MoGi User Guide
Hover over the image to explore.
The user guide is built into the ensemble and is accessed by selecting the REAKTOR INFO button on the top right, by placing the mouse cursor over each Controller and Text Header of the ensemble, the user guide will pop up.
To use this guide select a page with the buttons above, and then move your cursor over the image, use the return arrow to go back to MoGi's main page.
The user guide is built into the ensemble and is accessed by selecting the REAKTOR INFO button on the top right, by placing the mouse cursor over each Controller and Text Header of the ensemble, the user guide will pop up.
To use this guide select a page with the buttons above, and then move your cursor over the image, use the return arrow to go back to MoGi's main page.
Node Activity
Think of MoGi as a clockwork music box, first we have the main clock, this is synced to the master tempo in stand-alone mode, or your audio workstation if used as a plug-in.
Attached to this clock is a variable main cog, the cog can be changed in diameter along both the X and Y points in real time, if both points are equal in diameter but have a different ratio to the main clock the Node Generator will run either faster or slower against the main tempo.
If the X and Y points have different diameters to each other then the Node Generator will produce a variable tempo speeding up and slowing down as the cog rotates producing a Yo-Yo effect, and although the tempo is now out of sync with the master clock there will always be a point when it falls in synchronisation with the clock again.
This wobbly cogs shape is determined by the MODUS ACTIVITY and is activated by selecting the 96 XY YX switch next to the ROTATION dial, the ROTATION dial is the variable main cog and has 9 different ratio settings.
Now if we attach from 1 to 18 variable cogs to this main cog, each with a gate point and a pitch point determined by a SCALE, then as they each pass the gate point they will generate a note and send it to the OBJECT GENERATOR, they do this through a synced grid, the grid is determined by the BASE and DEPTH dials.
The way that notes evolve over time is dealt with by the NODE GENERATION section of MoGi, and MODUS ACTIVITY plays a big part on how notes are produced.
Attached to this clock is a variable main cog, the cog can be changed in diameter along both the X and Y points in real time, if both points are equal in diameter but have a different ratio to the main clock the Node Generator will run either faster or slower against the main tempo.
If the X and Y points have different diameters to each other then the Node Generator will produce a variable tempo speeding up and slowing down as the cog rotates producing a Yo-Yo effect, and although the tempo is now out of sync with the master clock there will always be a point when it falls in synchronisation with the clock again.
This wobbly cogs shape is determined by the MODUS ACTIVITY and is activated by selecting the 96 XY YX switch next to the ROTATION dial, the ROTATION dial is the variable main cog and has 9 different ratio settings.
Now if we attach from 1 to 18 variable cogs to this main cog, each with a gate point and a pitch point determined by a SCALE, then as they each pass the gate point they will generate a note and send it to the OBJECT GENERATOR, they do this through a synced grid, the grid is determined by the BASE and DEPTH dials.
The way that notes evolve over time is dealt with by the NODE GENERATION section of MoGi, and MODUS ACTIVITY plays a big part on how notes are produced.
Rotation
Rotation is the Variable Main Cog and has 9 different ratio settings.
X4 = clock speed multiplied by 4
X3 = clock speed multiplied by 3
X2 = clock speed multiplied by 2
0 = in sync with the main clock
/2 = clock speed divided by 2
X3 = clock speed multiplied by 3
X2 = clock speed multiplied by 2
0 = in sync with the main clock
/2 = clock speed divided by 2
/4 = clock speed divided by 4
/8 = clock speed divided by 8
/16 = clock speed divided by 16
/32 = clock speed divided by 32
/8 = clock speed divided by 8
/16 = clock speed divided by 16
/32 = clock speed divided by 32
The ratio is fixed at both the X and Y points, to bring MODUS into the equation change the settings of the 96 XY YX switch to the left.
96 XY YX.
If 96 is selected the ROTATION cogs X and Y points are equal and rotation speed will be constant.
If XY is selected then the diameter of the cog is altered in real time by the XY MODUS ACTIVITY and the rotation speed will now oscillate with a XY bias.
If YX is selected then the diameter of the cog is altered in real time by the YX MODUS ACTIVITY and the rotation speed will now oscillate with a YX bias.
The master clock and MoGi's rotation speed are displayed in the MODUS ACTIVITY section.
96 XY YX.
If 96 is selected the ROTATION cogs X and Y points are equal and rotation speed will be constant.
If XY is selected then the diameter of the cog is altered in real time by the XY MODUS ACTIVITY and the rotation speed will now oscillate with a XY bias.
If YX is selected then the diameter of the cog is altered in real time by the YX MODUS ACTIVITY and the rotation speed will now oscillate with a YX bias.
The master clock and MoGi's rotation speed are displayed in the MODUS ACTIVITY section.
Base and Depth
The BASE dial is used to limit the way nodes being generated by ROTATION pass through to the OBJECT GENERATOR, and has 10 different grid settings.
Think of BASE as a grid plate with holes in it, when ROTATION and BASE are aligned, the grid will let nodes pass through.
The different grid settings are 1/16 1/4T 1/8 1/2T 1/4 1/T 1/2 2/T 1/1 3/2
The BASE dial works in a similar way to a stop motion camera, the ROTATION dial is producing all of the nodes in real time and the BASE dial is letting them through at a different rate.
The DEPTH dial adjusts how tightly the grid lets the nodes pass through to the OBJECT GENERATOR.
It works a bit like the iris in our stop motion camera's lens, opening and closing at the rate set by the BASE dial, sometimes letting just a single node pass through and sometimes a bunch of nodes producing a chord, the iris has a flywheel governor attached to it regulating how it reacts to the BASE dial settings.
Think of BASE as a grid plate with holes in it, when ROTATION and BASE are aligned, the grid will let nodes pass through.
The different grid settings are 1/16 1/4T 1/8 1/2T 1/4 1/T 1/2 2/T 1/1 3/2
The BASE dial works in a similar way to a stop motion camera, the ROTATION dial is producing all of the nodes in real time and the BASE dial is letting them through at a different rate.
The DEPTH dial adjusts how tightly the grid lets the nodes pass through to the OBJECT GENERATOR.
It works a bit like the iris in our stop motion camera's lens, opening and closing at the rate set by the BASE dial, sometimes letting just a single node pass through and sometimes a bunch of nodes producing a chord, the iris has a flywheel governor attached to it regulating how it reacts to the BASE dial settings.
Root and Scale
The ROOT dial sets the root note of the scale, the actual pitch of the notes is determined by all the other factors that are combined in the process of producing sounds from MoGi.
Getting MoGi in tune with another instrument can be achieved with the tuning dials, but this can dramatically alter the sound being generated, the PROGRESSION SEQUENCER can be used to alter the pitch of the notes being played, but fine tuning will be down to the kind of sound being produced, small amounts will generally work ok.
The SCALE dial sets the scale used in NODE GENERATION and is linked to the root note, scale is the relationship of the notes being produced, not the actual pitch, there are 50 different scales to choose from, the first in the list, Root Note Only, is useful for instruments that produce monotones.
Root Note Only, Three Semitones, Four Semitones, Major, Minor, Harmonic Minor, Melodic Minor, Pentatonic Major, Pentatonic Minor, Pentatonic Blues, Pentatonic Neutral, Ionian, Aeolian, Dorian, Mixolydian, Phrygian, Lydian, Locrian, Diminished Half, Diminished Whole, Whole, Augmented, Chromatic, Romanian Minor, Spanish Gypsy, Blues, Diatonic, Double Harmonic, Eight Tone Spanish, Enigmatic, Leading Whole Tone, Lydian Augmented, Neoploitan Major, Neopolitan Minor, Pelog, Prometheus, Prometheus Neopolitan, Six Tone Symmetrical, Super Locrian, Lydian Minor, Lydian Diminished, Nine Tone Scale, Auxiliary Diminished, Auxiliary Augmented,c Auxiliary Diminished Blues, Major Locrian, Overtone, Diminished Whole Tone, Pure Minor, Dominant 7th
Getting MoGi in tune with another instrument can be achieved with the tuning dials, but this can dramatically alter the sound being generated, the PROGRESSION SEQUENCER can be used to alter the pitch of the notes being played, but fine tuning will be down to the kind of sound being produced, small amounts will generally work ok.
The SCALE dial sets the scale used in NODE GENERATION and is linked to the root note, scale is the relationship of the notes being produced, not the actual pitch, there are 50 different scales to choose from, the first in the list, Root Note Only, is useful for instruments that produce monotones.
Root Note Only, Three Semitones, Four Semitones, Major, Minor, Harmonic Minor, Melodic Minor, Pentatonic Major, Pentatonic Minor, Pentatonic Blues, Pentatonic Neutral, Ionian, Aeolian, Dorian, Mixolydian, Phrygian, Lydian, Locrian, Diminished Half, Diminished Whole, Whole, Augmented, Chromatic, Romanian Minor, Spanish Gypsy, Blues, Diatonic, Double Harmonic, Eight Tone Spanish, Enigmatic, Leading Whole Tone, Lydian Augmented, Neoploitan Major, Neopolitan Minor, Pelog, Prometheus, Prometheus Neopolitan, Six Tone Symmetrical, Super Locrian, Lydian Minor, Lydian Diminished, Nine Tone Scale, Auxiliary Diminished, Auxiliary Augmented,c Auxiliary Diminished Blues, Major Locrian, Overtone, Diminished Whole Tone, Pure Minor, Dominant 7th
Node Generation
The NODE GENERATION section determines how MoGi plays the scale generated by NODE ACTIVITY, and is divided into three parts. (Activity, Touch and Timbre)
ACTIVITY sets the amount of nodes being played and how they fall into place.
STRIDE, MODIFY and ROTATION adjusts the position between the nodes, altering the points that they will produce a note.
NODES sets the amount of nodes linked together in the chain.
TOUCH sets how dynamically MoGi play notes, EXCITE and EXTENT are used to set the range, switching on MODUS will activate the modus modulation bus.
TIMBRE sets the range of notes that MoGi is allowed to play within the scale determined by NODE ACTIVITY.
ORIGIN sets the base note and STRETCH is used to increase the range of notes being played, root and stretch are linked to the modus buss via the MODUS-ON switch.
MODUS-ON
ORIGIN ignores the modus bus.
PITCH still uses origin and stretch to set the note range, but now allows the modus bus to move the range of notes up and down the scale.
DRIFT allows the modus bus to crossfade between the first two settings. (ORIGIN and PITCH)
MANUAL works in the same way as DRIFT, crossfading between origin and pitch but now uses the manual dial to set the placement instead of the modus bus.
ACTIVITY sets the amount of nodes being played and how they fall into place.
STRIDE, MODIFY and ROTATION adjusts the position between the nodes, altering the points that they will produce a note.
NODES sets the amount of nodes linked together in the chain.
TOUCH sets how dynamically MoGi play notes, EXCITE and EXTENT are used to set the range, switching on MODUS will activate the modus modulation bus.
TIMBRE sets the range of notes that MoGi is allowed to play within the scale determined by NODE ACTIVITY.
ORIGIN sets the base note and STRETCH is used to increase the range of notes being played, root and stretch are linked to the modus buss via the MODUS-ON switch.
MODUS-ON
ORIGIN ignores the modus bus.
PITCH still uses origin and stretch to set the note range, but now allows the modus bus to move the range of notes up and down the scale.
DRIFT allows the modus bus to crossfade between the first two settings. (ORIGIN and PITCH)
MANUAL works in the same way as DRIFT, crossfading between origin and pitch but now uses the manual dial to set the placement instead of the modus bus.
Modus Activity (Modulation Bus)
MODUS is at the heart of MoGi, it determines the shape of the cogs in NODE ACTIVITY, it alters the harmonic content of the OBJECT GENERATOR and it modifies the modulation rate the FLANGER and the PHASER, it also displaces the filters of the OCTAVE FILTER BANK.
MODUS also gives MoGi the ability to improvise around the root scale by extending the note range being produced by NODE ACTIVITY, it's a busy little bus.
There are seven modulation busses acting within MoGi, each one having a different outcome on its destination, a combined visual indication of the bus modulation waveform can be seen in the main output display.
In simple terms MODUS is a low frequency oscillator that influences certain other elements within MoGi, in reality it's a bit more complex than that.
The MODUS waveform is built from various combinations of eleven sub waveforms, generated by four low frequency oscillators, at certain points in this matrix taps are placed picking up the waveform and sending it via the busses to elements within MoGi, breathing life and expression to what would otherwise be quite a static sound.
MODUS also gives MoGi the ability to improvise around the root scale by extending the note range being produced by NODE ACTIVITY, it's a busy little bus.
There are seven modulation busses acting within MoGi, each one having a different outcome on its destination, a combined visual indication of the bus modulation waveform can be seen in the main output display.
In simple terms MODUS is a low frequency oscillator that influences certain other elements within MoGi, in reality it's a bit more complex than that.
The MODUS waveform is built from various combinations of eleven sub waveforms, generated by four low frequency oscillators, at certain points in this matrix taps are placed picking up the waveform and sending it via the busses to elements within MoGi, breathing life and expression to what would otherwise be quite a static sound.
Object and Force EG
The OBJECT EG is used to define the overall tonal shape that the OBJECT GENERATOR emits when it receives a gate signal from the NODE GENERATOR.
The A-D-B-D-S-R dials effect the shape of the tone and the TOUCH and TIMBRE dials alter how the EG responds to the loudness and pitch of the NODE being generated.
As well as acting as a shaper for the sound being generated it also effects how the HEXBAND FILTER SET and HARMONIC COMB FILTER modify the tone of the waveform produced over time via the O-EG dials.
The FORCE EG alters the shape that the HARMONIC GENERATOR is outputting when it receives a gate signal from the NODE GENERATOR, this signal is then passed onto the FILTER BOX.
The A-D-B-D-S-R dials effect the shape of the sound and the TOUCH and TIMBRE dials alter how the EG responds to the loudness and pitch of the NODEs being generated.
The two EGs when used together allow a multitude of different possibilities in the way that MoGi produces the sound being generated.
The OBJECT EG is about the type of sound that the instrument is generating for each note being played and the FORCE EG is about how an instrumentalist plays and reacts with the instruments sound.
The A-D-B-D-S-R dials effect the shape of the tone and the TOUCH and TIMBRE dials alter how the EG responds to the loudness and pitch of the NODE being generated.
As well as acting as a shaper for the sound being generated it also effects how the HEXBAND FILTER SET and HARMONIC COMB FILTER modify the tone of the waveform produced over time via the O-EG dials.
The FORCE EG alters the shape that the HARMONIC GENERATOR is outputting when it receives a gate signal from the NODE GENERATOR, this signal is then passed onto the FILTER BOX.
The A-D-B-D-S-R dials effect the shape of the sound and the TOUCH and TIMBRE dials alter how the EG responds to the loudness and pitch of the NODEs being generated.
The two EGs when used together allow a multitude of different possibilities in the way that MoGi produces the sound being generated.
The OBJECT EG is about the type of sound that the instrument is generating for each note being played and the FORCE EG is about how an instrumentalist plays and reacts with the instruments sound.
Harmonic Filters
The HARMONIC DUO FILTERS are two single pole filters that react with the MODUS YO-YO.
The Low Pass, High Pass LM and HM dials effect the amount of physical force exerted within the OBJECT GENERATOR, when combined with the TIMBRE dial the frequency effect will change with the NODE pitch, the MODUS dial in HARMONIC BOUNDARIES is linked to the duo filters.
Within HARMONIC BOUNDARIES the MAGNITUDE dial sets the fundamental frequency of the OBJECT GENERATOR, MFT is used for fine tuning.
The VIBRATION dial is used to set size of the space within the OBJECT and the DAMPEN dial sets how live the space is.
The TIMBRE dial changes the feedback of the reflections depending on the amount of NODE pitch.
HARMONIC SCATTER widens the harmonics within the OGJECT GENERATOR producing uneven frequencies that are not multiples of the fundamental frequency set by the MAGNITUDE dial of the HARMONIC BOUNDARIES and uses a diffuser delay with detuning using the D TUNE dial, DFT is used for fine tuning.
The MODUS dial alters the amount of effect that the master MODUS RATE has on the diffusion harmonics.
The Low Pass, High Pass LM and HM dials effect the amount of physical force exerted within the OBJECT GENERATOR, when combined with the TIMBRE dial the frequency effect will change with the NODE pitch, the MODUS dial in HARMONIC BOUNDARIES is linked to the duo filters.
Within HARMONIC BOUNDARIES the MAGNITUDE dial sets the fundamental frequency of the OBJECT GENERATOR, MFT is used for fine tuning.
The VIBRATION dial is used to set size of the space within the OBJECT and the DAMPEN dial sets how live the space is.
The TIMBRE dial changes the feedback of the reflections depending on the amount of NODE pitch.
HARMONIC SCATTER widens the harmonics within the OGJECT GENERATOR producing uneven frequencies that are not multiples of the fundamental frequency set by the MAGNITUDE dial of the HARMONIC BOUNDARIES and uses a diffuser delay with detuning using the D TUNE dial, DFT is used for fine tuning.
The MODUS dial alters the amount of effect that the master MODUS RATE has on the diffusion harmonics.
Hexband Filter Set
The HEXBAND FILTER is an element of the HARMONIC SOURCE, and is used to filter the fundamental waveform and has six filter settings.
1 = 2 Pole Low Pass
2 = 2 Pole Band Pass
3 = 2 Pole High Pass
4 = 2 Pole Notch
5 = 4 Pole Low Pass
6 = 1 Pole Low Pass
The PLACEMENT dial is the cutoff point for filters 1, 2, 3, 5 and 6 if setting 4 is selected the dial is used to position the notch of the filter.
RESONANCE is used to enhance the frequency of the cutoff point set by the PLACEMENT dial by increasing feedback within the filter, this dial has no effect if setting 6 is selected, as the 1 pole low pass filter has no resonant feedback function.
The filters are effected by the TOUCH, TIMBRE and O-EG dials of the HARMONIC SOURCE section.
1 = 2 Pole Low Pass
2 = 2 Pole Band Pass
3 = 2 Pole High Pass
4 = 2 Pole Notch
5 = 4 Pole Low Pass
6 = 1 Pole Low Pass
The PLACEMENT dial is the cutoff point for filters 1, 2, 3, 5 and 6 if setting 4 is selected the dial is used to position the notch of the filter.
RESONANCE is used to enhance the frequency of the cutoff point set by the PLACEMENT dial by increasing feedback within the filter, this dial has no effect if setting 6 is selected, as the 1 pole low pass filter has no resonant feedback function.
The filters are effected by the TOUCH, TIMBRE and O-EG dials of the HARMONIC SOURCE section.
Phaser and Harmonic Comb Filter
The PHASER receives its signal from the HARMONIC DUO FILTERS.
The PHASER is a vintage analog design with a twist, the LFO of the phaser receives its clock source from the master MODUS RATE dial, this has the effect of speeding up and slowing down the phaser producing a wah-wah effect, by activating the TONE switch a feedback loop is added to the phaser making the effect produced stronger.
The signal is then passed onto the HARMONIC COMB FILTER.
The HARMONIC COMB FILTER alters the signal it receives from the output of the PHASER by changing the PITCH using a delay circuit and then adding saturation via a feedback loop (REGEN), generating repeating filter peaks and notches' it also follows the TIMBRE of the NODE GENERATOR and the shape of the OBJECT EG.
It then combines the modified signal with its input using the MIX dial and sends the signal to the FILTER BOX.
The PHASER is a vintage analog design with a twist, the LFO of the phaser receives its clock source from the master MODUS RATE dial, this has the effect of speeding up and slowing down the phaser producing a wah-wah effect, by activating the TONE switch a feedback loop is added to the phaser making the effect produced stronger.
The signal is then passed onto the HARMONIC COMB FILTER.
The HARMONIC COMB FILTER alters the signal it receives from the output of the PHASER by changing the PITCH using a delay circuit and then adding saturation via a feedback loop (REGEN), generating repeating filter peaks and notches' it also follows the TIMBRE of the NODE GENERATOR and the shape of the OBJECT EG.
It then combines the modified signal with its input using the MIX dial and sends the signal to the FILTER BOX.
Tri Harmonic Source
The TRI HARMONIC SOURCE component is used to balance the three elements that makeup the fundamental waveform of MoGi's OBJECT GENERATOR.
The SOURCE PT-NZ dial is used to crossfade between a pure tone and the raw noise generator, the BALANCE ONG-RMW dial is used to crossfade between the SOURCE dial and the RESONANT MODE WAVES.
The combined signal is then sent to the HEXBAND FILTER SET, the TOUCH TIMBRE and O-EG dials are used to set the filters response to NODE and EG activity.
The SOURCE PT-NZ dial is used to crossfade between a pure tone and the raw noise generator.
The BALANCE ONG-RMW dial is used to crossfade between the SOURCE dial (ONG) and the RESONANT MODE WAVES (RMW).
The signal passes through the HEXBAND FILTER SET.
The SOURCE PT-NZ dial is used to crossfade between a pure tone and the raw noise generator, the BALANCE ONG-RMW dial is used to crossfade between the SOURCE dial and the RESONANT MODE WAVES.
The combined signal is then sent to the HEXBAND FILTER SET, the TOUCH TIMBRE and O-EG dials are used to set the filters response to NODE and EG activity.
The SOURCE PT-NZ dial is used to crossfade between a pure tone and the raw noise generator.
The BALANCE ONG-RMW dial is used to crossfade between the SOURCE dial (ONG) and the RESONANT MODE WAVES (RMW).
The signal passes through the HEXBAND FILTER SET.
Resonant Mode Waves
The RESONANT MODE WAVE section of the OBJECT GENERATOR is used to produce standing waves that don't follow the pitch of the NODE GENERATOR, they add a constant tone to the signal in the same way that the body of an instrument resonates to certain frequencies produced by the source of the sound. (i.e. The strings of a guitar make the body produce a tone, or the room produces standing waves directly from the source of the sound.) But if you select the TRK (track) switch then the waves will follow the pitch produced by the NODE GENERATOR.
PITCH this dial sets the fundamental frequency of all six waves, the waves generated are pulse waves and the width of the waves can be alted by using the WIDTH dial.
The six wave dials (W1 to W6) are used to adjust the gain of the preset frequencies.
The TRK switch forces the mode waves to follow the NODE pitch, all of the dials are still active in this mode.
PITCH this dial sets the fundamental frequency of all six waves, the waves generated are pulse waves and the width of the waves can be alted by using the WIDTH dial.
The six wave dials (W1 to W6) are used to adjust the gain of the preset frequencies.
The TRK switch forces the mode waves to follow the NODE pitch, all of the dials are still active in this mode.
Progression Sequencer
The PROGRESSION SEQUENCER is used to add changes to the whole pitch range generated by the NODE GENERATOR, this is an analog style sequencer and will automatically alter its step position as you change the dials, whilst still keeping in time.
Each of the steps can be set from 1 to 64 beats, giving you a maximin of 512 beats over the eight steps, the number of steps can be set from 2 to 8.
The clock that the sequencer is locked to, can be adjusted from whole note to a maximum of sixty fourths with the horizontal fader, move the fader left to right to change the clock rate.
The Sequencer clock can be bypassed and any step can be selected with the EDIT dial, this is handy when checking how steps with a high number of beats are altering the pitch of the NODE GENERATOR, without having to wait for the sequencer to circle back each time, or you can also use it to set different steps to alternate pitches and switch between them.
Below the STEP dials are the PITCH dials these have a note range from -12 to +12.
An additional global -12 to +12 range can be selected with the master TUNE dial.
Each of the steps can be set from 1 to 64 beats, giving you a maximin of 512 beats over the eight steps, the number of steps can be set from 2 to 8.
The clock that the sequencer is locked to, can be adjusted from whole note to a maximum of sixty fourths with the horizontal fader, move the fader left to right to change the clock rate.
The Sequencer clock can be bypassed and any step can be selected with the EDIT dial, this is handy when checking how steps with a high number of beats are altering the pitch of the NODE GENERATOR, without having to wait for the sequencer to circle back each time, or you can also use it to set different steps to alternate pitches and switch between them.
Below the STEP dials are the PITCH dials these have a note range from -12 to +12.
An additional global -12 to +12 range can be selected with the master TUNE dial.