE AND CAL. The instrument will then take measurements as it
as modulation destinations. warms up and will wait for the temperature to stabilize before continuing. During this time, the instrument will
not appear to be doing anything - rest assured, it is, so leave it be.
SUSTAIN IN POLARITY (CLOSED/OPEN/CV.
3. The full TUNE AND CAL procedure can occasionally take upwards of 1-2 hours. So be patient and do
DEFAULT: CLOSED)
not touch the instrument during the procedure.
Configures behavior at SUSTAIN input on
rear panel of Muse.
Full TUNE AND CAL should be run in a moderate and temperature stable environment, such as a house at ~70
degrees F or ~21 degrees C. If the environment is exceedingly warm or cold (or the temperature is fluctuating)
CLOCK OUT SOURCE (INT CLOCK, STRT/STOP, ANALOG THRU, ARP CLOCK, SEQ CLOCK, GATE A,
the procedures may fail or produce poor results.
GATE B. DEFAULT: INT CLOCK)
Configures the signal at the CLOCK OUT jack on the rear panel of Muse.

INT CLOCK Press the TUNING button in the PROGRAMMER

Outputs the internal CLOCK of Muse as determined by the CLOCK module. to open the TUNING configuration page.

STRT/STOP
START QUICK TUNE
Outputs the internal CLOCK of Muse, but will stop outputting clocks when a MIDI Stop message
Begins quick tuning routine, which touches
is received and resume when a MIDI Start/Continue message is received.
up the tuning for the current temperature
ANALOG THRU conditions and takes a few seconds.
Outputs the signal present at the CLOCK IN jack.
START TUNING
Begins full TUNING routine, which fully tunes all 24 VCOs of Muse across it’s musical range. Instrument

108 109
must be cooled down to room temperature, so turn Muse off for at least an hour before beginning FIRMWARE UPDATES AND LIBRARY MANAGEMENT (Cont.)
TUNING. Turn Muse on and run TUNING and the instrument will warm up gradually as it performs
the TUNING operation. Set aside 1-2 hours in total for TUNING and let Muse warm up at its own pace,
ensuring no fans are blowing on Muse or anything else that would introduce temperature fluctuations. Once in disk mode, you may open the MOOG_MUSE disk to view its contents.

NOTE: TUNING removes all QUICK TUNE data and as such should not be run unless there are significant tuning issues since • firmware contains the firmware binary file
measurements saved by running QUICK TUNE improve your instrument’s tuning and performance. • library contains data for all patches and all sequences
• util contains calibration data and should be ignored
START AUTOCAL
Begins full AUTOCAL routine, which calibrates the analog synthesizer circuits of Muse. Instrument must
be cooled down to room temperature, so turn Muse off for at least an hour before beginning AUTOCAL.
Turn Muse on and run AUTOCAL and the instrument will warm up gradually as it performs the AUTOCAL
operation. Set aside 1-2 hours in total for AUTOCAL.

START TUNE AND CAL

Runs both full TUNING and AUTOCAL routine. Instrument must be cooled down to room temperature,
so turn Muse off for at least an hour before beginning TUNE AND CAL. Turn Muse on and run TUNE AND
CAL and the instrument will warm up gradually as it performs the operation. Set aside 1-2 hours in total
for TUNE AND CAL.

EXPORT LOG
Useful for diagnostical purposes. Connect a USB drive and click EXPORT LOG to write tuning and
calibration log files.

To make firmware updates, drag the updated firmware file (named “moog-muse-firmware.bin”) into the
VOICE TEMP
firmware folder, replacing the old file. The firmware folder MUST contain ONLY a valid “moog-muse-firm-
Displays the current temperature of the voice cards in degrees centigrade.
ware.bin” file and nothing else for Muse to function properly.

Once the firmware file has been updated:

FIRMWARE UPDATES AND LIBRARY MANAGEMENT
• Eject the MOOG_MUSE drive from your computer.

Firmware updates and patch/sequence library IMPORTANT: Safely ejecting Muse is critical to ensure all pending operations
management are accomplished via DISK MODE. are completed and that the firmware is fully updated.

• The PROGRAMMER screen will now read DISK

To enter DISK MODE:
MODE SESSION ENDED.
• Power off Muse.
You’re done! You may now power off Muse, disconnect it from
• Connect your computer to the USB-B port on the
the computer, and power it on as normal to begin using the
rear of Muse.
new firmware.
• Hold down the SELECT encoder on Muse and
continue holding it down while powering on Muse.
The library folder contains a folder for every patch bank of
You may release the SELECT encoder once the
Muse. Within each bank folder is a separate folder for each
PROGRAMMER screen reads DISK MODE.
patch - inside of which is the patch data for that bank and
patch location. Only one patch can be in a patch folder at a
!!! NOTE: Windows users may see a prompt that says “There is a problem with this drive, scan the drive now to fix it.” Do not scan the
time. Inside the sequences folder is a similar file structure for
drive as this may cause issues with your unit and will likely result in having to send it back for service. Either exit out of the pop-up
the banks and sequences in the SEQUENCER. You may move
prompt or wait a few moments and it will go away on its own.
around patches/sequences, rename them, back them up on
your computer, and transfer new patches from your com-
• Muse will now appear on your computer as an external disk named MOOG_MUSE.
puter to Muse using DISK MODE, but you must retain the file
structure in the library folder.

110 111
SPECIFICATIONS SPECIFICATIONS (Cont.)

SYNTHESIZER TYPE OUTPUT SECTION

Polyphonic, Bi-timbral Analog Synthesizer Master Volume, Headphones Volume, Low Cut EQ

SOUND ENGINE LFO

Analog (x2) Rate, Amplitude, Waveform selection (Triangle, Sawtooth, Square, Sample-and-Hold, User customiz-
able), Keyboard Reset
POLYPHONY
8 Voices PITCH LFO
Rate, Ramp Down through Triangle to Ramp Up Shape control, One-Shot Envelope toggle, Keyboard Re-
KEYBED set, Pitch Modulation routing and amount
61 full-size semi-weighted Fatar keybed with Velocity and channel Aftertouch
GLIDE
CONTROLLERS
Selectable glide type (LCR, LCT, EXP), Glide amount
Pitch Wheel, Modulation Wheel, Macro Knob, Keyboard Octave switch, Hold switch, Sustain Pedal input,
Expression Pedal input – all pedal functions are assignable
CLOCK
Clock rate, Tap Tempo
PANEL CONTROLS
44 knobs, 16 sliders, 129 buttons – OLED screen
ARPEGGIATOR
Per-timbre with Clock Division, Octave range, Pattern, Direction, Gate time, Rhythmic programming, etc.
ANALOG VOLTAGE-CONTROLLED OSCILLATORS
(x2) Selectable Triangle/Sawtooth mix, variable width Pulse wave, Octave (16’, 8’,
SEQUENCER
4’, 2’), Frequency (+/- 7 Semitones), Wave Mix (blends Triangle/Sawtooth with variable Pulse wave), FM
64 step sequencer with Clock Division, Transport controls, Sequence chaining, Step editing, Modulation
routing and amount, Hard sync
capabilities, and memory capacity of 16 banks of 16 sequences

ANALOG RING MODULATOR

PROGRAMMER
Ring modulation between Oscillators 1 and 2
Browser via OLED screen with 16 banks of 16 patches, Mod Map, Arpeggiator settings, Sequencer with
per-step settings, Global settings, etc.
ANALOG VOLTAGE-CONTROLLED MODULATION OSCILLATOR
Selectable waveform (Sine, Sawtooth, Reverse Sawtooth, Square,
VOICE CONTROL
Noise), Audio range toggle switch, Keyboard tracking, Keyboard reset, Unipolar switch, Pitch Modulation
Mono or poly voice count per timbre, Unison/Mono, Detune, Timbre editing, Voice stealing configuration
routing and amount, Filter Modulation routing and amount, Pulse Width Modulation routing and amount,
VCA Modulation amount, Panning switch
CHORD MEMORY
Chord memory with per-key functionality
ANALOG NOISE GENERATOR
White noise
MOD MAP
16 modulation slots per timbre per patch with controllers and mathematical transform functions
ANALOG VOLTAGE-CONTROLLED MIXER
Independant level control for OSC 1, OSC 2, RING, MOD OSC, and NOISE. Overall
OVERLOAD control
REAR PANEL
ANALOG VOLTAGE-CONTROLLED FILTERS
(x2) Moog transistor ladder filters (1 with highpass/lowpass modes), Cutoff Frequency, AUDIO OUTPUTS
Resonance, KB Tracking Amount, Envelope Amount, Linked Operation, Routing (Series, Parallel, Stereo) Main Left, Main Right (1⁄4” TRS)

ENVELOPES HEADPHONES
(x2) Attack, Decay, Sustain, Release, variable curves per stage, Multi-trig, Loop, Velocity Stereo 1⁄4” (located on the front edge of the Left Hand Controller)

ANALOG VOLTAGE-CONTROLLED AMPLIFIER PEDAL INPUTS

Volume per Timbre, Pan position per Timbre, Pan Spread per timbre Sustain, Expression (1⁄4” TRS; Configurable through Mod Map or for use as 1⁄4” TS CV inputs)

DIFFUSION DELAY TM CONTROL VOLTAGE INPUTS

Configurable stereo signal processor, Delay Time Left, Delay Time Right, Feedback, Character, Mix, CV IN 1, CV IN 2 (1/8” TS)
analog bypass switches (to maintain 100% analog signal path)

112 113
SPECIFICATIONS (Cont.) SERVICE & SUPPORT

CONTROL VOLTAGE OUTPUTS

CV OUT 1, CV OUT 2 (1/8” TS)
MOOG’S STANDARD WARRANTY
Moog warrants its products to be free of defects in materials or workmanship and conforming to
specifications at the time of shipment. The Warranty Period is one year from the date of purchase. If, in
ANALOG CLOCK INPUT
Moog’s determination, it has been over five years since the product shipped from our factory, it will be at
CLOCK IN (1/8” TS)
Moog’s discretion whether to honor the warranty regardless of the purchase date. During the Warranty
Period, any defective products will be repaired or replaced, at Moog’s option, on a return-to-factory basis.
ANALOG CLOCK OUTPUT
This warranty covers defects that Moog determines are not the fault of the user.
CLOCK OUT (1/8” TS)
The Moog Limited Warranty applies to USA purchasers only. Outside the USA the warranty policy and
MIDI associated service is determined by the laws of the country of purchase and supported by our local
5 Pin DIN MIDI IN, OUT, THRU; MIDI over USB authorized distributor.

A listing of our authorized distributors is available at www.moogmusic.com.

USB B
USB-B connector for interfacing with a computer or other host MIDI device If you purchase outside of your country, you can expect to be charged for warranty as well as non-warranty
service by the service center in your country.
USB A (HOST)
USB-A connector for connecting to other instruments with Muse as the MIDI host
RETURNING YOUR PRODUCT TO MOOG MUSIC
You must obtain prior approval in the form of an RMA (Return Material Authorization) number from Moog
POWER before returning any product. Email techsupport@moogmusic.com for an RMA number. All products
must be packed carefully and shipped with the Moog supplied power adapter. Muse must be returned in
STYLE the original inner packing including the cardboard inserts. The warranty may not be honored if the product
IEC Cable is not properly packed. Once you have received the RMA number and carefully packed your Moog Muse,
ship the product to Moog Music with transportation and insurance charges paid, and be sure to include
INPUT your return shipping address.
100 – 240VAC; 50 Hz – 60 Hz

WHAT WE WILL DO
WEIGHT Once received, we will examine the product for any obvious signs of user abuse or damage as a result of
transport. If the product was abused, was damaged in transit, or is out of warranty, we will contact you
14.55 (kg), 32 (lbs) with an estimate of the repair cost. If warranty work is performed, Moog will ship and insure your product
to your United States address free of charge.

DIMENSIONS
HOW TO INITIATE YOUR WARRANTY
(W x D x H): 99 x 42 x 11 (cm), 39 x 17 x 4.5 (inches) Please initiate your warranty online at www.moogmusic.com/register. If you do not have web access,
please call (828) 251-0090 to register your product.

CARING FOR MUSE

Clean Muse with a soft, dry cloth only—do not use solvents or abrasive detergents. Heed the safety warn-
ings at the beginning of the manual. Do not drop the unit.

AN IMPORTANT NOTE ABOUT SAFETY

There are no user serviceable parts in Muse. Refer all servicing to qualified personnel only.

©2024 Moog Music. All rights reserved. Moog, Moog (stylized with design), and the Moog logo are trade-
marks of Moog Music. Registered in U.S. Patent and Trademark Office and elsewhere. Moog Muse is a
trademark of Moog Music. in the United States and elsewhere.

Phone: +1 (828) 251-0090 | Email: info@moogmusic.com | Website: www.moogmusic.com

114 115
APPENDIX A: MIDI CC APPENDIX A: MIDI CC (Cont.)
MIDI CC MUSE CONTROL RANGE MIDI CC MUSE CONTROL RANGE
1 Mod Wheel 0-127 39 Modulation Oscillator Filter Amount 0-127
3 Mute 0-63 off/ 64-127 on 40 Modulation Oscillator Filter 1 0-127
5 Glide Time 0-127 41 Modulation Oscillator Filter 2 0-127
7 Timbre Volume 0-127 42 Modulation Oscillator VCA Amount 0-127
8 Low Cut 0-127 43 Modulation Oscillator VCA PAN 0-127
9 Pan Spread 0-127 0-127
0-31: 16’
10 Pan 0-127
44 Oscillator 1 Octave 32-63: 8’
11 Expression 0-127 64-95: 4’
12 LFO 1 Rate 0-127 96-127: 2’

13 LFO 1 Amount 0-127 45 Oscillator 1 Frequency 0-127

0-127 46 Oscillator 1 Tri/Saw Mix 0-127

0-24: TRIANGLE 47 Oscillator 1 PW 0-127
25-49: SAW
14 LFO 1 Waveform 48 Oscillator 1 Wave Mix 0-127
50-74: SQUARE
75-99: RANDOM 0-127
100-127: USER WAVE 0-31: 16’
49 Oscillator 2 Octave 32-63: 8’
15 LFO 2 Rate 0-127
64-95: 4’
16 LFO 2 Amount 0-127 96-127: 2’
0-127 50 Oscillator 2 Frequency 0-127
0-24: TRIANGLE
51 Oscillator 2 Tri/Saw Mix 0-127
25-49: SAW
17 LFO 2 Waveform
50-74: SQUARE 52 Oscillator 2 PW 0-127
75-99: RANDOM
53 Oscillator 2 Wave Mix 0-127
100-127: USER WAVE
54 Oscillator 2>1 SYNC 0-63 off/ 64-127 on
18 Pitch LFO Rate 0-127
55 Oscillator 2>1 FM 0-63 off/ 64-127 on
19 Pitch LFO Shape 0-127
56 Oscillator 1>2 FM 0-63 off/ 64-127 on
20 Pitch LFO Amount 0-127
57 FM Amount 0-127
21 Pitch LFO OSC 1 0-63 off/ 64-127 on
58 Oscillator 1 Level 0-127
22 Pitch LFO OSC 2 0-63 off/ 64-127 on
59 Oscillator 2 Level 0-127
23 Pitch LFO Mod Osc 0-63 off/ 64-127 on
60 Ring Mod Level 0-127
24 Pitch LFO Detune 0-63 off/ 64-127 on
61 Modulation Oscillator Level 0-127
25 Modulation Oscillator Frequency 0-127
62 Noise Level 0-127
26 Modulation Oscillator Audio 0-63 off/ 64-127 on
64 Sustain Pedal 0-63 off/ 64-127 on
27 Modulation Oscillator KB Track 0-63 off/ 64-127 on
65 Clipping Level 0-127
0-127
0-24: SINE 66 Filter 1 High Pass 0-127
25-49: SAWTOOTH 67 Filter 1 Cutoff 0-127
28 Modulation Oscillator Waveform
50-74: RAMP
5-99: SQUARE 68 Filter 1 Resonance 0-127
100-127: NOISE 69 Filter 1 Envelope Amount 0-127
29 Modulation Oscillator KB Reset 0-63 off/ 64-127 on 0-127
30 Modulation Oscillator Unipolar 0-63 off/ 64-127 on 0-42:OFF
70 Filter 1 KB Tracking
43-84:HALF
31 Modulation Oscillator Pitch Amount 0-127 85-127:FULL
33 Modulation Oscillator Pitch OSC 1 0-127 71 Hold 0-63 off/ 64-127 on
34 Modulation Oscillator Pitch OSC 2 0-127 72 Filter 2 Frequency 0-127
35 Modulation Oscillator PWM Amount 0-127 73 Filter 2 Resonance 0-127
36 Modulation Oscillator PWM OSC 1 0-127 75 Filter 2 Envelope Amount 0-127
37 Modulation Oscillator PWM OSC 2 0-127

116 117
APPENDIX A: MIDI CC (Cont.)
MIDI CC MUSE CONTROL RANGE
0-127
0-42:OFF
76 Filter 2 KB Tracking
43-84:HALF
85-127:FULL
77 Link Filters 0-63 off/ 64-127 on
0-127
0-42:SER
78 Filters Order
43-84:STR
85-127:PAR
79 Filter Env Attack 0-127
80 Filter Env Decay 0-127
81 Filter Env Sustain 0-127
82 Filter Env Release 0-127
83 Filter Env Loop 0-63 off/ 64-127 on
85 Filter Env Velocity 0-63 off/ 64-127 on
86 VCA Env Attack 0-127
87 VCA Env Decay 0-127
88 VCA Env Sustain 0-127
89 VCA Env Release 0-127
90 VCA Env Loop 0-63 off/ 64-127 on
91 VCA Env Velocity 0-63 off/ 64-127 on
92 Voice Detune 0-127
93 Delay Time Left 0-127
94 Delay Time Right 0-127
95 Link Delays 0-63 off/ 64-127 on
102 Delay Clock Sync 0-63 off/ 64-127 on
103 Delay Feedback 0-127
104 Delay Character 0-127
105 Delay Mix 0-127
106 Delay Timbre A 0-63 off/ 64-127 on
107 Delay Timbre B 0-63 off/ 64-127 on
108 Voice Unison 0-63 off/ 64-127 on
109 Voice Mono 0-63 off/ 64-127 on
110 Sequencer Clock Div 0-127
111 Arpeggiator Clock Div 0-127
112 Arpeggiator On/Off 0-63 off/ 64-127 on
113 Arpeggiator FW/BK 0-63 off/ 64-127 on
0-127
0-42:ODR
114 Arpeggiator Direction
43-84:PTN
85-127:RND
0-127
0-31:1
115 Arpeggiator Octave Range 32-63:2
64-95:3
96-127:4
116 Clock Tempo 0-127

118 119
Devoted to the Development and Manufacture of Electronic Instruments for the Musician