SampleMoog Manual

SONIK INSTRUMENTS
the Moog Synth Anthology

™
16 rare, collectable Moog synths in one product™
An IK Multimedia product done in cooperation with Sonic Reality and Moog Music® Inc.
User Manual
SampleMoog
PLEASE NOTE
SampleMoog™ is a trademark jointly owned by IK Multimedia and Moog

Music® Inc. All other product names and trademarks are property of their
respective owners, which are in no way associated or affiliated with IK
Multimedia. Product names are used solely for the purpose of identifying the
specific products that were studied during IK Multimedia’s sound model devel-
opment and for describing certain types of tones produced with IK Multimedia’s
digital modeling technology. Use of these names do not imply any cooperation
or endorsement.

SampleMoog

SampleMoog
Table of Contents
I Contents pag. 3
II Interface pag. 6
III License Agreement pag. 8
Chapter 1 SampleMoog Overview pag. 11

1.1 Introduction pag. 11
1.2 What is SampleMoog? pag. 11
1.3 SampleMoog Features pag. 12
1.4 Moog instruments sampled in SampleMoog pag. 13
Chapter 2 Getting started with SampleMoog pag. 19

2.1 Using SampleMoog as a Standalone pag. 19
2.1.1 Starting SampleMoog in Standalone mode pag. 19
2.1.2 Loading and playing instruments pag. 22
2.1.3 Controlling instruments: the MIX window pag. 24
2.2 Using SampleMoog as a Plug-in pag. 26
2.2.1 Starting SampleMoog in Pro Tools® 7.x pag. 26
2.2.2 Starting SampleMoog in Cubase® 4 pag. 26
2.2.3 Starting SampleMoogin Logi®c Pro 7.x / Logic® Express pag. 26
2.2.4 Starting SampleMoog in Digital Performer™ 5.x pag. 28
2.2.5 Starting SampleMoog in Live™ 6.x pag. 28
2.2.6 Starting SampleMoog in Sonar™ 6 pag. 28
2.2.7 Starting SampleMoog in GarageBand® 3.x pag. 29
2.2.8 Starting SampleMoog in Acid® 6.x pag. 29
2.2.9 Starting SampleMoog in Nuendo® 3 pag. 29
2.2.10 Starting SampleMoog in Tracktion® 3 pag. 30
Chapter 3 Controlling SampleMoog pag. 31

3.1. PART controls pag. 31
3.1.1 Synth-Sampler section pag. 31
3.1.2 MACRO controls section pag. 32
3.2 Portamento Time (PORT.TIME) pag. 33
3.3 Performance Modes: Mono, Poly, and Legato 1-2 pag. 33
3.4 EFFECTS controls pag. 34
3.5 Pan and Volume pag. 35
3.6 Mini Keyboard pag. 35
3.7 Transpose pag. 36
3.8 ZONE control pag. 36
3.9 MIDI CTL association pag. 36
3.10 PREFERENCES (PREFS) pag. 38
3.11 Other controls pag. 39
Chapter 4 Organizing instruments pag. 41

4.1 Instruments location pag. 41
4.2 Managing sound organization pag. 41
4.3 Search function pag. 42
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SampleMoog
Chapter 5 Editing and saving sounds in SampleMoog pag. 43

5.1 Instruments and PART PRESETS pag. 43
5.2 Working with COMBI PRESETS pag. 43
5.3 Back-up function pag. 45
Chapter 6 SYNTH-SAMPLER controls pag. 47

6.1 Resampling controls pag. 47
6.2 STRETCH controls pag. 47
6.3 Range controls pag. 49
6.4 Filter controls pag. 50
6.5 Envelope 1 controls pag. 51
6.6 Envelope 2 controls pag. 51
6.7 LFO 1 controls pag. 52
6.8 LFO 2 controls pag. 53
6.9 Velocity controls pag. 53
Chapter 7 SampleMoog Multi-Effects Unit pag. 55

7.1 SampleMoog Multi-Effects Unit pag. 55
7.2 Effect list pag. 55
7.3 Reverberation and Delay pag. 55
7.3.1 Reverb and Reverb Delay pag. 56
7.3.2 Ambience pag. 56
7.3.3 Spring Reverb pag. 56
7.3.4 Delay pag. 57
7.4 Filters pag. 57
7.4.1 Filter pag. 57
7.4.2 Envelope Filter pag. 58
7.4.3 Multi Filter pag. 58
7.4.4 Wah-Wah pag. 59
7.5 Modulations pag. 59
7.5.1 Chorus and Multi Chorus pag. 59
7.5.2 Phaser pag. 60
7.5.3 AM Modulation and FM Modulation pag. 60
7.5.4 Flanger pag. 61
7.5.5 Envelope Flanger pag. 61
7.6 Panning pag. 61
7.6.1 Auto Pan pag. 61
7.6.2 Tremolo pag. 62
7.6.3 Rotary Speaker pag. 62
7.7 Distortion pag. 62
7.7.1 Lo-Fi pag. 62
7.7.2 Distortion pag. 63
7.7.3 Phonograph pag. 63
7.7.4 Crusher pag. 63
7.7.5 Overdrive pag. 64
7.8 Amp Simulation pag. 64
7.8.1 Pre Amp pag. 64
7.8.2 Tone Control pag. 65
7.8.3 Cabinet pag. 65
7.9 Mix/Master pag. 65
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SampleMoog
7.9.1 Parametric EQ pag. 65

7.9.2 Channel Strip pag. 66
7.9.3 Compressor pag. 66
7.9.4 Limiter pag. 67
7.10 Dance pag. 67
7.10.1 Slicer pag. 67
7.10.2 BPM syncable effects pag. 68
Chapter 8 Automation pag. 69

8.1 Automating parameters pag. 69
Chapter 9 Tips and Tricks pag. 71

9.1 Polyphony and CPU performance pag. 71
9.2 Get the most out of your SampleMoog pag. 71
Chapter 10 Troubleshooting pag. 73
Chapter 11 Support pag. 77

11.1 User Area pag. 77
Notes pag. 79
I - Contents
SampleMoog
Plug-in and Standalone Sample Workstation
Easy to use full MIDI control 256 note polyphony
16 part multitimbral sound

module with mix view and full
mix parameters control
2 Synth-sampler engines
including STRETCH
II - Interface
SampleMoog
16 Stereo Outputs
Sound search function
Zone feature for single

sample accurate editing
32 DSP effects to choose

from , 4 effects per part
II - Interface
SampleMoog
License Agreement
END-USER LICENSE AGREEMENT FOR IK MULTIMEDIA PRODUCT
Please read this document carefully before breaking the seal on the media package. This agreement licenses the enclosed software to you and contains
warranty and liability disclaimers.
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return the entire package, including the unopened media package, to the dealer from whom you have obtained it, for a full refund.
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“Not for resale (NFR) Version” means a version of IK Multimedia Product, so identified, is intended for review and evaluation purposes, only.
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The termination of the license shall be without prejudice to any rights, whatsoever, of IK Multimedia.
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III - License Agreement

SampleMoog
and license(s) accompany the carrier and (b) the party transferring the media does not retain a copy of the media.
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If the “IK Multimedia Product” is labeled or otherwise identified by IK Multimedia as an “upgrade”, you must be properly licensed to use a product identi-
fied by IK Multimedia as being eligible for the upgrade in order to use the “IK Multimedia Product”.
An “IK Multimedia Product” labeled or otherwise identified by IK Multimedia as an upgrade replaces and/or supplements the product that formed the ba-
sis for your eligibility for such upgrade. You may use the resulting upgraded product only in accordance with the terms of this EULA. If the “IK Multimedia
Product” is an upgrade of a component of a package of software programs that you licensed as a single product, the “IK Multimedia Product” may be used
and transferred only as part of that single product package and may not be separated for use on more than one computer.
6) DUAL-MEDIA SOFTWARE
You may receive the “IK Multimedia Product” in more than one medium. You may not loan, rent, lease, or otherwise transfer the other medium to another
user, except as part of the permanent transfer (as provided above) of the “IK Multimedia Product”.
7) LIMITED WARRANTY
IK Multimedia warrants to the original purchaser of the computer software product, for a period of ninety (90) days following the date of original purchase,
that under normal use, the software program and the user documentation are free from defects that will materially interfere with the operation of the
program as described in the enclosed user documentation.
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To make a warranty claim under the above limited warranty, please return the product to the point of purchase, accompanied by proof of purchase, your
name, your return address and a statement of the defect, or send the CD(s) to us at the below address within ninety (90) days of purchase. Include a copy of
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III - License Agreement

SampleMoog
10
SampleMoog
Chapter 1 SampleMoog Overview
1.1 Introduction
IK Multimedia and Sonic Reality are proud to introduce their latest col-
laborative effort: Sonik Instruments, a series of virtual instrument plug-ins
dedicated to focused collections of rare and top-of-the-line instruments
and sounds. The first of this series are SampleMoog, SampleTron, and
Studiophonik.
SampleMoog is a matchless virtual instrument done in cooperation with

Moog Music® Inc. It works as a standalone application and as a plug-in
instrument, compatible with virtually every software sequencer such as Pro
Tools®, Digital Performer™, Cubase®, Logic®, Live™ 6, Sonar™, and comes
with more than 4 GB of high quality sounds.
SampleMoog contains the most complete collection of Moog™ sounds ever

released in a single product. It includes 16 rare, collectible Moog synths,
accurately sampled and programmed with the addition of built-in effects.
This sample-based product offers a wide range of basses, leads, pads, and
effects from monstrous Moog Modulars to rare Minimoogs to Taurus™ Bass
Pedals, Polymoogs, Memorymoogs and more – virtually the entire range of
Moog synthesizers in one product.
In SampleMoog, 2 synth engines can be switched on the fly: traditional

Resampling, and our all- new STRETCH™ engine.
To easily create your own custom patches, SampleMoog offers you a

straightforward access to more than 50 synth-engine parameters including
Multi-mode filters, Envelopes, LFOs, and more.
SampleMoog offers a powerful yet flexible synth-engine, a superior multi-

effects unit, and a complete unique sonic arsenal. All of this terrific creative
power is packed in a musician friendly interface so everything you need to
make great music is right in front of you. SampleMoog is a top-quality vir-
tual instrument that will inspire your musical ideas and expand your sound
palette options.
1.2 What is SampleMoog?
SampleMoog is a polyphonic, multitimbral virtual instrument that contains

the most complete collection of Moog sounds, with the addition of musically
useful built-in effects. Based on SampleTank 2 engine, SampleMoog uses
samples as oscillator waveforms with a flexible synth engine and 32-bit
floating-point processing of superior quality.
1 - Overview 11
SampleMoog
To use SampleMoog, all you need is a computer and an audio interface/card

with low latency drivers. However, we strongly recommend having a mas-
ter-keyboard/MIDI controller connected to your audio interface so you can
naturally interact with SampleMoog. In order to use the plug-in version of
SampleMoog, you will need a MIDI sequencer compatible with one of the
major plug-in formats (AU, VST, and RTAS).
1.3 SampleMoog Features
Summarized here are SampleMoog main features:
• SampleMoog works as a standalone application, as well as a plug-in

in Mac OS X (Universal Binary), and Windows (XP / Vista).
• Supported plug-in formats: VST, RTAS, and AU.
• 16 part multitimbral sound module with layerable parts.
• 16 individual stereo outputs.
• Mix view and full mix parameters control.
• 2 synth engines: Newly enhanced STRETCH™ plus traditional
Resampling.
• Multi-Effects unit.
• Range Controls allows for creating complex splits and layers.
• Instrument browsing.
• Total sound editing with full access to 50 Synth-Sampler engine
controls.
• BPM syncable LFOs.
• Portamento Time control.
• 3 Performance Modes: Mono, Poly, and Legato 1-2.
• Zone feature for single sample accurate editing.
• 32 built-in DSP effects.
• Reverb, Spring Reverb, Reverb Delay, Ambience, Delay.
• Filter, Envelope Filter, Multi Filter, Wah-Wah.
• Chorus, Multi Chorus, Phaser, AM Modulation, FM Modulation,
Flanger, Envelope Flanger.
• Auto Pan, Tremolo, Rotary Speaker.
• Lo-Fi, Distortion, Phonograph, Crusher, Overdrive.
• Pre Amp, Tone Control, Cabinet.
• Parametric EQ, Channel Strip, Compressor, Limiter.
• Slicer.
• Part Volume / Pan controls.
• Expanded easy to use full MIDI control.
• Part and Combi presets save features.
• Convenient back-up function.
• Search function.
• 256 notes polyphony.
12 1 - Overview
SampleMoog
1.4 Moog instruments sampled in SampleMoog
16 highly acclaimed Moog synthesizers have been chromatically sampled

and accurately programmed by the expert team of IK and Sonic Reality
sound designers. There are over 400 multisampled sounds with over 2,000
preset patches for more than 4 GB of samples in SampleMoog, from the rar-
est vintage models to the most modern top of the range Moog synthesizers,
including:
. Modular Moog 3C
. Modular Moog 15
. Modular Moog 55
4. Minimoog® Model D
5. Polymoog
6. Taurus™ 1
7. Prodigy
8. Multimoog
9. Vocoder
0. Concertmate MG-1
. Source
. Rogue
. Memorymoog
4. Etherwave® Theremin
5. Minimoog® Voyager®
6. Little Phatty®
Modular Moog series

After the first Moog synthesizer was developed in 1964 and was presented at
the AES Show (Audio Engineering Society) one year later, it instantaneously
created enormous interest. In 1967, Bob Moog produced different synthesiz-
ers, each of them combining various modules that performed a separate
function. Modules included Oscillators and Amplifiers that where controlled
using control voltages (CV) and could be combined together into a myriad
of configurations. These modules were called: Voltage Controlled Oscillator
(VCO), Voltage Controlled Amplifier (VCA), Voltage Controlled Filter (VCF),
Attack/Decay/Sustain/Release envelope generators (ADSR), etc… These syn-
thesizer modules became what are now known as the Modular Moog series.
Although each Moog Modular system was available in custom configuration,
there were many stock design models of the Moog modular synthesizer such
as the 3C, 2C, 1C, 3P, 2P, 1P, 10, 12, 15, 35, 55, and C.E.M.S.
1. Modular Moog 3C
The Modular Moog 3C was used by world-class artists such as The Beatles and
Emerson, Lake and Palmer and was in production from 1967 to 1972. Enclosed
in walnut cabinets, with 49-note keyboard, the 3C had the same array of mod-
ules available as the 3P and usually contained 10 VCOs, 3 VCAs, white noise
generator, low and high-pass VCFs, filter coupler, spring reverb, 3 ADSRs enve-
lope generators, dual trigger delay, envelope follower, and fixed filter bank plus
the mixer panel and control panel with CV trigger outputs. A single or double
sequencer set-up could be added to completely equip the synthesizer.
1 - Overview 13
SampleMoog
2. Modular Moog 15
The Modular Moog 15 was one of the “portable” versions of the later series
of Moog Modular systems in production starting from 1972 till 1981, with
duophonic 49-note keyboard. They featured more stable oscillators (the 921
module) and included 2VCOs, 2VCAs, 1 VCF, fixed filter bank, 2 ADSRs enve-
lope generators, noise/high-pass/low-pass filter, attenuators, mixer panel
and control panel with CV trigger outputs.
3. Modular Moog 55
Enclosed in two solid walnut racks, the Modular Moog 55 was an expand-
able total studio system with 61-note keyboard. It offered: a great synthesis
power with 7 VCOs, 5 VCAs, noise generator, low and high-pass VCF, 5
ADSRs envelope generators, dual trigger delay and fixed filter bank, plus the
usual mixer panel and control panel with CV trigger outputs. Additionally,
the 55 series also included a switch-operated sequencer. It was in produc-
tion between 1972 and 1981.
Minimoog series
The first Minimoog prototype was called the Model-A. This model was based
on existing modules, which included a small keyboard and used patch cords.
Then, the Model-B (a single piece front panel, hard wired switches, but no
patch cords) and Model-C (this model included the lift up front control panel,
plus the pitch bend and modulation wheels) next followed the Minimoog
evolution. After extensive testing, the Model-D was manufactured in 1970,
and exhibited in 1971 in the NAMM convention. The Minimoog initial idea
was to integrate the Modular Systems basic features into a portable perfor-
mance synthesizer that could be used without patch cords. Modular Systems
were marketed to recording studios, audio engineers, and schools. However,
the Minimoog was mass marketed to the music industry as portable syn-
thesizer.
4. Minimoog Model D
The Minimoog was a monophonic, analogue synthesizer with a 44 note F to
C single trigger, low note priority keyboard. It contained 3 VCOs, which were
all independently tunable, and it included an external input for processing
outside signals via the voltage controlled, 4-pole low pass filter, a white
noise/ pink noise (switchable) generator, 2 envelope generators (ADS), and
pitch bend/modulation wheels. The Minimoog offered some of the best
analog synth bass-lead sounds ever. It was a versatile instrument that gen-
erated a wide spectrum of warm and fat sounds, musically useful in all styles
of music. Moog continued to produce the Minimoog until 1981.
5. Polymoog
The Polymoog (1975-1980) was a polyphonic synthesizer, preset-based, that
included a 71-note (E-D) touch-responsive keyboard that could be split into
three parts. The eight presets were strings, piano, organ, harpsichord, funk,
clav, vibes, and brass. The Polymoog included a Moog filter with modula-
tion, keyboard tracking, 3-band EQ, sample and hold, several LFO modula-
tion sources, and a complete set of envelope controls. However, no patch
memory (only one programmable preset) or MIDI controls were included in
14 1 - Overview
SampleMoog
this instrument. In addition to a main volume slider, each of the 3 keyboard

sections had an independent volume slider. There was also an optional
pedal board (the Polypedal) allowing to switch between single and multiple
triggering, plus control the filter, pitch, sustain, and external sync. Around
1978, the Polymoog Keyboard followed the Polymoog synthesizer with more
preset sounds (fourteen of them) but reduced editing and programming
capabilities.
6. Taurus 1
Produced from 1976 to 1981, the Taurus 1 synthesizer includes a 13 note
pedal-board, 2 VCOs, 4 presets (Taurus, Tuba, Bass, and a fourth user-pro-
grammable patch), a VCF, a VCA, and foot-switches for portamento On/Off,
octave switching, and release On/Off
7. Prodigy
The Prodigy (1976-1984) was a monophonic synth extensively used as Bass-
synth in techno and electronic music. Its straightforward design used two
VCOs, a Moog 24dB/octave lowpass filter, A/D/S envelope generator, LFO
and was routed to the VCF, VCO or both. It also included a portamento, pitch,
and mod wheels and a 32-note keyboard. However, there was no flexible
modulation routings, on-board sequencers, or arpeggiators included on
this unit.
8. Multimoog
Produced between 1978 and 1981, the Multimoog was a classic monophonic
synth that featured 2 oscillators, a 24dB Moog filter, a ribbon controller,
variable waveforms, sample and hold, aftertouch, and LFO. It was produced
in only 1,000 exemplares.
9. Vocoder
Invented in 1936 at Bell Labs, as the first device to generate artificial speech,
vocoders turned popular in the musical instrument market in the ‘70s when
they were used as effects that used a speech input modulating another
music instrument signal so that it simulated “talking”. Released in 1979,
the Moog Vocoder was a 16-band analog vocoder that divided a synthesizer
sound into separate frequency bands, all to be modulated from external
sources (typically a vocal or drum beat). The Moog Vocoder included a micro-
phone and line inputs, as well as 16 synthesizer inputs (1 for each frequency
band) and 16 outputs. It also offered a high-frequency bypass, a sample and
hold, and a global bypass switch.
10. Concertmate MG-1

The Concertmate MG-1 was built by Moog for Realistic (Radio Shack) circa
1980, and was targeted for the home market. The MG-1 was a 2-VCOs
(referred as “Tone Generators”) monophonic/polyphonic analog synth with
a Moog 24dB/oct filter. The MG-1 was able to produce sawtooth, square
and pulse waveforms, and its oscillators are detunable and syncable. An
Attack, Sustain, Release (ASR) envelope (referred as “Contour") could be
applied to the amp and the filter. The LFO section offered triangle or square
wave patterns, plus sample and hold. In addition, the MG-1 had a simple
1 - Overview 15
SampleMoog
Ring-Mod effect called “Bell”. MG-1 exclusive feature consisted of a slider

(located on the far right side of the keyboard) which controlled the volume
of a 10-voice polyphonic organ sound. There were RCA inputs and outputs,
a headphone suca output, but no pitch mod wheel, external speakers, MIDI,
or patch memory.
11. Source
Source (1981-1985) was the first Moog synthesizer to offer patch memory
storage and transfer capabilities in a micro-processor-controlled, program-
mable monophonic synthesizer with 16 memory locations. To transfer the
patches to and from an external tape, a cassette-tape jack was implemented.
In addition, all buttons, knobs, and sliders were replaced with flat-panel
membrane buttons and a single data-wheel. Therefore, Moog Source param-
eters were edited by assigning a selected parameter to the dedicated data
wheel. This synthesizer included a 3-octave, 37-note (C-C) keyboard, 2 VCOs,
an arpeggiator, and a digital sequencer.
12. Rogue
The Rogue (1981-1983) was a 2-VCO, monophonic synthesizer with a 2-
1/2 octave, 32-note (F-C) keyboard. This basic and easy to use instrument
included a filter with an external input and syncable VCOs, but no MIDI or
patch memory features.
13. Memorymoog
Produced from 1982 to 1985, in two versions: the Memorymoog and the
Memorymoog+. The Memorymoog+ was capable of taking a MIDI retrofit,
and it also had a more stable oscillator control. The Memorymoog was a
polyphonic synthesizer that stored 100 programmed patches and included
six independent voices, VCO syncing, 2 ADSR generators, a 24dB/octave
lowpass filter, and sample-and-hold. It also had a unison mode that allowed
switching between lowest, highest, and last note priority, plus single or
multiple triggering. Using this mode, it was possible to create a big-fat 18
oscillator monophonic bass and lead sound. Only 3,500 units were made.
14. Etherwave Theremin

Leon Theremin invented the Theremin in 1919, as one of the earliest elec-
tronic instruments and designed to play without the user directly touching
it. It worked by moving your hands in the space around its antennas and
controlling its pitch and volume. The Etherwave Theremin retained many
characteristics of the original Theremin such as five-octave pitch range and
reliable spacing between notes, for advanced playability. Its antennas were
nickel-plated and cabinets were furniture-grade hardwood.
15. Minimoog Voyager

The Minimoog Voyager is a genuine analog monophonic synthesizer based
on the classic Minimoog Model D. It introduces various new features such
as MIDI I/O, a three-dimensional touch pad, extensive patching facilities,
patch storage, a 44-note keyboard with velocity and aftertouch sensitivity,
etc. There are two Minimoog Voyager editions: the Signature Edition and
the Performer Edition. The Minimoog Voyager includes three analog volt-
16 1 - Overview
SampleMoog
age controlled oscillators, one noise source, one audio preamplifier, two
resonant Moog-style filters, two ADSR, a mixer module, a 3-D (XYZ) touch
surface, pitch and mod wheels, glide/portamento, and a series of 1/4" CV
and/or Pedal jacks. The Minimoog Voyager is a supreme synth that offers all
the expected functionality of a modern day (mono) synth with the remark-
able and unique Moog sound.
16. Little Phatty

The Little Phatty is a true analog monophonic synthesizer. Through its Real
Analog Control (RAC™) proprietary technology, it allows to directly inter-
face with the analog circuitry via control panel knobs, without any digital
processing. The Moog Little Phatty also offers a 37-note keyboard with +/-2
octave transpose, several interfacing capabilities, 100 user-editable presets,
three external CV inputs, an external audio input, and universal power sup-
ply. The Moog Little Phatty also includes a single VCLPF: 24 dB/Oct Moog
Ladder filter, two ADSR EGRs, a 4-waveform LFO, a 1x1 Mod Buss, KG CV
input, MIDI In, Out, updated software (with auto calibration and an auto tune
functions) and much more. In short, the Little Phatty is a great performance
synth.
1 - Overview 17
SampleMoog
18 1 - Overview
SampleMoog
Chapter 2 Getting started with SampleMoog
SampleMoog can be used in standalone mode or as a plug-in.
2.1 Using SampleMoog as a Standalone
figure 2.1
2.1.1 Starting SampleMoog in Standalone mode
In standalone mode, you can launch SampleMoog from your application

folder and use it without the need of a host application. In fact, this allows
SampleMoog to have all the functionality and flexibility of the plug-in in a
self-contained software instrument. For example, you can use SampleMoog
for live applications (when there is no need for a complex sequencer setup)
or in a second computer (dedicated for virtual instruments), as each PART
can be triggered from an individual MIDI input and then routed to its own
separate stereo output.
Audio MIDI Setup
When launching SampleMoog standalone for the first time, the AUDIO MIDI
SETUP (figure 2.2) window will appear. This window is also found under the
Settings menu at the top of the screen. Here you will select the audio card
and MIDI device that will be used in SampleMoog.
figure 2.2 Audio Driver: SampleMoog is compatible with any ASIO or DirectX audio
interface in Windows and any Core Audio compatible audio interface in
Mac OS X.
2 - Getting started 19

SampleMoog
Windows
There are two drop down menus to select the “Audio Driver” (figure 2.3).
The drop down menu on the left selects the type of driver to use, such as
ASIO or DirectX.
figure 2.3
The drop down menu on the right selects the actual audio interface. It will
be either ASIO (preferred) or DirectX.
Considering that an ASIO compatible sound card will perform with faster
response and lower latency than a DirectX one, we strongly suggest the
ASIO setting when using Virtual Instruments such as SampleMoog.
Mac OS X
SampleMoog is compatible with Core Audio compatible audio interfaces in Mac

OS X. There is one drop down menu to select the “Audio Driver” (figure 2.4).
figure 2.4
On Mac OS X the only possible Audio Driver choice is “CoreAudio.” The drop
down selects the audio interface.
Outputs Routing: the Outputs Routing (figure 2.5) is used to configure the
16 assignable outputs in SampleMoog with specific audio outputs on the
figure 2.5 chosen audio interface. This allows you to assign where the audio from
20 2 - Getting started

SampleMoog
SampleMoog is routed.
Sample Rate and Buffer Size: the sample rate and buffer size drop down
menus (figure 2.6) allow you to change the sample rate and buffer size of
the audio interface. These settings are dependent on the driver of the audio
interface itself. Not all audio interfaces have the same sample rates or buf-
fer settings.
figure 2.6
To get the optimum performance from SampleMoog standalone, set the

buffer size as small as possible without clicks and pops. This will create the
least amount of possible latency during playback.
Panel: this control will open the Control panel for the selected audio
interface. Depending on the audio interface, this panel could contain more
advanced feature settings on the audio interface drivers. This panel is only
available when ASIO drivers are selected.
MIDI Input: the MIDI input drop down menu allows you to select the MIDI
input device with which you will control SampleMoog. Any MIDI interface
or controller with Windows XP / Vista or MAC OSX driver support will work
with SampleMoog.
Preferences
The Preferences window (figure 2.7), (Settings > Preferences) allows you
to adjust the Tempo for internal Loop Sync and BPM sync effects, as well as
to select “Reload previous session on Startup,” for an easy recall of the last
open state of your SampleMoog.
figure 2.7
In SampleMoog, you can change the BPM Tempo in different ways:

SampleMoog
- In Settings/Preferences:
• Typing the BPM value in the Tempo box and then clicking OK.
• Clicking the Tap button (at least 5 times) with a steady pulse and
then clicking OK. The recognized BPM value will be displayed in the
Tempo field.
- In the main SampleMoog window (you have to close the previously opened
Preferences window):
• On your computer keyboard, press the Uppercase T letter at least 5
times. (SHIFT+T or T with Caps lock enabled).
Bottom Info Bar
The INFO BAR (figure 2.8) located at the bottom of SampleMoog standalone
provides the following information:
figure 2.8
READY: this will tell you whether or not the application is working correctly.
TEMPO: this will display the Tempo of the current SampleMoog session.
This tempo controls SYNC related synth parameters and Tempo depen-
dent effects.
CPU Load: this meter is provided for quick reference on the available
CPU resources. This allows you to check your performance while using
SampleMoog.
2.1.2 Loading and playing instruments
The available instruments are displayed in the BROWSER window in the mid-
dle of the SampleMoog interface (figure 2.9). The BROWSER list of folders and
instruments reflects the same folders and instruments organization of the hard
disk folder where your sounds are located. This folder is called the “root” folder
and its location is stored in the SampleMoog PREFERENCES (figure 2.10). You
can access and change it by clicking Prefs\Browse.
figure 2.9 figure 2.10

SampleMoog
Folders are indicated with a white triangle. (figure 2.11).
To open a folder, click on it. Opened folders display the list of available
instruments. To close a folder, click on the white triangle again.
figure 2.11
To load an instrument in SampleMoog, simply double-click on its name. It
will be loaded on the selected part (figure 2.12).
The MIX window (figure 2.13) allows you to load up to 16 SampleMoog

instruments per module.
figure 2.12
figure 2.13
To see the first 8 SampleMoog instruments, click the 1-8 button (figure 2.14),
to check the other 8 instruments click the 9-16 button (figure 2.15).
figure 2.14
Every instrument will be loaded into a PART. To select the PART where you
want to load an instrument, just click on the PART number or in the middle
of the part window (figure 2.16).
figure 2.15 Every PART responds to a MIDI channel (CH.), (figure 2.17). By clicking and
dragging on the CH. number you easily select the MIDI channel that the
selected PART will respond to.
Assigning the same MIDI channel to more than one PART enables you to
build up large multi-layered sounds. This is very helpful when you use
SampleMoog as a standalone application and you want to create a unique
figure 2.16 Combi, selecting up to 16 different instruments with individual settings but
all responding to MIDI CH 1, for example.
You can interact with SampleMoog, connecting a master keyboard to your

audio interface/card, and following the aforementioned settings. You can
also insert SampleMoog in your host application and record MIDI data,
figure 2.17 import a MIDI file into your host application MIDI track, or input data via
your computer keyboard or by clicking the MINI-keyboard keys with the
mouse.
MIDI activity is indicated by the PART LED, which lights when MIDI is
received on that PART (figure 2.18).
figure 2.18

SampleMoog
2.1.3 Controlling instruments: the MIX window
All the controls included in the MIX window are designed to give you imme-
diate control over your instruments’ mix.
PART: each part number is displayed vertically (figure 2.19). Clicking on it or

below “Instrument” selects the particular part.
figure 2.19
MIDI CHANNEL (CH): clicking and dragging on the channel field (figure 2.20)
allows you to select the MIDI Channel that the selected PART will respond to.
figure 2.20
MUTE: clicking on the MUTE button (figure 2.21) mutes the selected part.
figure 2.21
SOLO: clicking on the SOLO button (figure 2.22) allows you to monitor only
the selected part.
figure 2.22
INSTRUMENT: the name of the loaded instrument is displayed below

“Instrument” (figure 2.23).
figure 2.23
EMPTY: clicking on the EMPTY button (figure 2.24) unloads the instrument
for the selected part.
figure 2.24

SampleMoog
RAM USAGE (MB): after loading an instrument, click on the MB button

(figure 2.25) to check the memory used by it. The value is shown in MB
(megabyte).
figure 2.25
POLYPHONY (POLY): clicking and dragging the mouse over the POLY value
(figure 2.26) allows you to assign a specific amount of polyphony for the
selected part.
figure 2.26
PAN: clicking and dragging the mouse over the PAN value (figure 2.27)
allows you to choose the stereo field position of the selected part.
figure 2.27
VOLUME (VOL): clicking and dragging the mouse over the VOL value (figure
2.28) allows you to adjust the volume of the selected part.
figure 2.28
OUT: each part can be assigned to an individual stereo output by clicking and
dragging the mouse over the OUT value (figure 2.29). The max number of
stereo outputs is set in PREFERENCES by clicking the PREFS button.
figure 2.29
LEVEL: the LEVEL display shows the instrument’s level or VOL value (figure
2.30).
figure 2.30

SampleMoog
2.2 Using SampleMoog as a Plug-in
In addition to being a standalone application, SampleMoog also functions

as a plug-in instrument. Please read the following instructions about how to
start SampleMoog in each of the major host applications.
2.2.1 Starting SampleMoog in Pro Tools® 7.x
Launch Pro Tools and create a new session. Go to Track/New/Select “stereo”

“instrument track” and click “Create.” Click on the track insert and select
“SampleMoog” from the following path:
Multi-channel plug-in/Instrument/SampleMoog.
Open a SampleMoog instrument folder and double click on a desired
instrument. Play your MIDI controller or the virtual keyboard to monitor
SampleMoog. To record, just “rec” enable the Pro Tools Instrument track and
hit REC from the transport.
To use multiple MIDI channels in SampleMoog in Pro Tools 7.x, just follow
these simple steps:
• In SampleMoog, select and load another instrument for ch 2.
• In Pro Tools, go to Track/New/MIDI track and click “Create.”
• Select SampleMoog 1, Channel 2 from its output.
2.2.2 Starting SampleMoog in Cubase® 4

Create a new project. Go to Devices/VST Instruments. Select “SampleMoog”
from the instrument drop down menu (where it says “No VST Instruments”).
SampleMoog interface will show up. Then, click “Create” in the pop up
window so a MIDI track is automatically created. Open a SampleMoog
instrument folder and double click on a desired instrument. Play your MIDI
controller or the virtual keyboard to monitor SampleMoog. To record, just
click the REC button from the transport panel.
To use multiple MIDI channels in SampleMoog in Cubase 4, just follow these

simple steps:
• In SampleMoog, select another instrument for part 2.
• In Cubase 4, go to Project/Add Track/MIDI/OK.
• Select “1- SampleMoog” as its output and choose “MIDI channel 2,”
for example.
2.2.3 Starting SampleMoogin Logi®c Pro 7.x / Logic® Express
Launch Logic. Double click on an “Instrument track” and insert SampleMoog in

its “I/O” (Mono or Stereo / AU Instruments / IK Multimedia / SampleMoog).
Open a SampleMoog instrument folder and double click on a desired instru-
ment. To monitor SampleMoog, play the virtual keyboard or REC enable the
Inst track and play your MIDI controller. To record, just click the REC button

SampleMoog
from the transport panel.
It is possible to use SampleMoog with more than one MIDI channel (up to
16) by selecting “All” in the Logic MIDI Channel field of the Audio Instrument
track. At this point, all single MIDI events should be assigned to the
proper MIDI channel from the Event List editor. This can also be achieved
by switching the “transmit” MIDI channel on your MIDI keyboard when you
record your parts. Alternatively, to set up SampleMoog as a Multi Channel
Instrument, please follow the next instructions:
. Launch Logic. Open a new project. Double click “Instr 1.” Click on
“Input” and follow this path: /Multi Channel/AU Instruments/IK
Multimedia/SampleMoog. Its name will appear as the mixer’s fader
input, (Blue background). Open a SampleMoog instrument folder
and double click on a desired instrument. Add until 16 instruments
per SampleMoog instance.
. Go to Windows/Environment. This should launch you into the MIDI
Instr section. If it does not, go to your left column, click in the 2nd
dark grey box area (below the icons) and choose “MIDI Instr.”
. Now go to the upper left hand corner of this screen and click on the
“NEW” menu. Then, select “Multi Instrument” (a rectangle with 16
individual slashed boxes should appear).
4. Click each of these numbers once to take away the slash that cov-
ers them, and then click one more time in the white background
square.
5. Now, go back to the left side column again and in the 3rd dark grey box
(Parameter box) click once on “Multi Instrument” and rename it; e.g.
SM. Press the return/enter key. SM will appear below the multi-instru-
ment rectangle (also on the 3rd dark gray area) and 16 MIDI Channels
(SM 1, SM 2, etc) have been created in the Arrange window.
6. On the “Environment” window, go back to upper left hand corner
and choose “New/ Audio Object,” (a mixer’s fader will appear on
the screen).
7. Now at the top right corner of the Multi Instrument, you will see
a little white arrow. Please click and hold it so a little virtual plug
icon appears.
8. Drag the cable from the “Multi Instr” to the “mixer’s fader object.”
Click “Remove” in the pop up message. Now you will see 2 little
white arrows on the Multi Inst top right side.
9. Click on the “Audio Object (mixer’s fader).” It will change from dark
to light gray. On the 3rd dark gray area of the Environment window,
select “Instrument 1” from the “Channel” options. Now, ST2 will
appear in the I/O of the mixer’s fader.
0. In “MIDI Channel,” located underneath Channel, change from 1 to
“ALL” (holding and dragging your mouse down).
. Now go back to Windows/Arrange.
. To monitor each of the instruments that you have selected in your
IK workstations, click “rec” on each of the proper MIDI Channels.
For example, if you’ve selected in SM Ch 1; Mello Ghost, and in Ch 2;
Rounded B3, click “rec” on the SM 1, and or SM 2 (MIDI channels).

SampleMoog
To record, just press “rec” on the transport bar and play your musi-
cal ideas. In Logic Express, just select the MIDI track, then click REC
on the transport bar and play your musical ideas.
2.2.4 Starting SampleMoog in Digital Performer™ 5.x
Launch Digital Performer and create your new session. From the “Project”
menu select “Add Track/Instrument Track” and choose “SampleMoog (stereo)
[IK Multimedia].” Be sure that you have selected an active audio output
(non-italics) for the Instrument Track. Double click on SampleMoog (just
inserted in the Instrument Track), open an instrument folder and double
click on a desired instrument. Create a MIDI track (it will be automatically
routed to “SampleMoog (Ch 1)” and REC enable it). If you want to add more
MIDI tracks and then route them to a different SampleMoog instrument, just
change each MIDI track’s output to a different SampleMoog channel.
2.2.5 Starting SampleMoog in Live™ 6.x
Launch Live and click on a MIDI track in the “Mixer Drop Area.” The “Drop
MIDI Effects, Audio Effects or Instruments Here” text will appear in the
“MIDI Track View” (bottom window). Now, in the “Browser Window” (win-
dow on the left hand side of the screen), click the “Plug-in Browser” button
(looks like an electric plug). Browse to SampleMoog from the Audio Units
or VST folder and click/drag it into the “MIDI Track View.” The SampleMoog
interface will show up and it will appear as a “Device” with an XY controller
on it. To show/hide the SampleMoog interface, click the “edit plug-in panel”
(small wrench) button at the top of the Device window.
Open a SampleMoog instrument folder and double click on a desired instru-

ment. To monitor, just click on the virtual keyboard, click on the MIDI track
“In” button or “rec” enable the MIDI track and play via your MIDI controller.
To record, click “rec and play” from the transport bar and play your MIDI
controller.
To use multiple MIDI channels in SampleMoog in Live, just follow these

simple steps:
• In Live, go to Insert/Insert MIDI Track.
• From the “MIDI To” drop down menu, select the Live MIDI channel in
which you have inserted SampleMoog (e.g. 2-MIDI).
• From the “Track In” drop down menu, select your desired SampleMoog
channel (e.g. 2-SampleMoog).
2.2.6 Starting SampleMoog in Sonar™ 6
Launch Sonar and create your new session.

Go to: Insert \ Soft Synths \ Vstplugins \ SampleMoog\ and press OK.

SampleMoog
Double click the Mini Keyboard icon located on top of the MIDI icon.
SampleMoog interface will appear. Then, open a SampleMoog instrument
folder and double click on a desired instrument.
To monitor, just click on the virtual keyboard or play via your MIDI controller.
To record, (click on the Restore Strip Size icon first) click the MIDI track “R”
button (rec) and the “Record” transport button.
To use multiple MIDI channels in SampleMoog in Sonar 6, just follow these

simple steps:
• In Sonar 6, go to: Insert \ MIDI tracks.
• From the MIDI track’s Output (below the fader) select “SampleMoog”,
and from its CH (channel) drop down menu; select your desired
SampleMoog channel.
2.2.7 Starting SampleMoog in GarageBand® 3.x
Launch GarageBand, go to Track / New Track / Software Instrument and click

“Create.” Expand the “Details” menu (if it is necessary) and in the “Track
Info” window, choose SampleMoog from the “Generator” drop down menu
and then click on the “pencil icon.” Open a SampleMoog instrument folder
and double click on a desired instrument. To monitor, just click on the virtual
keyboard or play via your MIDI controller. To record, click the REC transport
button.
2.2.8 Starting SampleMoog in Acid® 6.x
Launch Acid ™ and go to Insert\MIDI track. Then go to Insert again and

click on “Soft Synth.” Select “SampleMoog” from the “Soft Synth Chooser”
window and click “OK,” its interface will show up. Open a SampleMoog
instrument folder and double click on a desired instrument. To monitor, just
click on the virtual keyboard or play via your MIDI controller. To record, arm
the MIDI track, click the REC transport button and play your MIDI controller.
To playback, select “SampleMoog” from the “MIDI track output” (small key-
board icon with a number below it located in the MIDI track).
To use multiple MIDI channels in SampleMoog in Acid 6, just follow these

simple steps:
• In Acid, insert another MIDI track and select SampleMoog as its out-
put, e.g. “Soft Synth 2 (SampleMoog 1).”
• In the same window, select “MIDI channel 2.”
2.2.9 Starting SampleMoog in Nuendo® 3
Launch Nuendo, open a new project, then go to Devices / VST Instruments

SampleMoog
and choose SampleMoog from the drop down menu (where it says “No VST
Instruments”). Open a SampleMoog instrument folder and double click on a
desired instrument. Add a MIDI track from Project / Add track / MIDI menu
and select “SampleMoog” as its output. The MIDI channel 1 is selected by
default.
To monitor, just click on the virtual keyboard or REC enable the MIDI track
and play via your MIDI controller. To record, click REC on the transport bar.
To use multiple MIDI channels in SampleMoog in Nuendo 3, just follow

these simple steps:
• In Nuendo, insert another MIDI track (SampleMoog will be automati-
cally selected as its output, as well as the MIDI channel 2).
2.2.10 Starting SampleMoog in Tracktion® 3
Launch Tracktion, open a project and select your “Input device” from a
particular track. Drag and drop a “new filter” from the top right area to the
selected track. When the plug-ins list appears, select “SampleMoog” so its
interface will open. Open a SampleMoog instrument folder and double click
on a desired instrument.
To monitor, just click on the virtual keyboard or REC enable the track (click
“R” from your selected track input device (left area) and play via your MIDI
controller. To record, click the REC transport button.
To use multiple MIDI channels in SampleMoog in Tracktion 3, just follow

these simple steps:
• In SampleMoog, select a new instrument for the part 2.
• In a new track, select your “Input device.”
• Click on the track name (e.g. track 7) to open the track window.
• From the “destination output for this track” area, select the Tracktion
MIDI channel in which you have inserted SampleMoog (e.g. track 6).
• Click the “Input device” area so the “MIDI Input” window appears.
• Select your desired SampleMoog channel (e.g. 2), moving the chan-
nel slider.

SampleMoog
Chapter 3 Controlling SampleMoog
3.1. PART controls
figure 3.1
3.1.1 Synth-Sampler section
SampleMoog gives you full control of its powerful synth engine through the
SYNTH-SAMPLER section (figure 3.2). Here you can control more than 50
parameters divided into 8 sections: Synth, Range, Filter, Envelope 1-2, LFO
1-2, and Velocity.
figure 3.2
SampleMoog allows you to switch between 2 different types of sample engines:
Resampling (RESAMP)
figure 3.3
This is the method used by conventional samplers. It changes both the pitch
and the tempo of a sample at the same time as a turntable would. It offers
the cleanest possible sound, since it simply reads the samples slower or
faster without applying any complex math on the sound.
STRETCH (Sampletank® Time REsynthesis TeCHnology)
figure 3.4
STRETCH syncs loops providing independent tempo, pitch, and harmonics

control. STRETCH works best with single instruments; therefore it can be
used when the loop is made with a riff or a musical phrase performed by a
soloist. In addition, STRETCH not only can be used on “non-pitched sounds”
(like some percussion instruments), but it could also be applied on loops
with complex instrument layers (sometimes, this option produces a weird
3 - Controlling SampleMoog 31

SampleMoog
but interesting sonic result).
To have an overview of the Synth–Sampler sections please read the informa-

tion below:
SYNTH: clicking on Synth allows you to select the synth engine mode:
RESAMP, or STRETCH.
RANGE: Controls the key range and velocity range of a part. This is
where you would create splits and layers for complex Combi programs.
FILTER: allows you to select the Filter Type: Low Pass Filter (LPF), Band
Pass Filter (BPF), and High Pass Filter (HPF) as well as its slope: (6, 12
or 24 dB/Oct).
ENVELOPE 1: controls the amplitude or volume of the samples playback.
ENVELOPE 2: controls the Tuning (pitch) of the samples and/or the

frequency of the Filter.
LFO1: the Low Frequency Oscillator 1 has 5 selectable waveforms

(Triangle, Square, Saw, Sine or Random) and could be useful to modu-
late Volume, Pitch & Filter.
LFO2: the Low Frequency Oscillator 2 offers the aforementioned 5

selectable waveforms and could be useful to modulate Volume, Pitch,
Filter & Pan.
VELOCITY: Controls the way that MIDI Velocity affects the sound, modi-
fying Volume, Filter, Pitch, etc.
To display each section controls and parameters, just click the appropriate
section button. The section you are currently displaying will have the button
highlighted (figure 3.5). Once you have loaded an instrument, you can edit
all of its parameters by adjusting the knobs of the related SYNTH-SAMPLER
figure 3.5
section. In SampleMoog you are able to load up to 16 instruments and assign
different SYNTH-SAMPLER settings to each of them.
When you save your current song session, all the modifications made via the
SYNTH-SAMPLER section will be saved. Also, you can SAVE these changes
into a PART PRESET (see paragraph 5.1). In addition, all SYNTH-SAMPLER
parameters can be controlled through MIDI Control Association. For detailed
information about SampleMoog SYNTH-SAMPLER controls and parameters,
please read Chapter 6.
3.1.2 MACRO controls section
Each SampleMoog instrument has up to four MACRO controls associated

with it. These four parameters (from left to right, A, B, C and D) will display
32 3 - Controlling SampleMoog

SampleMoog
different labels according to the instrument characteristics.
After loading an instrument you are able to immediately modify its sound
parameters. Just click on the MACRO switch (figure 3.6) and dial the A, B, C,
D knobs accordingly. Inactive knobs (those without a linked parameter) are
shaded in gray.
figure 3.6
MACRO parameters are associated by default to MIDI CC #12, 13, 14 and 15.
Anyway, while keeping this association that cannot be removed, other CCs
can be used to control all MACRO parameters through MIDI Control associa-
tion (see paragraph 3.9)
3.2 Portamento Time (PORT.TIME)
If LEGATO mode is enabled, you will be able to control the glissando time
between notes through the PORT. TIME knob. The PORTAMENTO TIME range
goes from 1ms to 10 seconds (figure 3.7).
figure 3.7
3.3 Performance Modes: Mono, Poly, and Legato 1-2
SampleMoog offers 3 performance modes: MONO, POLY, and LEGATO 1-2

(figure 3.8).
If you enable the Monophonic option (MONO), you will be able to play only
figure 3.8 single unaccompanied melodic lines. For example, a synth lead melody, a
walking bass, or a Gregorian chant idea...
In SampleMoog context, Polyphonic (POLY) means that if you enable the Poly
mode, you will be able to play several notes/voices simultaneously (harmon-
ic intervals, chords or independent melodic lines). Select this option if you
want to play chords with your left hand and a melody with the right one at
the same time (or viceversa), if you want to add a pad-chordal arrangement
to your song or you want to perform a Bach fugue or an Art Tatum piano solo
with a new sonic perspective…

SampleMoog
If you enable the LEGATO option the attack portion of the sample will not
be retriggered on legato notes, you are actually choosing a monophonic tex-
ture and a legato articulation. For instance, you can play a melodic line for
figure 3.9 Trombone and adjust its PORTAMENTO TIME to create a natural glissando.
To select any of these 3 modes, just click the small square switch located to
the right of each name.
figure 3.10
3.4 EFFECTS controls
SampleMoog offers 32 top-quality DSP effects, which can be selectable

through the effects slots (figure 3.9). The 1st effect slot is fixed with an EQ,
Compressor (EQ/COMP). However, effects slots 2 to 4 can be freely selectable
from the 32 DSP effects list.
Once you’ve loaded an instrument, click on the arrow located at the right of
the effects slots (figure 3.10) to view the available effects list. A popup menu
will appear displaying all the 32 DSP effects (figure 3.11).
To load an effect, navigate the menu and select one of the options. The
selected effect name will appear in the related effects slot (figure 3.12).
Considering that there are 4 effects slots, you can insert up to 4 effects per
SampleMoog Part.
To empty an effects slot, select the NO EFFECT option from the effects list
menu.
To view and change each effect’s parameters, click on the desired effect’s slot.
A glow effect will cover the slot indicating that the effect is selected (figure
figure 3.11
3.13). Only one selected effect will be shown on the interface at any time. The
effect knobs are labeled corresponding to the effect’s parameters. Above each
effect knob there is a label corresponding to its function. Below the effect knob
the current value is displayed. Unused knobs will be shaded in gray.
figure 3.12
ON/OFF SWITCH: To activate an effect, click on the associated SWITCH to
the right (figure 3.14). When the SWITCH is illuminated, the effect is ON.
To deactivate an effect, click the SWITCH again. When the SWITCH is not
illuminated, the effect is OFF.
figure 3.13
All active effects are inserted in the instrument chain following a patch order
from top to bottom of the effect window.
In SampleMoog, the tempo-related effects (e.g. Tremolo) can also be synced

figure 3.14 to the sequencer’s BPM (if the sequencer allows this function). In this case,
the effects will also include small BPM ON/OFF switches (figure 3.15). When
switched ON, the effects will be linked to the sequencer tempo. For instance,
if you select the Delay effect, turn the BPM SYNC ON and move its D.Time
knob from right to left, you will find the following values:
figure 3.15

SampleMoog
Note Value Triplet Value

1/1 Whole note
1/2 1/Half note 1/2t
1/4 1/Quarter note 1/4t
1/8 1/Eight note 1/8t
1/16 1/Sixteen note 1/16t
If you want to save a single SampleMoog Part with its current effects set-
tings, click SAVE from the PART PRESET area (figure 3.16).
However, if you want to save multiples SampleMoog Parts with their current
effects settings, click SAVE from the COMBI PRESET area (figure 3.17).
figure 3.16
3.5 Pan and Volume
The Pan and Volume knobs work per SampleMoog Part. This means that
through the PAN knob (figure 3.18) you are able to move each instrument
on the stereo field. As a reference, you can also check the PAN FIELD in the
figure 3.17 MIX window (figure 3.19).
Via the PART VOLUME (figure 3.20) you are able to independently change
each instrument volume, to properly build your mix.
figure 3.18 3.6 Mini Keyboard
SampleMoog MINI keyboard (figure 3.21) acts both as a display of the notes
you are playing (via your MIDI controller or Keyboard) and as an input
device for playing SampleMoog instruments (e.g. via mouse or computer
figure 3.19 keyboard). You can play any notes of the 7 octave Mini Keyboard by clicking
each key with the mouse.
The Pitch and Modulation wheels (figure 3.22) are reflecting the incoming
MIDI data, for Pitch Bend and Mod Wheel MIDI messages respectively. Both
Modulation Wheel and Pitch Bend are already programmed on each patch.
However, Mod Wheel can also be assigned from the MIDI control window, to
be used to control user assigned parameters. The Pitch Bender range can be
figure 3.22 modified from the Synth controls page.

SampleMoog
3.7 Transpose
Once an instrument is loaded it can be transposed by clicking on the

+/- buttons, located to the bottom right, on top of ZONE (figure 3.23). The
Transposition range is +/- 5 octaves. Each octave represents 12 semitones
figure 3.23 so if you click the + button once, the Trans display will show a +12 value,
that means 1 octave higher, if you click the + button again the Trans display
will show a +24 value that means 2 octaves higher, etc. This setting is stored
within each PART PRESET so it can be instantly recalled.
3.8 ZONE control
The ZONE button allows you to switch to ZONE mode (figure 3.24). The Mini
Keyboard will display how the samples are mapped on the keyboard by a
series of alternate color zones. When the keys show no color, it means that
no samples are associated with those particular keys.
figure 3.24
To activate a zone simply click on it with the Mini Keyboard (figure 3.25)
or hit the corresponding key on your MIDI keyboard. By doing this, you
can change any of the SYNTH-SAMPLER parameters just for this zone (for
example, if you are working with a drum kit, you can change the attack of
only the snare sample). These settings will be applied ONLY to that specific
zone, leaving the other zones untouched.
figure 3.25
ZONE editing is a very powerful tool that provides you control at the sample
level. As with all the instrument parameters, you can also SAVE zone modi-
fications into a PART PRESET (see paragraph 5.1).
3.9 MIDI CTL association
To fully control SampleMoog via hardware controllers and/or keyboards, you

can associate any MIDI CTL (MIDI controls) to any SampleMoog knobs. A dif-
ferent MIDI CTL association table can be created for any of the 16 SampleMoog
parts and can be saved into your current session or to a Combi Preset.
To associate a MIDI controller number to a specific parameter, please pro-

ceed as follows:

SampleMoog
. Click on the MIDI CTL button (figure 3.26).

. Click on any of the knobs you want to automate (figure 3.27).
. The MIDI CTL association window will be displayed. This window
figure 3.26 contains four columns: Knob (that includes the name of the knob
parameter), the Min and Max values, and the Controller Number
(that contains the controller number associated to that particular
parameter or shows N/A when no controller # is assigned yet),
(figure 3.28).
4. Click and drag on the Controller Number field to associate a MIDI con-
troller number to the parameter that you want to control (figure 3.29).
5. To disassociate a MIDI CTL from a knob, simply select the N/A(not
available) value.
figure 3.29
You can associate any kind of MIDI Continuous Controller to SampleMoog

parameters in this way. By default, CC’s from 12 to 15 are associated to the
MACRO Controls (see 3.1.2).
You can control all the SampleMoog GUI knobs-parameters via MIDI, except

SampleMoog
LFO’s Waveform Types.
As aforementioned, in the MIDI CTL association window you will find the
min/max value of the knob you’re associating. You can easily personalize
the range to be controlled with an external MIDI Controller by changing the
min/max value.
MIDI CTL associations are saved with your song data as well as all the sound
tweaks you may have done.
If you want to SAVE a specific MIDI CTL association with a particular instru-
ment, you can save a PART PRESET. In this way, loading the sound will
automatically load its MIDI CTL association.
3.10 PREFERENCES (PREFS)
Click on the PREFS button (figure 3.30) to display the SampleMoog

Preferences window (figure 3.31).
figure 3.30
figure 3.31
ROOT: click Browse and select the ROOT folder for your SampleMoog
instruments.
MODE:
High Quality: enables the high quality resampler, having top fidel-
ity at the expense of a slightly higher CPU%.
High Performance: enables a lighter CPU load, at the expense of a
slightly lower audio quality.
RELIST ON STARTUP:
ON: SampleMoog will automatically update the Instruments list on
Startup.
OFF: SampleMoog will start quickly, but any change in the structure
of the instruments won’t be shown in the Instrument Browsing
window. It will just show you the instrument list originated with the
previously created cache file. However, you can manually update
the instruments list at anytime clicking the RELIST button.

SampleMoog
OUTPUTS NUMBER: the maximum number of Stereo outputs is 16, but

may be lower depending on various platform limitations. To select the
number of stereo outputs just move the slider from left to right. Once the
slider is set to a particular value, you will be able to select the desired
output pair from the OUT column located in the MIX window.
Note: considering that SampleMoog sets the number of outputs it will

use upon startup, this setting only takes affect after closing and reopen-
ing SampleMoog.
3.11 Other controls
NET: click NET (figure 3.32) to connect to the SampleMoog main web-
page.
INFORMATION (i): by clicking on the “I” button (figure 3.33), the credit
interface will be displayed. Here you can check your SampleMoog ver-
figure 3.32
sion. Clicking anywhere on the credit interface will return to normal
mode.
LOCK: if you are running the software in demo mode and you click on the
LOCK button (figure 3.34), the Product Authorization Wizard will appear.
However, if you already registered and authorized your product, clicking
figure 3.33 on the LOCK button will show you the product Serial Number, Digital ID
and Authorization Code (figure 3.35).
figure 3.34
figure 3.35
KEYBOARD MODIFIERS: to fine control SampleMoog parameters please

check these keyboard modifiers:

SampleMoog
• To make finer adjustment to any parameter value, hold down

the CTRL key while dragging the knobs.
• To reset any knob to its default value, click on any knob while
holding the ALT key.

SampleMoog
Chapter 4 Organizing instruments
SampleMoog features over 4 GB of high-quality instruments at a glance.

Due to the vast amount of sounds, organization and accessibility become
essential factors for the professional user. For that reason, SampleMoog
implements the Search function.
4.1 Instruments location
By default, all SampleMoog instruments are placed in the SampleMoog

Instruments folder or (ROOT folder). For example, C:\Program Files\IK
Multimedia\SampleMoog\Instruments. However, you can change the ROOT
folder at anytime. Just click on PREFS/BROWSE (figure 4.1) and select the
folder in which you have installed SampleMoog instruments.
figure 4.1
A SampleMoog instrument is made of three essential files (figure 4.2):
• <instrument>.STH: contains the instrument name and description

• <instrument>.STI: contains the instrument program
figure 4.2
• <instrument>.STW: contains the instrument waveforms
All of the .STH, .STI, and .STW files are placed in the selected ROOT folder.
If by any case you need to remove an instrument, go to the ROOT folder and
delete the 3 files related to it: STH, .STI, and .STW.
SampleMoog instruments are multi-platform. This means that you are able
to share your instruments between Macintosh and Windows computers.
4.2 Managing sound organization
In SampleMoog, you can easily manage your sound organization. As afore-

mentioned, each SampleMoog instrument is made of three essential files:
.STH, .STI, and .STW. So if you want to move, duplicate, and/or regroup an
4 - Organizing instruments 41

SampleMoog
instrument remember to select its three related files before any action.
In addition, you can organize your instruments outside the default folder, or
have multiple “SampleMoog Instruments” folders and switch between them.
Just click on PREFS/BROWSE and select the “new” ROOT folder.
If you have changed the instruments organization of the ROOT folder after
using them on a song, these will be loaded when you re-load the related
song.
You can also locate the instruments folder in a computer network. In this
way, different computers can access single instrument folders. SampleMoog
will load its instruments from the network.
4.3 Search function
Click on the SEARCH button (figure 4.3) to begin a search. When the search
window appears, type your desired keyword in the related field, for example
“Voyager” (figure 4.4).
figure 4.3
figure 4.4
When you click OK, all the instruments whose set of keywords match the
current search will be immediately displayed in the instruments list (figure
4.5). To load any of them, just double click on their names.
figure 4.5
Once a search has been made, the SEARCH button will turn into a BACK
button. Clicking the BACK button will retrieve the complete instruments list,
and revert its state to SEARCH button again.
42 4 - Organizing instruments

SampleMoog
Chapter 5 Editing and saving sounds in SampleMoog
5.1 Instruments and PART PRESETS
Basically, there are two types of sounds: “Parent” and “Child”.

A Parent sound is a sound that contains waveform data. A Child sound is
a sound created after you select, edit, and save a Parent sound as a PART
PRESET.
Example:
. Load an instrument into a SampleMoog Part.

. Edit it through the SYNTH-SAMPLER sections and MULTI-EFFECTS
UNIT.
. Click the SAVE button, located at the top right, below Part Preset
(figure 5.1).
figure 5.1
When the Save Preset window appears, type the preset name and click OK
(figure 5.2).
figure 5.2
The PART PRESET name will appear below the Parent sound. Now, the
Parent sound has a small expandable black triangle (figure 5.3) so you can
open/close it by clicking on it. Expanding the Parent sound’s triangle will
display the currently saved PART PRESETS.
When a PART PRESET sound is created, a file with a “.STIP” extension is

saved in the related Parent Sound folder. To share your PART PRESETS with
other SampleMoog users, just send the .STIP file by email and tell them in
figure 5.3 which related Parent sound folder they need to move the .STIP file.
To delete a PART PRESET click DELETE (figure 5.4) and to rename it, click
RENAME.

figure 5.4 5.2 Working with COMBI PRESETS
COMBI PRESETS are used to save the entire SampleMoog module status.
When you save COMBI PRESETS you are actually saving all the MIX win-
dows settings, MIDI Control settings, and RANGE Section data.
MIX window settings (figure 5.5) include all its parameters such as what
Instrument is assigned to a PART, MUTE, SOLO, MIDI channels, PAN,
VOLUME, POLY value, and the selected OUTPUTS. This allows you to create
5 - Editing and saving sounds 43

SampleMoog
complex 16 part multi-timbral setups, and easily recall them with one click.
figure 5.5
MIDI Control settings (figure 5.6) include the PARAMETERS associated

to each CONTROLLER NUMBER as well as their MIN and MAX values, so
when you recall a particular COMBI you do not have to set up any MIDI CTL
association.
figure 5.6
RANGE Section (figure 5.7). The RANGE button is located in the SYNTH-
SAMPLER section and includes the PART TRNSP, RANGE L, RANGE R, VEL
LO, and VEL HI parameters. Saving all the RANGE parameters values at once,
allows you to easily build/recall complex splits and layers settings.
figure 5.7
To save a COMBI PRESET, click SAVE in the MIX window (figure 5.8), type
the file name in its related field and click Save. The COMBI PRESETS files are
saved by default into the SampleMoog Presets folder, located in the program
installation directory.
figure 5.8
To load a COMBI PRESET, click on the COMBI PRESETS down arrow (located
on top of the 9-16 button), and select one of the available options from the
menu list (figure 5.9).
In addition, you can SAVE AS or DELETE COMBI PRESETS, just click on their
related buttons.
figure 5.9
44 5 - Editing and saving sounds

SampleMoog
5.3 Back-up function
To Back-up the entire instrument’s data used in the current SampleMoog

instance, click the BACK-UP button (figure 5.10). Then, select or create
figure 5.10
a new folder and click OK. The entire instrument data used in the cur-
rent SampleMoog instance will be copied to this folder, including PART
PRESETS.
The BACK-UP function is very useful as a security measure and while saving
songs and closing sessions. This will ensure that all SampleMoog instru-
ments used in that particular session will be easily retrieved. It also allows
you to easily share the same materials among several producers involved in
the same project.
5 - Editing and saving sounds 45

SampleMoog
46 5 - Editing and saving sounds

SampleMoog
Chapter 6 SYNTH-SAMPLER controls
This Chapter covers the Synth engine, Filter, Envelope 1-2, LFO 1-2, Velocity
and Range controls description.
Click SYNTH. SampleMoog synth engines will be displayed (figure 6.1).
figure 6.1
Select RESAMP or STRETCH and their related controls will appear. Here a
brief description of each synth engine’s controls.
6.1 Resampling controls
The Resampling algorithm is the standard way used by conventional

samplers to change the pitch of a sample. This is performed by reading the
samples faster or slower, resulting in a simultaneous change of both pitch
and tempo (figure 6.2).
figure 6.2
PITCH: controls the tuning of the samples by applying Resampling.

Increments are in semitones and range is +/- 3 octaves. This will affect
both pitch and tempo, for example increasing the Pitch by one octave on
a drum loop sample will result in a tempo multiplied by 2.
FINE: controls the tuning of the samples by applying Resampling.

Increments are in cents and range is +/- 1 semitone.
BENDER: controls the tuning deviation given by the pitch bender wheel.
Increments are in semitones and range is +/- 2 octaves.
PAN: controls the panning of the zones. Default (center) value is 64. 0 is
panned hard left and 127 is panned hard right.
6.2 STRETCH controls
The STRETCH algorithm allows for independent change of the three basic
and most important sample parameters: pitch, tempo (or speed) and timbre.
This opens a whole new set of possibilities that are simply not feasible with
6 - SYNTH-SAMPLER controls 47

SampleMoog
conventional samplers, like:
• changing the timbre of acoustic instruments, even radically

• playing sampled phrases in chords on the keyboard, while maintain-
ing the same TEMPO on all the chord notes
• slowing down or speeding up sampled phrases without changing the
pitch and/or the timbre
• slowing down or speeding up naturally “cycling” instruments, such as
instruments with vibrato, with continuity
• slowing down or speeding up time-evolving instruments or phenom-
ena such as staccato playing, or natural reverberation
• playing very realistic glides or glissandos
• making single-sample instruments able to cover a very wide range
on the keyboard without becoming unreal (and so making “single
note” one shot- samples, which can be unique or limited availability
samples, finally usable for your music)
• having a sampled phrase “sing” (with the help of the mono-legato
feature) the notes you need and not those of the original phrase
Activating the STRETCH engine for the first time will make SampleMoog
pre-analyze the sound. This process actually performs two pre-analysis at
once, one for NOTE and one for PHRASE. This will take some time (5-10
seconds), depending on the size of the samples. Once the pre-analysis has
been completed, it will be stored so that it can be readily available for future
sessions (figure 6.3).
figure 6.3
NOTE: enables STRETCH NOTE mode, optimized for single note based
STRETCH manipulation.
PHRASE: enables STRETCH PHRASE mode, optimized for phrase based

STRETCH manipulation.
PITCH: controls the tuning of the samples by applying STRETCH™

resynthesis. Increments are in semitones and range is +/- 3 octaves.
FINE: controls the tuning of the samples by applying STRETCH™ resyn-

thesis. Increments are in cents and range is +/- 1 semitone.
BENDER: controls the tuning deviation given by the pitch bender wheel.
PAN: controls the panning of the zones. Default (center) value is 64. 0 is
panned hard left and 127 is panned hard right.
48 6 - SYNTH-SAMPLER controls

SampleMoog
TEMPO: controls the speed of the samples by applying STRETCH™

resynthesis. Default is 100%, which means same speed of the original,
range is from 10 to 1000% (1/10 to x10 the original speed).
HARMONIC PRESERVATION (HARM PRES): Harmonic Preservation

Grade controls how the formants of the sound will track the fundamen-
tal’s pitch. Through this option you can choose if the harmonic overtones
of the sound (timbre) are going to be preserved when the original pitch
is changed or not. A 100% setting means a fully timbre-preserving
processing, a 0% setting means a fully non-preserving one. Negative
values are provided just for creative effect.
HARMONICS (HRMNCS): controls the tuning of the samples, therefore

the global Timbre of the samples, by applying STRETCH™ Resynthesis.
Real world examples:

• If you are pitch shifting a vocal sample (phrase or multi-sample)
you will find 80 to 100% to be the most appropriate settings. This is
because real vocals do not have wide variations in formants pitch.
• If you are pitch shifting an organ multi-sample you will find values
between 0 and 10% to be the best. This is because organs must have
all formants shifting exactly as the fundamental, to sound natural.
6.3 Range controls
Click RANGE. Its related controls will be displayed (figure 6.4).
figure 6.4
The RANGE Section allows you to create complex splits and layers by limit-
ing the key range, velocity range, and transposing Parts by semitones. These
settings are saved when saving a COMBI PRESET or when the session that
SampleMoog is being used in, is saved.
PART TRANSPOSITION (PART TRANSP): transposes the pitch of the

selected zone by semitone increments.
RANGE LEFT (RANGE-L): determines the playing note range Left limit
for the selected Part. Parameter range is from C-2 to G8.
RANGE RIGHT (RANGE-R): determines the playing note range Right

limit for the selected Part. Parameter range is from C-2 to G8.

SampleMoog
VELOCITY-LOW (VEL-LO): determines the playing velocity range lower

limit for the selected Part. Parameter range is from 0 to 127.
VELOCITY-HI (VEL-HI): determines the playing velocity range higher

limit for the selected Part. Parameter range is from 0 to 127.
For example:
To change a Part that has a key range from C0 to G4 to a smaller key range
(for example C2 to G2) adjust the Range-L value to C2 and the Range-R value
to G2. This will limit the key range to the desired amount. Setting Range-L
higher than Range-R is allowed, to indicate a range of the keyboard where
nothing is mapped.
The velocity limits can be adjusted as explained above, to limit the velocity
response of the Part.
The MACRO controls have been already described in Chapter 3.1.2.
6.4 Filter controls
Click FILTER. Its related controls will be displayed (figure 6.5)
figure 6.5
TYPE: selects the filter mode:

LPF: low pass filter, attenuates high frequencies leaving lows pass-
ing through.
BPF: band pass filter, attenuates both high and low frequencies
allowing mids to pass through.
HPF: high pass filter, attenuates low frequencies leaving highs
passing through.
SLOPE: selects the slope or steepness of the filter:

6: Roll off is 6 dB per octave (1 pole)
12: Roll off is 12 dB per octave (2 poles)
24: Roll off is 24 dB per octave (4 poles)
FREQUENCY (FREQ): controls the Cutoff frequency of the filter, expressed

in Hz.
RESONANCE (RES): controls the Resonance or ‘Q’ of the filter. It is active

for 12 and 24 dB/Oct filters, not for 6 dB/Oct.

SampleMoog
6.5 Envelope 1 controls
Click ENV 1. Its related controls will be displayed (figure 6.6). Envelope 1 is
used to control the amplitude or volume of the samples playback.
figure 6.6
ATTACK: controls the time the sound will take to reach the nominal level
once the key is pressed.
HOLD: controls the hold time of the amplitude envelope, useful to keep
the level steady for a certain time before it starts to fall down to the
sustain level.
DECAY: controls the decay time of the amplitude envelope, it is the time
the volume will take to reach the sustain level.
SUSTAIN: controls the level of the sustained portion of the sound (while
the MIDI key is kept pressed).
RELEASE: controls the time the sound will take to disappear completely
once the key has been released.
LEVEL: controls the master level of the amplitude envelope. It is useful
to globally increase or decrease the level of an instrument or of a single
sample (when ZONE editing is on).
6.6 Envelope 2 controls
Click ENV 2. Its related controls will be displayed (figure 6.7). Envelope 2
is used to control the Tuning (pitch) of the samples and/or the frequency of
the Filter.
figure 6.7
ATTACK: controls the time the Pitch and/or Filter freq will take to reach
the nominal value once the key is pressed.
HOLD: controls the hold time of the Pitch / Filter envelope, useful to
keep the Pitch or Filter freq steady for a certain time before it starts to
fall down to the sustain value.

SampleMoog
DECAY: controls the decay time of the Pitch / Filter envelope, it is the
time the Pitch and / or Filter freq will take to reach the sustain value.
SUSTAIN: controls the Pitch of Filter freq of the sustained portion of the
sound (while the MIDI key is kept pressed).
RELEASE: controls the time the Pitch or the Filter freq will take to return
to nominal value once the key has been released.
FILTER: controls the depth of the Envelope 2 intervention over the

Filter. The center of the knob is 0 and at this value there is no Envelope
2 modulation to the Filter. Range is from –10 to +10, so modulation can
be positive and negative.
PITCH: controls the depth of the Envelope 2 intervention on the Pitch
of the samples. The center of the knob is 0 and at this value there is no
Envelope 2 modulation to the Pitch. Range is from –6 to +6, so modula-
tion can be positive and negative.
6.7 LFO 1 controls
Click LFO 1. Its related controls will be displayed (figure 6.8).
figure 6.8
WAVE: selects the waveform of the LFO1, can be: Triangle, Square, Saw,
Sine or Random (sample and hold).
RATE: controls the speed or rate of the LFO1. Expressed in Hz.
DEPTH: controls the master level of the LFO1.
DELAY: controls the time the LFO1 takes to reach the nominal modula-
tion value after a key is pressed.
LEVEL: controls the effect the LFO1 has on the Level (Volume) of the
samples, useful to create Tremolo or Fading effects.
PITCH: controls the effect the LFO1 has on the Pitch (Tuning) of the
samples, useful to create Vibrato effects.
FILTER: controls the effect the LFO1 has on the Filter Cut off frequency.
BPM SYNC: allows LFO to be synchronized to host sequencer’s BPM.

SampleMoog
FREE RUN: selects if the LFO starts its run when the key is pressed (Free
Run=OFF) or if it is always running (Free Run = ON).
6.8 LFO 2 controls
Click LFO 2. Its related controls will be displayed (figure 6.9).
figure 6.9
WAVE: selects the waveform of the LFO2, can be: Triangle, Square, Saw,
Sine, Random (sample and hold).
RATE: controls the speed or rate of the LFO2. Expressed in Hz.
DEPTH: controls the master level of the LFO2.
LEVEL: controls the effect the LFO2 has on the Level (Volume) of the
samples, useful to create Tremolo or Fading effects.
PITCH: controls the effect the LFO2 has on the Pitch (Tuning) of the
samples, useful for creating Vibrato effects.
FILTER: controls the effect the LFO2 has on the Filter Cutoff frequency.
PAN: controls the effect the LFO2 has on the stereo panning of the
samples.
BPM SYNC: allows LFO to be synchronized to host sequencer’s BPM.
6.9 Velocity controls
Click VELOCITY. Its related controls will be displayed (figure 6.10).
figure 6.10
CURVE: selects the velocity response of the selected part. Default is

NORMAL; other values are Comp1 and 2, which are compressed, Exp1
and 2, which are expanded.
AMP: controls the effect that MIDI velocity has over the Volume of the

SampleMoog
instrument.
FILTER: controls the effect that MIDI velocity has over the Filter Cutoff
frequency.
PITCH: controls the effect that MIDI velocity has over the Tuning of the
samples.
RESONANCE (RES): controls the effect that MIDI velocity has over the
Filter Resonance or Q.
LFO1 DEPTH: controls the effect that MIDI velocity has over the LFO1
strength.
ENVELOPE 2 (ENV2 SUSTAIN): controls the effect that MIDI velocity has
over the value of the Envelope 2.

SampleMoog
Chapter 7 SampleMoog Multi-Effects Unit
This Chapter contains information about how SampleMoog Multi-Effects

Unit works, and a detailed description of each effects’ parameters.
7.1 SampleMoog Multi-Effects Unit
SampleMoog contains an integrated multi-effects engine (figure 7.1) which

offers high quality DSP effects giving maximum flexibility, creativity and
realism to all the instruments. All the effects are top-class and have been
designed with sound shaping in mind.
figure 7.1
There are 32 effects that can be selected from the SampleMoog effects list.
As mentioned in Chapter 3.4, there are 4 effects slots. The 1st effect slot is
fixed with an EQ, Compressor (EQ/COMP). However, effects slots 2 to 4 can
be freely selectable from the 32 DSP effects list.
figure 7.2
You can insert up to 4 effects per part (one per effect slot). Just select them
from the effects list by clicking on the proper effects slots. Each effect has
several parameters that are visually represented by “knobs” (figure 7.2).
All effect knobs are MIDI-controllable and can be automated in your host
application.
7.2 Effect list
There are 32 top-notch DSP effects included in the Effects list (figure 7.3).
Here is a description of them and their controls.
7.3 Reverberation and Delay
The reverbs included in SampleMoog add reverberation and ambience to the

sound, creating spatial depth ranging from large halls to small rooms.
figure 7.3
7 - SampleMoog Multi-Effects Unit 55

SampleMoog
7.3.1 Reverb and Reverb Delay
The Reverb (figure 7.4) and Reverb Delay effects (figure 7.5) include the fol-
lowing parameters:
figure 7.4
figure 7.5
TIME: sets the length of the reverberation.

COLOR: sets the reverberation tonal character, from dark to bright.
DENSITY: sets the number of reflections generated by the reverb.
SIZE: sets the size of the virtual chamber that is being emulated.
DRY/WET: adjusts the mix between dry and wet signals.
7.3.2 Ambience
This effect (figure 7.6) produces a very short reverb, very useful for emulating the
typical ambience of small closed spaces, like studio rooms or little concert suites.
figure 7.6
TIME: sets the length of the reverberation.

SIZE: sets the size of the virtual chamber that’s being emulated.
7.3.3 Spring Reverb
This reverb (figure 7.7) sounds very close to a real mechanical spring unit,
featuring their signature warmth with that typical metallic and resonant
vibe. This reverb is mono.
figure 7.7
56 7 - SampleMoog Multi-Effects Unit

SampleMoog
TIME: sets the length of the emulated virtual spring, giving shorter or
longer reverb tails.
7.3.4 Delay
Delay (figure 7.8) is an effect that adds echoes to the sound.
figure 7.8
MODE: you can choose from simple mono delay to a sophisticated multi-
tapped stereo delay.
FEEDBACK: sets the number of echoes that the effect produces.
DELAY TIME (D.TIME): sets the amount of time between the echoes.
DRY/WET: adjusts the mix between the dry and wet signals.
BANDWIDTH (BNDWITH): sets the bandwidth of the echoes, raising the
knob will give a sound similar to one of the old analog or tape delay
units.
7.4 Filters
These effects apply various types of filters to the sound by cutting some por-
tions of the audio spectrum. These are resonant filters, giving these effects
some of the characteristics found on some old synthesizers.
7.4.1 Filter
In this filter FX, the Cutoff frequency can automatically sweep by the effect
of a built-in LFO (figure 7.9). The LFO can sync with the song’s BPM.
figure 7.9
FREQUENCY (FRQENCY): specifies the frequency at which the filter

begins to attenuate.
RESONANCE (RSNANCE): emphasizes the overtones in the region of the
cut-off frequency. This gives a particular, vintage character to the sound,
especially if used with 4 pole low pass filter.
DEPTH: the filter cut off frequency can sweep automatically by the effect
of the envelope of the signal that is passing through. This control sets

SampleMoog
the amount of modulation.

RATE: sets the speed of LFO modulation.
MODE: sets the type of filter. You can choose from various types, low
pass, band pass and high pass. They all are available in three different
slopes, from a very natural and pleasing 1 pole to a “techno” 4 pole.
7.4.2 Envelope Filter
In this filter FX, the Cutoff frequency can automatically sweep by the effect
of the envelope of the audio signal passing through it (figure 7.10).
figure 7.10
FREQUENCY (FRQENCY): specifies the frequency at which the filter

begins to attenuate.
RESONANCE (RSNANCE): emphasizes the overtones in the region of the
cut-off frequency. This gives a particular, vintage character to the sound,
especially if used with 4 pole low pass filter.
DEPTH: the filter cut off frequency can sweep automatically by the effect
of the envelope of the signal that is passing through. This control sets
the amount of modulation.
MODE: sets the type of filter. You can choose from various types, low
pass, band pass and high pass. They all are available in three different
slopes, from a very natural and pleasing 1 pole to a “techno” 4 pole.
7.4.3 Multi Filter
This is a particular kind of filter where instead of selecting the type of filter
(LPF, BPF or HPF) you can use them all together with independent levels
(figure 7.11).
figure 7.11
CUT OFF FREQUENCY (CTFF FRQ): controls the Cutoff frequency of the filter.
RESONANCE (RSNANCE): controls the Resonance of the filter.
DISTORTION (DSTRTON): controls the amount of distortion the filter will
produce.
LOW PASS GAIN (LP GAIN): controls the level of the Low Pass section
of the filter.
HIGH PASS GAIN (HP GAIN): controls the level of the High Pass section

SampleMoog
of the filter.
BAND PASS GAIN (BP GAIN): controls the level of the Band Pass section
of the filter.
NOTCH GAIN (NTCH GN): controls the level of the Notch section of the
filter.
DRY/WET: controls the global output volume of the filter
7.4.4 Wah-Wah
This effect simulates a typical “wah-wah” guitar pedal (figure 7.12).
figure 7.12
WAH: sets the cut off frequency of the wah effect. Use it (via MIDI con-
troller) to manually create wah-wah effects.
AUTO: when turned up the wah effect can work as an auto-wah, moving
its center frequency automatically. The movements are detected from
the original signal amplitude.
7.5 Modulations
7.5.1 Chorus and Multi Chorus
SampleMoog comes with two different types of chorus: Chorus (figure 7.13)
and Multi Chorus (figure 7.14). The first is a classic stereo chorus, which adds
space and depth to the sound. The second is a special type with a random
pitching character. The first gives a sense of modulation and the second is
designed to be less regular and noticeable.
figure 7.13
figure 7.14
DEPTH: sets the amount of pitch shifting generated by the chorus.

RATE: adjusts the speed of the chorus LFOs.

SampleMoog
7.5.2 Phaser
This entirely analog modeled Phaser recreates the sound of one of the best-
known classics of the past (figure 7.15).
figure 7.15
RATE: controls the speed of the phaser LFO

STAGES: selects the number of phase splitters, from 1 to 10. Increasing
this value gives a more pronounced phasing FX, lower values give a
more subtle effect.
BIAS: controls the offset of the LFO, you can also use this knob to manu-
ally control the Phaser, setting the DEPTH at zero.
DEPTH: controls the strength of the LFO modulation. Setting it at zero,
the phaser can be manually controlled using the BIAS knob.
FEEDBACK (FEDBACK): controls how much processed signal will be
returned to the input. Raising this value to the max will produce a self-
oscillation.
SPREAD: controls the Stereo image of the Phaser. Values near the center
(64) give maximum width.
7.5.3 AM Modulation and FM Modulation
These are two special modulation effects, amplitude modulation (AM)

(figure 7.16) and frequency modulation (FM) (figure 7.17). These effects are
designed to produce a tonal character totally different from the original,
when applied to a complex sound. They can replicate the sounds of some
synthesis systems like FM or ring modulation.
figure 7.16
figure 7.17
CARRIER FREQUENCY (CRRR. FREQ): this is the frequency of the signal

that will modulate the original sound in frequency or in amplitude.
DEPTH: this is the amount of modulation applied.

SampleMoog
7.5.4 Flanger
The Flanger creates a sharper sound by adding a metallic resonance to the

sound (like a jet airplane taking off and landing), (figure 7.18).
figure 7.18
RATE: adjusts the speed of the modulations in the flanging effect.

DEPTH: sets the depth of the flanging modulation.
FEEDBACK (FEDBACK): adjust the amount of signal that is returned to
the input after the flanger effect. Extreme values will deliver self-oscil-
lation of the effect.
7.5.5 Envelope Flanger
This particular kind of flanger has its feedback parameter, which is inter-
nally controlled by the envelope of the audio signal (figure 7.19).
figure 7.19
RATE: controls the speed of the internal LFO.

ENVELOPE DEPTH (ENVLPTH): controls the depth of the Feedback modu-
lation by the envelope of the audio signal.
FEEDBACK (FEDBACK): controls the nominal amount of signal that is
returned to the input after processing.
7.6 Panning
7.6.1 Auto Pan
Autopan automatically moves the stereo location of the sound (figure 7.20).
figure 7.20

SampleMoog
DEPTH: sets the amount of the effect applied to the sound.

SPEED: adjusts the speed of the movement of the sound across the stereo field.
7.6.2 Tremolo
Tremolo cyclically modulates the volume to create tremolo (figure 7.21).
figure 7.21
DEPTH: adjusts the amount of amplitude modulation.

SPEED: adjusts the speed of the tremolo.
7.6.3 Rotary Speaker
This effect simulates the sound which can be obtained by rotary speaker
cabinets. This is a must for organ tones (figure 7.22).
figure 7.22
SPEED: sets the speed of the rotating horns and drum. Organ players
often switch from slow to fast.
DRIVE: sets the amount of distortion generated by the rotary cabinet. This
overdrive is very smooth and similar to that generated by a tube amplifier.
LO/HI: this is the balance between the low and high rotor.
7.7 Distortion
7.7.1 Lo-Fi
Lo-Fi degrades the audio quality to simulate a “Lo-Fidelity” sound. In

SampleMoog, this effect is designed to be used as a speaker and cabinet
simulator too (figure 7.23).
figure 7.23

SampleMoog
BANDWIDTH (BNDWITH): sets the “fidelity.” Increasing the value will give
a better sound, decreasing it will degrade the fidelity progressively.
LO FI: adds distortion to the sound. This distortion works at low levels too.
STEREO: sets the stereo channel separation. From mono to stereo.
7.7.2 Distortion
This effect simulates the distortion occurring as you raise the gain of an amplifier.
Various amplifier models are provided (figure 7.24).
figure 7.24
GAIN: this is the amount of gain and gives more distortion as you increase it.
SHAPE: different types of amplifiers are emulated here. From solid-state
types to guitar tube amplifiers models. This effect does not perform cabinet
and speaker simulation. This is only the “electronic” part of an amplifier.
7.7.3 Phonograph
This effect adds disk noises to simulate the sound of music played by vinyl
records on old record players (figure 7.25).
figure 7.25
CRACKLE: adjust the amount of crackle from the (virtual) record.

AGE: sets the frequency response of the record player, from narrow to wide.
DISTORTION (DSTRTON): sets the amount of distortion generated by the
record player. This is a kind of distortion similar to the one generated by
worn or overused vinyl records.
7.7.4 Crusher
This FX can reduce the fidelity of a signal applying reduction of the sampling
rate or bit resolution (figure 7.26).
figure 7.26

SampleMoog
RESOLUTION (RSLTION): selects the bit resolution of the processed

signal.
DECIMATION (DCMTION): selects the sampling rate reduction factor of
the processed signal.
GAIN: controls the amount of signal that is sent to the Crusher, useful to
created highly distorted sounds.
OUTPUT: controls the output volume.
CUTOFF: controls the Cutoff frequency of the built-in low pass filter.
RESONANCE (RESO): controls the Resonance of the built-in low pass
filter.
7.7.5 Overdrive
This entirely analog modeled Overdrive recreates the tone of one of the best
overdrive stomp boxes (figure 7.27).
figure 7.27
DRIVE: controls the amount of signal being sent to the overdrive.

TONE: controls the Timbre of the distortion, from dark to bright.
VOLUME: controls the output level of the effect.
7.8 Amp Simulation
7.8.1 Pre Amp
This analog modeled processor emulates the first stage of some of the most
acclaimed classic tube guitar amplifiers (figure 7.28).
figure 7.28
MODEL: selects the kind of preamplifier to be emulated. Choices are:

Clean, Brit AC, Mellow, Crunch, Lead1, Lead2, Fuzz.
GAIN: controls the amount of signal that is sent to the preamplifier, with
Crunch and Lead preamps it gives control over the distortion.
VOLUME: controls the output level of the Pre Amp.

SampleMoog
7.8.2 Tone Control
A classic tube tone control that recreates the tone shaping stage found on
the best tube amplifiers. Can deliver incredible presence and warmth to the
sound (figure 7.29).
figure 7.29
MODEL: selects from Tube 1 to 5

LOW: controls the amount of low frequencies.
MID: controls the amount of mid frequencies.
HIGH: controls the amount of high frequencies.
PRESENCE (PRSENCE): controls the presence of the sound with a par-
ticular analog “old style” character.
LEVEL: controls the output level of the Tone Control.
7.8.3 Cabinet
This processor emulates with great accuracy the frequency response of some
of the best guitar cabinets. This effect is extremely useful when you need to
add a “mid-range” character to any kind of sound, to give a more realistic
character without using an equalizer (figure 7.30).
figure 7.30
MODEL: selects from various types of Speaker Cabinets. The final posi-
tion is direct, no speaker.
MICROPHONE TYPE (MC TYPE): selects the kind of microphone that is
placed in front of the speaker: Dynamic or Condenser.
MICROPHONE DISTANCE (MC DIST): selects the distance between the
cabinet and the microphone: Near or Far.
MICROPHONE POSITION (MIC POS): selects the positioning of the micro-
phone: In Axis or Off Axis.
7.9 Mix/Master
7.9.1 Parametric EQ
A very clean and precise full-digital parametric EQ, you can expect maxi-

SampleMoog
mum transparency from this equalizer. Two identical fully parametric peak-
ing bands are provided (figure 7.31).
figure 7.31
FREQ1: center frequency of the first band, range from 20Hz to 18KHz.
FREQ2: center frequency of the second band, range from 20Hz to 18KHz.
GAIN1: gain of the first band, range +/- 15 dB.
GAIN2: gain of the second band, range +/- 15 dB.
Q1: bandwidth of the first band, from 0.1 (very wide) to 8 (very narrow).
Q2: bandwidth of the second band, from 0.1 (very wide) to 8 (very nar-
row).
7.9.2 Channel Strip
The Channel Strip has been added in the effects list because it can be useful
to place it after some other FX modules, for further processing (figure 7.32).
figure 7.32
LOW GAIN (LW GAIN): boosts/reduces low frequencies. This is a low

shelving filter.
MID FREQ (MD FREQ): adjusts the center frequency.
MID GAIN (MD GAIN): boosts/reduces middle frequencies. This is a wide
bell filter.
HIGH GAIN (HGH GAIN): boosts/reduces high frequencies. This is a
shelving filter.
COMP: applies compression.
GAIN: adjusts the level over a range of +/- 15 dB.
7.9.3 Compressor
This is an ultra smooth compressor, modeled after a classic tube compressor.

It can be very soft and gentle on all types of material (figure 7.33).
figure 7.33

SampleMoog
ATTACK: controls the amount of time that the compressor takes to react
to the audio signal.
RELEASE: controls the amount of time that the compressor takes to
return to normal gain after some compression has occurred.
DRIVE: controls the amount of signal that is sent to the unit, therefore
sets the compression.
RATIO: controls the strength of the compression. Higher values will
result in a more evident effect.
SPREAD: controls the Stereo image. Turning up this knob will enlarge
the stereo image. The center position leaves the image unaltered.
7.9.4 Limiter
This is a multi-band analog modeled limiter. Inside there are three separate
hard knee compressors for the low, mid and high bands (figure 7.34). It can
deliver a very powerful compression to drums kits and loops. The controls of
the three compressors are linked on the interface for simplicity. Compared
against the Compressor, the Limiter can deliver a far more aggressive com-
pression effect.
figure 7.34
DRIVE: controls the amount of signal that is sent to the limiter, therefore
sets the compression.
OVERLOAD (OVRLOAD): controls the blending between full limiting
(fully left) and full clipping (fully right).
RELEASE: controls the release time of the three compressors.
7.10 Dance
7.10.1 Slicer
The slicer works by applying successive rhythmic cuts to the sound, mak-
ing it similar to a backing phrase (figure 7.35). It is especially effective on
sustained sounds.
figure 7.35
PATTERN: sets the rhythmic pattern.

SampleMoog
DEPTH: adjusts the amount of attenuation (in dB) when the slicer is
cutting out the sound.
ENVELOPE (ENVLOPE): the cuts can be instantaneous or not. This knob
sets the slope of the cuts, from instantaneous to smooth.
TRIGGER: the slicer pattern is reset and returns to the beginning as
soon as this knob is moved, or automated via MIDI control change. This
should be used (by controlling this knob using a MIDI CC and automat-
ing it into the sequence) to “sync” the slicer pattern to the song, in
order to obtain a predictable effect. For instance, the “Sync CC” could be
placed at the beginning of every 4-bars.
FREQ: sets the speed of the slicer pattern execution.
7.10.2 BPM syncable effects
All effects which have a tempo function (Delay, Filter, Flanger, AutoPan,
Tremolo, Slicer) can be tempo synced with their “speed” parameter linked
to the host sequencer’s BPM. These effects can be easily synced with the
composition’s BPM with repetitions ranging from 1/16 to 1/2. To Sync an
effect to BPM, simply click on the BPM ON/OFF switch (figure 7.36).
figure 7.36

SampleMoog
Chapter 8 Automation
8.1 Automating parameters
All SampleMoog parameters can be automated using MIDI CTL association.

Simply associate a MIDI CTL to the parameter you want to automate (see
paragraph 3.9), and record a track on the sequencer by drawing or using an
external MIDI controller on the same MIDI channel of the instrument you
want to control.
Also, SampleMoog can be used with standard automation in RTAS, VST and
AU. Since SampleMoog provides thousands of parameters, it is not possible
to assign all of them to the standard sequencers automation. Only Parts
Volume, Pan, and Macros A, B, C, D are controllable via sequencer automa-
tion.
However, remember that any of the SampleMoog parameters can be auto-

mated via its built-in MIDI CTL function. There is no limitation of any kind
to this.
8 - Automation 69
SampleMoog
70 8 - Automation
SampleMoog
Chapter 9 Tips and Tricks
9.1 Polyphony and CPU performance
Each SampleMoog module can have a maximum POLYPHONY of up to 256

notes. This sets the maximum number of notes which can be played by the
module.
In the MIX window, a Part POLY field has been included (figure 9.1).
Changing the number displayed in this field allows you to limit the polypho-
ny value of the selected instrument, overriding (for that specific instrument)
figure 9.1 the POLYPHONY settings of the module.
As the number of playing notes exceeds this number, a (!) symbol appears
in the MIX window /Part POLY field (to the right of the polyphony value)
indicating that an OVER-polyphony has occurred. While performing, every
time you surpass the maximum number of polyphony notes, the oldest note
will be cancelled (for example, if you set 32 as the maximum number, when
you insert the 33rd note you will erase the first one).
9.2 Get the most out of your SampleMoog
Do not open multiple instances unnecessarily. This increases CPU load. Use
additional modules only if you have used all the 16 MIDI channels in the
first instance.
To achieve low-latency on Windows systems, we strongly recommended

ASIO cards.
When CPU performance is close or exceeds 100%, you may experience

performance degradation and sound interruption. To avoid this, lower the
maximum number of polyphony notes. A more powerful CPU will allow you
to play more instruments simultaneously, with more polyphony, and get the
most out of SampleMoog.
It is a very good idea to limit the polyphony of instruments that do not really
need it. So, reduce polyphony (MIX window) value to 8 – 10 notes to make
room for those instruments that really need a lot of polyphony.
9 - Tips and Tricks 71

SampleMoog
72 9 - Tips and Tricks

SampleMoog
Chapter 10 Troubleshooting
Where can I find my IK product Serial Number?
The Serial Number is written on the Registration Card (included with

your IK product, inside the license envelope). In the snapshot, please
check its exact location (figure 10.1).
1) Here you can find your SERIAL NUMBER
2) At the bottom of the registration card a legend helps you

identify the characters in your SERIAL NUMBER
figure 10.1
For clear character identification, please analyze the legend.

IMPORTANT: the number zero can easily be identified in your Serial
Number because it is crossed by a line.
Why is the Wizard rejecting my Serial Number?
Probably because it found a typo, so please analyze the common errors:

*Typing a 0 (“zero” number) instead of an O (“o” letter)
*Typing 1 (“one” number) instead of an I (“i” letter)
*Typing 2 (“two” number) instead of a Z (“z” letter)
*Typing 5 (“five” number) instead of an S (“s” letter)
*Typing 8 (“eight” number) instead of a B (“b” letter)
*Typing a “.” (point) instead of a “-” (minus)
10 - Troubleshooting 73
SampleMoog
Suggestions:
• Whenever is possible, please Copy and Paste the information.

• Cut off all the leading and trailing spaces.
• Please type all codes UPPERCASE during the Installation and
Registration process.
• Check that the Serial number that you are entering is in correlation
with the product installed.
During the Product Registration process, I received this message: The

Serial Number is already registered...
Remember that you are able to register your product only once. So, if you
are trying to get a new Authorization Code, please read the related FAQ.
Where can I find my Digital ID?
The Digital ID is displayed in the Authorization window of your IK product

(figure 10.2).
figure 10.2
74 10 - Troubleshooting
SampleMoog
Why is my Digital ID being rejected during the Online Registration process?
There is probably a typo in it. Remember that the Digital ID has NO

letter “I” and “O”, only the numbers “1” (one) and “0” (zero). In order
to prevent any further mistakes, please Copy the Digital ID from the
Authorization Form to the Registration Form.
Where can I find my Serial Number, Digital ID and the Authorization Code
of a registered IK Product?
In your IK product interface, locate the Lock button and click on it. If your
product version has no Lock button, you can also log in to the User Area
and click on Request a new Authorization Code. You will be able to check
all the main information about your registered products.
How can I get a new Authorization Code?
Please log in to the User Area at

https://www.ikstore.com/Login/IKLogin.cgi
Then, click on Request a new Authorization Code.
I have already registered my product online, but I did not get an

Authorization Code.
Usually, this happens because the Digital ID was not submitted dur-
ing the registration process. In order to get a new Authorization Code,
please read the “How can I get a new Authorization Code?” FAQ.
I need to log in into the User Area but I forgot my User Name and Password.
What should I do?
Please go to the User Area and enter your registered email address (in
the proper empty box). You will receive an email with the necessary
information to Log in.
I have already installed, registered and authorized my IK product in my main

computer. What do I have to do to use my IK product in other computers?
You need to install the program and get a new Authorization Code. To
learn how to get a new Authorization Code, please refer to “How can I
get a new Authorization Code” paragraph in this chapter.
10 - Troubleshooting 75
SampleMoog
I just bought an IK product. What should I do to register and authorize my

new product?
In the Support area of our website www.ikmultimedia.com click on the

Product Registration link, or click on the Tech Support Page link and
click on option 1 (Register your product).
In the Serial Number field of the Product Registration Form, please

insert the Serial Number written on the Registration Card (included
with your IK boxed product, inside the license envelope) or the one
that has been delivered to you (e.g. Online purchase, such as a Digital
Delivery, or update).
Complete the Registration Form and click Submit.
Regarding the Authorization process, if you already typed your Digital

ID while filling the Product Registration Form, you will receive an
email from us with your Authorization Code. If not, after you launch the
program the Product Authorization Wizard will appear. Please read and
follow the instructions provided in each of the wizard’s windows and get
an Authorization Code.
76 10 - Troubleshooting
SampleMoog
Chapter 11 Support
For any question you may have, please refer to the FAQ webpage: www.
ikmultimedia.com/FAQ.php where you will find answers to the most com-
mon questions.
To submit a Technical Support Form, go to:

www.ikmultimedia.com/Support.php
To contact US Tech Support Service by phone, please call at (954) 846-9866
For other requests such as Product, Sales, or Web info, please go to:
www.ikmultimedia.com/ContactIKForm.php
11.1 User Area
The User Area is a special section of our website specifically designed for
our users' needs (figure 11.1).
figure 11.1
11 - Support 77
SampleMoog
Through the User Area, each member of our registered users’ database will
be able to:
• Request a new Authorization Code

• Submit a Support Request
• Download Software updates and free content
• Edit your Personal and Product data
• Customize your Username/Password
• License Transfer Process
To access the User Area go to:

https://www.ikstore.com/Login/IKLogin.cgi
or go to www.ikmultimedia.com and click on the User Area link (left side of
the page, under Support).
To enter to the User Area for the first time, you have to Log in with the
Username and Password that you have received from us via email after your
first IK product registration. If you have already changed your Username and
Password, please use your most current information to Log in.
78 11 - Support
SampleMoog
Notes
Notes 79
SampleMoog
80 Notes
The Moog logo and trademarks, Little Phatty®, Etherwave®, Minimoog®,
Voyager®, Taurus™, are property of Moog Music® Inc. used under
license by IK Multimedia. SampleMoog™ is a trademark jointly owned
by IK Multimedia and Moog Music® Inc. All other product names and
trademarks are the property of their respective owners, which are in no
way associated or affiliated with IK Multimedia.
www.samplemoog.com
IK Multimedia Production Srl, Via dell’Industria 46, 41100, Modena, Italy.

Phone: +39-059-285496 - Fax: +39-059-2861671
IK Multimedia US LLC, 1153 Sawgrass Corporate Pkwy. Sunrise, FL 33323
Phone: (954) 846-9101 - Fax: (954) 846-9077
www.ikmultimedia.com
All specifications are subject to change without further notice.

PN: MNU-SM-0001

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SONIK INSTRUMENTS

the Moog Synth Anthology

16 rare, collectable Moog synths in one product™

SampleMoog™ is a trademark jointly owned by IK Multimedia and Moog

III License Agreement pag. 8

Chapter 1 SampleMoog Overview pag. 11

Chapter 2 Getting started with SampleMoog pag. 19

Chapter 3 Controlling SampleMoog pag. 31

Chapter 4 Organizing instruments pag. 41

Chapter 5 Editing and saving sounds in SampleMoog pag. 43

Chapter 6 SYNTH-SAMPLER controls pag. 47

Chapter 7 SampleMoog Multi-Effects Unit pag. 55

7.9.1 Parametric EQ  pag. 65

Chapter 8 Automation pag. 69

Chapter 9 Tips and Tricks pag. 71

Chapter 10 Troubleshooting pag. 73

Chapter 11 Support pag. 77

Plug-in and Standalone Sample Workstation

Easy to use full MIDI control 256 note polyphony

16 part multitimbral sound

Sound search function

Zone feature for single

32 DSP effects to choose

“EULA” means this end user license agreement

4) DESCRIPTION OF OTHER RIGHTS AND LIMITATIONS

­­­­­­­­­ III - License Agreement

10) CHOICE OF LAW

IK Multimedia Production Srl

© 2007 IK Multimedia. All rights reserved.

III - License Agreement ­­­­­­­­­

Chapter 1 SampleMoog Overview

SampleMoog is a matchless virtual instrument done in cooperation with

SampleMoog contains the most complete collection of Moog™ sounds ever

In SampleMoog, 2 synth engines can be switched on the fly: traditional

To easily create your own custom patches, SampleMoog offers you a

SampleMoog offers a powerful yet flexible synth-engine, a superior multi-

1.2 What is SampleMoog?

SampleMoog is a polyphonic, multitimbral virtual instrument that contains

To use SampleMoog, all you need is a computer and an audio interface/card

1.3 SampleMoog Features

Summarized here are SampleMoog main features:

• SampleMoog works as a standalone application, as well as a plug-in

1.4 Moog instruments sampled in SampleMoog

16 highly acclaimed Moog synthesizers have been chromatically sampled

Modular Moog series

this instrument. In addition to a main volume slider, each of the 3 keyboard

10. Concertmate MG-1

Ring-Mod effect called “Bell”. MG-1 exclusive feature consisted of a slider

14. Etherwave Theremin

15. Minimoog Voyager

16. Little Phatty

Chapter 2 Getting started with SampleMoog

SampleMoog can be used in standalone mode or as a plug-in.

2.1 Using SampleMoog as a Standalone

2.1.1 Starting SampleMoog in Standalone mode

In standalone mode, you can launch SampleMoog from your application

Audio MIDI Setup

2 - Getting started ­­­­­­­­­19

SampleMoog is compatible with Core Audio compatible audio interfaces in Mac

III License Agreement pag. 8

Chapter 1 SampleMoog Overview pag. 11

Chapter 2 Getting started with SampleMoog pag. 19

Chapter 3 Controlling SampleMoog pag. 31

Chapter 4 Organizing instruments pag. 41

Chapter 5 Editing and saving sounds in SampleMoog pag. 43

Chapter 6 SYNTH-SAMPLER controls pag. 47

Chapter 7 SampleMoog Multi-Effects Unit pag. 55

7.9.1 Parametric EQ pag. 65

Chapter 8 Automation pag. 69

Chapter 9 Tips and Tricks pag. 71

Chapter 10 Troubleshooting pag. 73

Chapter 11 Support pag. 77

III - License Agreement

III - License Agreement

2 - Getting started 19

20 2 - Getting started

2 - Getting started 21

22 2 - Getting started

2 - Getting started 23

24 2 - Getting started

2 - Getting started 25

26 2 - Getting started

2 - Getting started 27

28 2 - Getting started

2 - Getting started 29

30 2 - Getting started

3 - Controlling SampleMoog 31

32 3 - Controlling SampleMoog

3 - Controlling SampleMoog 33