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Understanding and Using
Your moogerfooger®
MF-105 MuRF™
TABLE OF CONTENTS
Getting Started............................................3
Frequencies and Filters...............................5
The MuRF’s Filters.....................................7
Envelope Generators.................................10
Sequencers and Pattern Generation..........11
The MuRF’s Animation............................11
The MuRF’s Tap/Step Input.....................13
Audio Level Controls and
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Welcome to the world of moogerfooger® Analog Effects Modules! Your model MF-105 MuRF is a rugged, professional- quality instrument, designed to be equally at home on stage or in the studio. Its great sound and jaw-dropping effects come from the state-of-the-art analog circuitry, designed and built under Bob Moog’s personal direction. Your MuRF is a direct descendent of the original Moog™ modular synthesizers and professional rack effects. It contains two basic functions: an 8
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GETTING STARTED Here are some simple instructions on how to quickly plug in and try out your MF-105. 1. Unpack your MF-105. Place it on a table while you become familiar with its features. 2. Check that the power adaptor has a nominal rating of +9 volts, providing at least 300 mA (milliamperes) of current and is also rated at your country’s standard power voltage (120 volts A.C. for the United States and Canada; 100 volts A.C. for Japan; and 220 volts A.C. for most other countries). Plu
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4. Connect an instrument cable from the LEFT/MONO jack to a line-level input on your amp or mixer. Turn the volume control on your amp down but not off. 5. Connect an instrument cable from your signal source to the AUDIO IN jack. You can feed virtually any instrument-level or line-level signal through your MF-105. Examples are guitar, bass, keyboard, theremin, drum machine, or Effects Send output on your mixer. Play your instrument (or turn on the signal source). Adjust the volume cont
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instrument’s tone. You will hear the level of each of the 8 filters being turned up and down automatically in sequence by the Animation at a tempo determined by the RATE control. Note that changing the ENVELOPE control affects the shape that turns the filters up and down. The PATTERN rotary switch selects different patterns that dictate the sequence that turns the Filters up and down automatically. The MIX control is used to blend the direct sound of your instrument with the effected soun
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sound. Some types of filters (like the bass and treble controls on your sound system) have subtle, gentle effects on a sound’s timbre. Other types of filters have stronger and more dramatic effects, and are frequently used as vital elements in the music-making process. Strong filters include phasers, flangers, and wah-type resonant filters. A graph showing what a filter does is called the filter’s frequency response. The horizontal axis is frequency. The vertical axis is the filter’s g
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The MuRF’s FILTERS The MuRF’s eight resonant filters have a fixed center frequency, shown on the legend underneath the filters’ sliders. Their frequencies are: 200 Hz, 300 Hz, 450 Hz, 675 Hz, 1 KHz, 1.5 KHz, 2.2 KHz, and 3.4 KHz. Each filter has a slider that adjusts the gain of that filter. In this respect, the MuRF resembles a graphic equalizer. When a filter’s slider is all the way down, the gain for that filter is zero, and the filter’s output is zero. When the slider is all
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You may want to experiment with the panel controls and switches as we discuss each of the parameters. 5) Now, play a bright, sustained sound, preferably of low pitch into the MuRF - keep in mind that filter effects work by removing frequencies, so you must have a bright sound to hear the effect! Figure 6 shows the MF-105’s basic frequency response, the response that you hear when the panel controls are set up as in the basic setup. Note that there are 8 resonances – they impart warmth an
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7) The Filters’ resonant frequencies can be shifted up and down by a small amount to create an effect similar to phasing. Figure 8 shows a graph that portrays the results of shifting a resonant filter’s center frequency. In the MuRF this can be done two ways, depending on the position of the BANK slider switch. The switch, located below the PATTERN selector switch is labeled BANK A or B/LFO. When the slider is in the “A” position, the filters’ center frequencies can be shifted by an expre
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ENVELOPE GENERATORS Now that we have explained the MuRF’s filters, let’s proceed with some more definitions to explain the Animation function of the MuRF. The term “Envelope” is used to describe the changes that occur to a musical sound, from its start to its end. A musical sound can have a rapid onset, like the plucking of a string or the striking of a drum. It can also have a gradual onset, like a slowly bowed violin. With the term “Envelope”, the shape of the start of a soun
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SEQUENCERS and PATTERN GENERATION A Sequencer is used to generate reoccurring rhythmic patterns, often by triggering sequences of notes in synthesizers or drum machines. However sequencers can be used for purposes other than triggering notes - they can be set up to create reoccuring changes of timbre as well. Vintage sequencers were typically designed so there were a certain number of “steps”. The term “step” refers to the individual components of a pattern. For instance in a bar of
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arranged in two banks of 12. An easy way to understand the Animation is to look at a simple pattern displayed on a grid. Figure 10 shows a graphic representation of pattern 2 in Bank A. The columns going left to right Figure 10 - Diagram of Pattern 2, Bank A are the steps of the pattern. The rows going from bottom to top are the individual filters. Illustrations of all the Patterns are in Appendix A, page 22. Return to the basic setting shown in figure 2, which features pa
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and the transitions from filter to filter blurred, as the Attack and Decay become so long that the effect is crossfading from one filter to the next. 5) Finally, turn the ENVELOPE control up to 8. The effect now sounds “backwards” as the attack time is now smooth but fast, and the decay is abrupt. What happens as you change the ENVELOPE control is that the shape of the Envelopes controlling the gain of the filters morphs. Figure 11 shows the changes to the envelope times at diff
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THE AUDIO LEVEL CONTROLS AND MIXING The DRIVE control adjusts the signal level at the MuRF’s circuit input. With this control you can set the right input level for virtually any instrument or line-level signal source. Turn this control counterclockwise for strong input signals, and clockwise for weaker sound sources. The DRIVE light tells how strong the input signal is after being adjusted by the DRIVE control. As the signal level increases, the light goes from off, to green, to ye
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Note that the odd-numbered filters are sent to the left channel, and the even-numbered filters are sent to the right channel. This allows for spreading a sound’s frequencies between two speakers, which adds a “spacious” feel. EXPRESSION PEDALS AND VOLTAGE CONTROL You now know what each of the rotary controls does to the sound of the MF-105. The ENVELOPE, MIX, and RATE controls have expression pedal/control inputs that duplicate their effects. In addition, the MF-105 has a LFO/SWEEP inp
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MF-105 with external control signal sources in the Technical Information section on Pages 17 and 18. SOME TYPICAL SETUPS UPWARD STAIRCASE WITH RHYTHMIC VARIATION Here is a variation on the basic setting of figure 2 that shows off the abil- ity of the MuRF to cre- ate rhythmic variations within the patterns. This is really nice with sus- tained chords or slowly arpeggiated playing. SWIRLING CASCADES This setup shows off the long envelope times of the MuRF, creating a shimmering, slo
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GROWING and SHRINKING TREMOLO The Envelope control set at 5 gives a nice tremolo feel to the effect; the pat- tern changes gradually from one filter on to all filters on, making the tim- bre feel like it is growing and shrinking. TECHNICAL INFORMATION NOTE: The following information is intended for use by people who understand analog electronic circuitry and have enough practical experience to interconnect sophisticated electronic equipment correctly. POWER: The MF-105 works on +
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An expression pedal for use with the MF-105 should contain a 50KW or 100KW potentiometer which is connected from the sleeve to the ring terminals. The Figure 14 – Correct wiring for an expression potentiometer wiper is pedal connected to the tip terminal. The pedal cable should be shielded, with the shield connected to the sleeve terminal. See Figure 14. When connecting one or more pedal control input jacks to a source of external control voltage such as an analog synth or a MI
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AUDIO PATH: The bypassed signal goes to the LEFT/ MONO output jack. Thus, when the MuRF is bypassed, the signal at the LEFT/MONO output jack is the same as what your instrument is producing, and there is no signal at the right output jack. The MF- 105 will not pass an audio signal unless power is applied to it. LIMITED WARRANTY Moog Music warrants that its products will be free from defects in materials or workmanship, and shall conform to specifications current at the time of shipme
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MF-105 SPECIFICATIONS DESCRIPTION: Analog effects module incorporating two functions: 8 – band Resonant Filter Bank and 24-Pattern Sequencer triggering Volume Envelopes for 8 Filters. FRONT PANEL FEATURES: DRIVE rotary control - adjusts the gain of the audio input to the effect. OUTPUT rotary control - balances the level of MuRF’s signal when the effect is on with the bypassed signal when the effect is off. MIX rotary control - adjusts the ratio of direct to effected signal when the effect
