Design
Although manufactured by Moog, the MG-1 design was done by Paul Schreiber (then employed by Tandy Systems Development). [1] David Luce of Moog was involved with the creation. Schreiber later founded Synthesis Technology and invented the MOTM modular system.
The MG-1 includes:
- Two oscillators with sync & detune, one producing either a Square or Sawtooth waveform, with the other producing either a Pulse or Sawtooth waveform.
- One 24db/oct low pass filter/VCF, that can use the envelope generator, has three-position keyboard tracking, and is capable of self-oscillation.
- Three-part envelope generator, with separately adjustable Attack and Decay or Release, and selectable Sustain on or off. The Envelope Generator can be triggered by either the keyboard, or the LFO.
- Oscillator 2 can be tuned independently or hard-synced to Oscillator 1.
- Noise generator. (Digital Pseudo-Random Noise)
- Ring modulation (called "Bell Tone" this is Amplitude Modulation of VCO 1 and 2).
- Polyphonic oscillator. This is a divide-down square wave generator. It is routed to the VCF and the VCA.
- LFO that can modulate the oscillators and the filter using a Triangle, Square or random Sample-and-Hold waveform.
- Voltage controlled amplifier with Keyed, Hold, and Envelope modes (accessed via 3-way switch, misleadingly only labelled "Tone Sources" but also affects Poly signal).
- Portamento (called "Glide").
- External Control inputs for pre-MIDI CV/Gate.
The similar Moog Rogue came after the MG-1. An update of Schreiber's Design with Moog's traditional Pitch and Mod wheels added, the Moog-developed Rogue also removed the MG-1 polyphonic Tone section. Both models share exactly the same plastic casing, but are different machines in many respects. First, the MG-1 power supply is internal, whereas on the Rogue it is an external "wall wart" type. Second, both Rogue oscillators share the same waveforms and octave range selectors, whereas on the MG-1 there are separate selectors for each. Third, the MG-1 offers "Bell Tone" (Amplitude Modulation of VCO 1 and 2) not found on the Rogue. The MG-1 has two independent sliders for VCF and VCO modulation instead of the Rogue's Mod Wheel. The Pitch Bend Wheel has no equivalent on the MG-1.
The MG-1 was produced in great quantities for distribution in the consumer market. Because it was originally distributed in Radio Shack stores instead of specialized music stores, it was easily found and was usually less expensive than a Rogue, despite actually offering more. It is identifiable by the big "REALISTIC" name in white letters on the back (instead of the letters "MOOG") and the lack of Pitch Bend and Modulation wheels, but, in smaller print at the back, it clearly states: "Custom manufactured by Moog Music in U.S.A. for Radio Shack, a division of Tandy Corporation".
Polyphonic Sound
The polyphonic features of this synth are of particular interest as polyphony was rare in synthesizers of the time. The square-wave based polyphony section is described as a "cheesy organ sound" [3] by some, and well-used by others. Since the polyphony section is independently tunable, it can function as a rudimentary third oscillator, allowing the user to create more complex tones than on similar two-oscillator synths. All of the sound-generating features come together in a mixer allowing the levels for the two monophonic tone sources, noise, bell tone, and polyphony to be adjusted independently. The multiple notes of polyphony feed into the single filter, giving a paraphonic result. In 1982–3, few electronic musical instruments had the MG-1 combination of paraphonic poly section and monophonic synthesizer in one instrument.
It is a common misconception that the Poly tones are not affected by the Contour settings. In reality, the Poly tones can be affected by the Rise Time (attack) and Fall Time (decay) sliders. The Contour settings can only affect Polyphony while a key is pressed due to the Polyphonic gate design. When a key is released, the polyphony tone for that key stops immediately. Therefore, it is true that the Poly tones are not "faded out" by the Fall time (release) contour setting when a key is released. Similarly, the Poly tones are not "held" with the two VCOs when in "Continuous" (Hold or drone) mode. The rest of the modulation, including the sample-and-hold, will affect the Polyphonic Signal via the filter section. One thing to note however; the LFO cannot be used to modulate the pitch to create a vibrato of the Polyphony section. Against these limitations, the Polyphony is total, meaning all 32 keys can sound all at once.
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