Have you pulled the trigger yet, Eric? 
Hahaha,
Nope, not quite yet. I think the best strategy is to let the early adopters field test them and get the kinks worked out. I still haven’t picked up a Midi Murf yet.
WHat I did do, is I pulled the trigger on an Ergo 8 string electric upright bass, and tomorrow im getting an AT4040 condenser mic for some voiceover work for a project that I have to do (ive been needing a new mic for years).
Come to think of it, a Video with the Midi Murf and Flux would be nice featuring the MIDI aspects of both in tandum.
You will let me borrow yours though right?
…I got the call today
First product ship is relatively safe. Moog wouldn’t ship anything w/a version 1.0 that did not fundamentally work well. Whether or not there are problems in corner cases, that’s a different discussion. I work in IT/Scientific field and software and compatibility with other gear/DAWs, etc. does tend to make things a bit more complicated.
Upgrades on the other hand are a complete different matter due to competing priorities and the amount of time required to test with all major components of the ecosystem (speaking generally here).
MuRF and ClusterFlux (mine is shipping as I type this), are particularly troublesome since the firmware doesn’t give the benefit of a display to help troubleshoot matters. But I would tend to think that it would make the code testing even more stringent / demanding and thus produce a better product.
I really just want to play and tweak knobs save for midi clock. All of the other esoteric features can come later so I’m not concerned about all of the fancy modes, etc.
Really glad to hear it’s finally on it’s way…
I will do some sound demos of the listed MF variations/sequences and post the links in this thread once they’ve been uploaded. It may take some time, but it shall be done. I’m most particularly interested in the bolded idea.
Okay, well, my signature explains my current range of Moogerfoogers and I will say that with this given palette, my most used variation so far has been MF-103 → MF-108m post-source. There were times of great amusement with the sequence reversed, but I have but only tried this on my T3 and it can get brutal rather quickly with S&H LFO in ‘Flange’ range.
Most disappointing so far, relatively speaking, was MF-102 → 108m post-source (T3). Although, admittedly, I did not have high hopes considering the T3’s used frequency range. The only off-putting part of the matter was, that in other variations of MF sequences, the MF-102 has played a significant role in the shaping of the sound. It may have something to with the important fact that I have been trying no more than than one additional MF to the MF-108m (so I can get a feel for how the Cluster Flux “talks” with my other Moogerfoogers on a personal basis).
It is also important that I note that I did not do any trials with my MF-104z because it had started acting most curiously when I was using it to record a track for my full-length. The Feedback section seems to have lost it’s cycling ability over the ‘8’ mark. I need to look further into that, but I’m sure Moog would able to troubleshoot for me when I send it in for the long-overdue Spillover Mod.
I will be getting to some recorded sonic explorations of MF variations associating the MF-108m along the effects path. I cannot do any parallel 'foolery, but I’m sure someone will find the recordings useful.
For the recordings, I intend on using both the T3 and the LP – separately and duophonically – for the demo recordings.
While many a LP owner may boast that their LP can sound like a T3, I’m sorry, but I can’t help but laugh; the sounds of the filter are radically different alone.
That is not to speak ill of the LP, which handles higher frequencies far more better than the T3 (obviously). That, and an incredibly lush UI (I’m a strong fan of low-compromise minimalist).
Sorry for derailing there for a second, I often feel conveying justifications for opinions on the internet provides the reader with a greater ability with how to judge my opinion – for better or for worse (considering it is mostly a matter of subjectivity).
What will really speak are the recordings.
First flaw (and a fatal one at that!) I found with the MF-108m is the absence of a LFO output jack! What were they thinking leaving that feature out! Way to go Moog Music for the big let down! 
I just got S/N 0021 today, and man – I am seriously digging it! It is an amazing pedal, IMHO. To Cyril and everyone else who worked on it, great job!!!
I think this was probably a design compromise owing to (lack of) real estate – it’s pretty crowded back there. I was actually thinking its flaw is that it can’t do chorus and flange simultaneously…
sounds awesome, but watching this vid with keyboard let me wonder, why are the MF not in stereo, like eventide stompboxes? Makes sense with my voyager, in general all keyboards and DJ, too.
But if, please not for the double price as in the region of one LP.
600 US-$ with stereo would be a great deal for moog, too, as production of units would rise clearly, look at eventide. 
It certainly is stereo but only on the outbound side. There certainly are digital based higher end guitar pedals that have stereo-in AND stereo-out and they have effects such as ping pong delay, etc. but in the 108M’s case, it’s a series of BBD chips that are leveraged to produce stereo chorus effects.
If you were to put a split filter effect (Voyager out) into the Flux (or two of them for that matter), you’d like lose the subtlety. So best to stay with mono sources in my opinion. If you want bother, certainly run a set of stereo out from you Voyager then split off a mono into the Flux and merge the two effects side by side as you see fit.
I’m no audio engineer but many stomp boxes tend to accept mono with the rare stereo (usually chorus/flanger/phaser) effect last in the chain.
Similar thinking applies to the MuRF which has stereo-out and alternates each filter band between left and right channels. It’s very difficult to discern the built in LFO effect while animation is running.
for pingpong, only a stereo out is important.
Beside the LP all my analog and digital keyboard gear has stereo outs, so logically (beside niche products 
) the ins of stompboxes should be in stereo, too. In general, it makes sence to connect MF with 99% other keyboard and DJ stuff, but in stereo. If you have the whole KB and DJ Market on watchlist, there can be only one answer.
This thread is called “C’mon Flux” so I’m going to give it some prodding.
After MUCH haggling with UPS I retrieved my foogin’ Cluster Flux late last night. So far its lived up to its name!
Someone said that Nova Musik is a great company, either here or in the other Flux thread. I will say that they are friendly and have great prices, but their shipping department is the absolute pits. I had to make an address change when they didn’t fulfill my initial request to have it shipped to my current digs and they blew that one. The other problem with shipping is that they use UPS, which is probably the most inept shipping company on earth. They couldn’t even be bother to try deliver it to the original address which was listed (my parent’s house) and yet they claim that they did, so I had to drive out to their local headquarters for pickup. In the past UPS has destroyed valuable artwork, etc.
This thing is an amazing piece of musical equipment. I will say that initially. It has some awesome features, and the capabilities seem endless. 
Why the external feedback loop, guys? The only useful thing I can see out of this is maybe a murf or something equivalent. There are really enough feedback capabilities already. An LFO out would have been endlessly useful . . . but I suppose that’s what “Copilot EFX” etc, are for.
My primary interest is the Random or Sample & Hold, but I have found it to be lacking subtlety in its transitions between the waveforms especially at slow speed. Its almost more “wacky” than useful, and clearly the “Smooth Random” feature is key, but the true analog musicians among us have thusly been screwed. The only MIDI which I was considering adding to my chain is the MP-201, and now they have discontinued this. Great! 
Does anyone else suspect that Moog Music has become the Pied Piper leading us Analog Angels to the Digital Devil?
Another issue, is that when using the CF is in chorus (or flange) has the TIME setting maxed and with more than the first notch on the feedback either way, it begins to emit some serious nasty high frequencies. Even with no feedback a high resonating pitch is slightly noticeable in the mix, and I realize that this is may not be an issue for everyone, primarily I am using an RMC Polydrive II with Fishman Loudboxamps which are so clear sounding, and excessively treble-y. The 104s have the same issue. Once you starting adding feedback and have the LFO Amount between 0-4, it starts making all kinds of nasty high pitched squealy sounds (at least mine does) intermingled with the effect.
Mico, you should read my 104 thread from the last weeks/months. The problem is likely the demultiplexing IC which can be fried or at least overriden by power/voltage issues. Have you checked your outlets for Grounding/Proper Wiring? The answer I have found (besides getting a repair mod soon) is a little inconvenient but effective: Unplug your 104 power supply before you power up your rig, then put the power supply in once the juice is flowing. This seems to make the necessary “jump,” in my case. It would suck for gigs and stuff, I suppose, but my 104s no longer act so unpredictably, which was way suckier.
Still waiting on mine over here in the UK - But very excited for it’s arrival!
For those of you that have it… What is the low end retention like? For most Non-Bass specific chorus and flanger-based pedals, a distinctive loss of low end is present. As a bass player, this is obviously quite important to me! I use the 12-stage Phaser and this actually adds a little bottom end to the tone. I’m assuming the Cluster Flux will leave the bass register unchanged, but it would be nice to hear such from the mouth (and ears) of an existing user…
Cheers
Shep