https://soundcloud.com/brian-amorello/12sec-delay-with-sample-and-hold-modulation
https://soundcloud.com/brian-amorello/600ms-delay-with-sine-wave-modulation
https://soundcloud.com/brian-amorello/500ms-delay-with-triangle-wave-modulation
https://soundcloud.com/brian-amorello/slapback-sax-through-the-mf104m-super-delay
Here are some samples of the Super Delay. Let me know what you think.
Cool shit. Yeah, I never thought of it before, but the sax would be perfect with the 101 because it has so much high frequency content. You can really shape the tone radically while still keeping the character of the sax. I play clavinet, which also has a large high frequency content, and with the 101, you can get so many different timbres, especially when you use the envelope follower. It’s not just an “auto-wah”, you can get much more diverse sounds by reversing the envelope with a cp-251, adding LFO’s sample and hold, lag, etc. Also you should get an expression pedal.
Add the simple 8-step program from EHX to the above suggestions and you have a whole world of beautiful analog filter wonder.
Thanks guys. I’m looking at the MF101 and CP251 now. Found some good deals on eBay. So I’ll let you know what I decide on but most likely I’ll be picking them both up.
I don’t want to be a gear-addicter but I have to second Alien8: the EHX 8Step Program is a good candidate for the next step 
Why not? Isn’t that what we’re all doing here?
Stephen
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Oh c’mon: I’m currently trying to sell stuffs to make some room, I’m trying not to get addicted (again), not to go modular… and you just make a strike in all my determination?.. Man!! 
Can you explain how you recorded the sax? Were you just in a normal room, and what kind of mic did you use?
I’m waiting on a box of reeds so I can dust off my tenor, but the only Mic I really have is the AT 4040 condenser. Seems thats going to pic up more fingerings and extraneous noise than anything else.
Nice recordings!
I love those Sonny Rollins overtones with a delay.
I use the AKG C519ML wireless mic > AKG WMS40 mini wireless receiver > Joe Meek 3Q pre amp > MF104M Super Delay > DI box > Focusrite Scarlett 2i2 > Reason 7.1.
This set up gets the job done nicely so I can record with the effects. I use this set up live with my funk band, minus the computer stuff. I’ll be adding an MF101 and CP251 to use with my electronic music project. But the Joe Meek pre amp is sweet. It really gives the mic a new life and color.
Eric, short of going the wireless/clip on route, using a small cap condenser might work with the highs rolled off with an eq, or just go for the tried and true sm57/58 dynamic. It’s not sexy, but it gets the job done, especially with the loud sources. Cheap too.
Bamorello, you might also consider a simple analog compressor in your chain, it will allow you to make wider timbre changes without drastically changing volume. I know a saxomophone player who swears by it.
The Joe Meek 3Q is a pre amp, compressor and EQ. And it works real good with the sax. I’ve tried an analog compressor in my chain and I end up with a lot of feedback. The Joe Meek has been a blessing and I can shape my tone how I want. The other sax player in my band uses a Keeley compressor and it works great with his set up.
I think the next additions to the set up with by the FreqBox and the MURF.
The low pass, FreqBox and CP251 seem like they would make a nice and compact modular synth
Honestly, you need a MURF so you can do stereo panning, flanging (sorta) and tremolo effects. It can do interesting things with the CP251 too.
It’s my favorite fooger, besides the delay and cluster flux . . . and phaser and . . . lpf . . .
I bought and owned a Freqbox for a while twice, and sold it both times. I didn’t care for it’s tone really.
Croyote, you’re officially not credible anymore
I’m assuming you would recommend the MIDI Murf over the original MURF?
Just start with a couple and get used to them before you get anymore. I only have the cp-251, delay, and filter (and mp-201), and have never run out of cool things to do. Once you start getting into cv, it’s like a blank canvas, it’s endless. Learn the technical side first, then make your patches creatively.
That’s great advice. Thanks! I’ll do that. Any recommendations on patches to start out with?
Haha, Never claimed to be.
Bamorello . . . I have the original MURF and have never once thought twice about parting ways with it. I’m not into MIDI, but that might change soon.
Well you have the 104m, right, so you can use the lfo to get cool choruses. I like to modulate the delay time very slightly with a square or S&H, makes it slightly unstable like a tape delay. Also I noticed in your samples, you mainly use the delay as an effect on the sax. I like to make the delay part of the patch, meaning turning the mix knob to about 2:00, and playing long drawn out notes so there is no distinction between signal and effect. If you hit the delay drive hard, you can get some really cool harmonics. This works well for bright signals, and the brighter the signal, the more I like to turn up the mix knob, because having more of the delayed signal will roll off the highs.
I use a pedal to sweep the cutoff on the filter, and that’s when interesting things start to happen. The filter into a very wet delay sounds beautiful to my ears. The drive on the delay is a also crucial tool. With the CP-251, you can create a couple mod busses for filter cutoff and resonance. Try using the envelope cv output jack on the filter, plug it into the lag processor, and experiment with that going into cutoff, resonance, and amount of the filter. Also, use noise creatively. Noise is great for making things sound analog. The cutoff cv is the most drastic and creative tool you have, so I’d set up the mixer on the cp-251 to go into the filter cutoff cv. Mix an lfo, s&h, a little noise, and maybe the env follower, and use either of the - or + outputs of the mixer to make things happen.
I am not too familiar with the natural envelope and dynamic control of the sax, so I can’t say what will work best, but just experiment, experiment, experiment. I guarantee if you mess with it enough, you’ll be doing things no one has ever done with a sax.
I have to say that this moog community is amazing. Everyone’s tips and tricks have been helpful! 