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34-532: MG1 is: Moog Concertmate MG-1 MG1 electric motor , Motor Generator No. 1 in Toyota Hybrid System A General Motors RPO code for the Getrag 282 transmission. Metal Gear 1 See also [ edit ] MG2 (disambiguation) [REDACTED] Topics referred to by the same term This disambiguation page lists articles associated with

68-589: 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

102-716: A modern reinterpretation that focuses only on the ability of an electronic musical instrument to generate more than one note-frequency but with the inability to offer individual articulation of tone and/or loudness to each of the individual overlapping notes . The root of that misconception has been anecdotally attributed to probably the Sound on Sound ("SOS") magazine article, " Introducing Polyphony " (part of its "Synth Secrets" series of articles) published for December, 2000. In this article, musician-writer Gordon Reid ( seemingly incorrectly) identifies paraphony thus: "...a form of sound generation called 'Paraphonic' synthesis, prevalent in

136-589: A picture of Elton John holding the MG-1 on his arm appears alongside the description of this synthesizer in Radio Shack's 1982 and 1983 catalogs, he has never actually used it in any of his recordings or performances. The photo was the product of a publicity contract with the Tandy Corporation. Paraphonic Paraphony is a term which has three distinct meanings in the field of music. Paraphony

170-479: A single filter and secondary amplifier arrangement. This was revisited in the following month's continuation of the "Synth Secrets" series where 'paraphony' was compared to polyphony in the context of synthesizers: "Figure 1 (above) shows the architecture of a 'divide-down' paraphonic synth on which only the first note played benefits fully from the Attack and Decay stages of the contour generator, and only

204-632: A single input, it has turned around to be a somewhat negative description of instruments that cannot 'fully articulate' their polyphony, where each note shares a significant part of its sound creation (or its contouring) process with any and all other overlapping notes. In fact, Reid was quite correct in what he described, in that instruments described by Roland as offering this 'parallel sound' paraphonic ability had offered layered combinations of sounds comprising individual sounds and voice-architectures that, where electronically generated , did indeed conform to his description. (Roland's first 'paraphonic' device,

238-473: Is Roland's new GR-500 Guitar Synthesizer...both paraphonic and polyphonic. Polyphonic because full chords can be synthesized. Paraphonic because all five sections may be played at once." This does not explain how that 'new (commercial) meaning' of "paraphony" that in the context of electronic music instruments in 1977 has been turned around significantly into the 21st century from multiple complete polyphonic and monophonic sounds that can be layered in unison to

272-402: Is a term used in musical vernacular to refer to consonances which rely upon intervals of fifths and fourths . This terminology can be traced to ancient Greece and sources such as Theon of Smyrna . Completely unrelated to the above sense, a synthesizer is called paraphonic if it can play multiple pitches at once, but those pitches share part of their electronic signal paths. For example,

306-400: Is broadly similar to the behaviour we would expect if the same thing were played on (e.g.) a piano. The above can be contrasted with the following recording of how one paraphonic synthesizer (a Korg Volca Keys ) actually handles the same situation in real life. The first note (C) briefly peaks at a high volume ("Attack") when hit, then fades to a quieter level ("Sustain") as

340-430: Is called "Glide" and Ring Mod is "Bell Tone". The color scheme is more appealing and vibrant and helps distinguish easily between sections, again for an easier understanding by the general public not familiar with analog synthesizers. This synthesizer is still sought as an inexpensive way to get the famed "Moog Bass" sounds. It is also somewhat infamous in analog synth circles for having black polyurethane foam insulating

374-463: Is played, a similar situation occurs. The previously-held C and F# return to full "attack" volume alongside, giving the false impression all three notes were hit simultaneously in a chord-like manner. (While this demonstrates how the Volca Keys chooses to handle paraphony, other methods for doing so are also possible). Completely unrelated to paraphony in its traditional, musical-consonance sense

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408-496: Is the commercial sales term coined by Roland Corporation for their GR-500 "Paraphonic Guitar Synthesizer" released in 1977 (continued in 1978 with the Roland RS-505 "Paraphonic String Synthesizer"). Here, Roland were drawing attention to the ability of the synthesizer to produce distinct sounds 'in parallel', whereby each note played can produce multiple complete tuned sounds simultaneously. The instruction-manual introduced

442-427: Is the most widely owned of all vintage Moog synths, probably because it was produced in large quantities for the Tandy Corporation, and also its relatively low price (at the time) of $ 499.95. Although manufactured by Moog, the MG-1 design was done by Paul Schreiber (then employed by Tandy Systems Development). David Luce of Moog was involved with the creation. Schreiber later founded Synthesis Technology and invented

476-495: The GR-500 "Paraphonic Guitar Synthesizer" , counted the original guitar sound amongst its 'parallel sounds', which does not necessarily conform to the interpretation). Those articles did, however, seem to apply the term to any electronic musical instrument with this 'single route' voice architecture limitation, as opposed to Roland 's definition of the actual stacking of different sounds into one, multi-composite sound. Interestingly,

510-522: The MOTM modular system. The MG-1 includes: 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

544-459: The Moog Sub 37 . The following example simulates how we would expect a non-paraphonic polyphonic synthesizer (i.e. one with an individual EG for each voice) to behave when multiple overlapping notes are played without being released. (In this case, C, F# then B). Note how previously-played (but still held down) notes remain "in the background" when subsequent notes are hit. This

578-585: The Roland RS-202 string machine could play several dozen pitches at once, but only with a single shared volume envelope , requiring the collective chord to swell and diminish as a single cohesive whole. Similarly, the Korg Poly-800 had 8 oscillators and could produce 8 voices, but had just one filter circuit shared by all of them. Other examples include the Roland VP-330 vocoder and

612-400: 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

646-762: 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. When the Contour (Envelope) is triggered by the LFO, it allows for periodic LFO-type waves to be applied to the VCF or VCA, depending on the Rise and Fall times. This allows

680-469: The Rogue it is an external, "wall wart" type. Second, both Rogue oscillators share the same waveforms and octave range selectors, whereas the MG-1 has 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

714-538: The VCF on the MG-1. The Liberation and Rogue have to route both through the Mod Wheel with the same amount level. This is the benefit of not having the standard Pitch and Mod wheels. The synthesizer's features aren't labelled using the usual synthesizer nomenclature, instead using more "laymen friendly" terms such as "Tone Source" for the oscillators, "Contour" for the envelope with "Rise Time" for attack time and "Fall Time" instead of decay or release time. Portamento

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748-512: The creation of Saw and Ramp waves, as well as asymmetrical Triangle waves and unusual Trapezoid waves, not otherwise found through modulating with the LFO alone. Although this keyboard is often erroneously described as having fewer features than its Moog siblings the Liberation and the Rogue, there is a patch which only the MG-1 can do: The LFO can have independent amounts sent to the VCOs and

782-422: The interior. This did not keep well over time, turning into a black sludge which clogs the various moving parts in the synth (so much so that entire replacement switches and faders can be bought on eBay, specifically for this synth). As with many analog synthesizers, the MG-1's resale price is slowly rising as alternatives and working instruments become less common, and buyers and sellers congregate online. Although

816-400: The key remains held down (in accordance with ADSR settings). When the second note (F#) is played, it similarly comes in at full attack volume. However, due to the envelope generator being shared with the voice playing the (still held-down) C, it is forced to do the same. The 'C' returns to full volume simultaneously, giving the false impression it had been hit again. When the third note (B)

850-435: 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". 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" by some, and well-used by others. Since

884-526: The last note benefits from the Release. Figure 2 (above) depicts a fully polyphonic 'divide-down' synthesizer — such as the Polymoog — that offers a VCF/VCA/EG 'articulator' board for every note on the keyboard." This is a significantly different (re)interpretation of Roland's 'parallel sound' paraphonic term where, instead of being the positive description of multiple simultaneous sounds from

918-412: The late '70s and early '80s... why isn't 'paraphony' (if there is such a word) the same as polyphony? The answer to this is obvious if we consider the articulation of individual notes played on the instrument...", which Reid illustrates with a diagram of a synthesiser with polyphonic initial sound-generation (a divide-down multiple-oscillator and multiple-amplifier architecture) that is, in turn, fed through

952-558: The multiplicity of any sound-architecture that follows oscillators or the like - simply for a more-meaningful and more-descriptive, terse description of the instrument's note-generation capability and irrespective of the separation (or not) of tone and/or volume, per-note. Meanwhile, the term, 'paraphony' is seldom (or never) applied to the instrument architecture for which Roland spawned the term, which would now, in more-modern parlance, include any 'multitimbral' synthesizer able to output multiple layered sounds simultaneously when triggered by

986-407: 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

1020-502: The recent 'redefinition' has become the prevailing popular meaning of "paraphonic" or "paraphony" in modern music technology terms. Due to reinterpretations or misinterpretations of what paraphony may actually mean, many musicians (and some instrument-manufacturers) have remained with or returned to using such terms as duophonic and polyphonic to describe their two-note (such as modern reiterations of ARP's Oddyssey ) or multi-note instruments (such as Behringer's Poly D ) - regardless of

1054-417: The same input notes. This leaves us with a multiple interpretations of paraphony that are described in the following table, showing the three meanings of the term "paraphony". Meaning '1' still stands as what would be termed its 'official' and long-standing meaning, whereas meaning '2' was applied by Roland Corporation presenting a 'sales-speak' word that actually already existed. Meaning '3' would seem to be

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1088-534: The same title formed as a letter–number combination. If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=MG1&oldid=427837184 " Category : Letter–number combination disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Moog Concertmate MG-1 The Moog Concertmate MG-1

1122-495: 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

1156-477: The term to customers, as follows: "The five separate sections... are the Guitar, Polyensemble, Bass, Solo Melody, and External Synthesizer Section... Each of the five sections may be played individually or in any combination... Roland has created a name for this new level of performance capability. It is the word "paraphonic," derived from "parallel" plus "phonic." RolandCorp US wrote, in 1978 sales literature , "It

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