I need help

Hi,

I’m new here… and I’m outta my league. I own a Little Phatty, and have just received my order of a few Mogerfoogers, and I’m perplexed. What the heck do I do with them.

Here’s what I have:

Of Course, my Little Phatty

and…

1- MF 101
1- MF 102
1- MF 103
1- MF 107
1- CP 251

Got a M Audio Keystation 61 keyboard as well, although it’ll be a dedicated “layer” instrument (got a good laptop & Mellotron software for it. Got a separate amp for it too)

I have 2 Moog PD-001 footswitches, and 2 (when they send them in 2 weeks… they’re on back-order) EP-2 expression pedals.

ALSO… gonna send the Little Phatty in for the outout upgrade… but don’t have it as of now.

Can anyone suggest a few hook-up configurations? I also ordered 2 packs of TRS cables (3-lug, as I understand that certain conventional TRS cable usage can result in shorting out the supply voltage). I did e-mail one gentleman, and he was very helpul, but since, I ordered the additional Moogerfoogers, and I need help.

Download and print the manuals for starters— and read them!!! If not that, at least read them online. It would be especially helpful for you to read and understand the concepts outlined in the CP-251 manual. The other manuals all have various examples of patches using other MoogerFoogers and tone generators.

I’d get a few more TRS cables too. :wink:

You might start with some simple patches on the Phatty through each effect individually so you can hear what each can do, then in combinations. The CV inputs and outputs allow the various LFO’s, VCO or envelopes that comprise the MoogerFoogers to control other parameters on the Moogers or other CV-equipped synths or FX. The CV output from the Phatty adds way more possibilities too. Like using the keyboard pitch or mod buss to control parameters or a gate to reset the LFO or advance the animation on a MuRF. Or the envelope output in ARP mode to sync your effect with the arpeggiator. You can also use the CP-251 to invert, offset, and/or combine signals before patching them to a MF parameter. Using the 251 and the Pitch CV input on the Phatty it is possible to play microtonally or even reverse the keyboard pitch entirely. It’s really up to your imagination. As long as you follow the concepts in the CP-251 manual you won’t risk smoking any individual components. Never use the Mult to combine CV signals— use the Mixer ONLY! A couple of the MF’s you have will self-modulate so they can be tone sources too.

There is a Yahoo Group, Squarewave, that has lots of great information about all things Moog.

And then of course there is Youtube, with a lot of clips of MF’s doing any and all manner of noisemaking and mangling and beautifying of whatever tones are sent through them.

I couldn’t find that group, did you mean Knob Tweak?

Knob Tweak, that’s it.

I guess Squarewave was an older user group.

IMO, you’ll probably just overwhelm yourself and get frustrated if you try to learn too much all at once. I’d suggest you put everything aside except for the LP at first. Read the manual, go through the presets, think about musical applications you might have for each preset. Take some time just to tweak and explore as you read the manual, so that you have some hands-on time with each feature. Then, pick some presets that you almost like, and try tweaking them to be more useful to you. Make some music with it doing simple things at first, and only adding layers of complexity once you’ve had some success applying the basics.

After doing that for a while (maybe a month, maybe a few months, depending on your learning curve), read the CP-251 manual and try using it to modulate various LP parameters. Once you’ve got your head around the LP and the CP-251, then bring out the other MFs and you should have a pretty good understanding of what they can do for you.

And again IMO, if you’re looking at a bunch of gear and drawing a blank on what to do with it, maybe the first thing is to think about what musical goals you have, and then find out how to make that gear do those particular things. Of course this is a circular process (discovering technical possibilities in the gear can also give you musical ideas), but for me it’s always been more productive to start with musical/sonic ideas and work towards those.

maybe the first thing is to think about what musical goals you have, and then find out how to make that gear do those particular things

Ideally, this step is taken before purchasing a lot of specialised and expensive gear :slight_smile: That’s the funny thing about Moogs. They really don’t do “everything,” it’s more a matter that they do a comparatively narrow range of things exceptionally well. You should definitely know a) what they sound like and b) what isn’t their strength prior to buying one.

These days with the internet (and youtube etc) there’s every opportunity to know what gear does (and even how to use it) before you buy it.

Narrow & Prax.. and this is really aimed more toward Prax, a little about me. I’m 52 yrs old, and first began in music by learning guitar (started at age 12). I took lessons, and learned to read music, complete with a good practical understanding of music theory. Soon, I was in bands, and played the Metro-Detroit area bars up until my late 20’s. I gave it up because of the “feast or famine” situation I always found myself in, and, I didn’t need to depend on it: I grew up in a TV repair shop (my Dad’s), and obtained 2 degrees in electronics, as well as obtaining a C.E.T license (no easy feat). As a kid, I was a big reader of Popular Electronics, Electronics Now, etc, and actually built many of the projects outlined in the books, including etching my own circuit boards. So, I went to work for Sears Product Services, and spent another decade employed there in their electronic repair division (Div 57). I left Sears when I got married (my 2nd marriage) and moved to the Washington DC area, as the woman I married was an attorney there, and it made more sense for me to move. I started my own software business (I write e-commerce applications, and am fluent in several computer languages) and have done very well… hence why I have the ability to purchase the things I want in life, like my Moog stuff.

Now, let me address a few of your statements:

”maybe the first thing is to think about what musical goals you have, and then find out how to make that gear do those particular things”


”Ideally, this step is taken before purchasing a lot of specialised and expensive gear That’s the funny thing about Moogs. They really don’t do “everything,” it’s more a matter that they do a comparatively narrow range of things exceptionally well. You should definitely know a) what they sound like and b) what isn’t their strength prior to buying one.

These days with the internet (and youtube etc) there’s every opportunity to know what gear does (and even how to use it) before you buy it.”

I was struck by these statements, as I have a 20 yr old son (I’m stepdad) whose band is touring now here on the East Coast, and your comments remind me of my discussions with him. His band plays mostly original music, and he grew up playing much in the manner you two espouse: decide what you want to do first, then create. Maybe needless to say, but this is why most of their music, much like your demo Prax (although they’re more pop/punk) ends up the same: no soul.

Now, why is this, the reader might ask: it’s because my son no more understands the artistic creative process than these two do, and the process hasn’t changed in many thousands of years, and I’ll explain it the same as I did to my son:

Michelangelo, DiVinci, Raphael, or even Mozart didn’t approach their craft by deciding what they wanted to do, and then short-cutting their way to it. They began by apprenticing themselves, taking lessons, sketching the Masters for years. This created a bond between their skills, and their souls. Thus, when life dealt them a losing hand, they went to their instrument. When the woman they loved dumped them, they went to their instrument. It’s no different today.
When Lennon & McCartney wrote “Across the Universe” it was written from the heart. Does anyone honestly believe that Paul & John had a conversation that somehow went “by the time we’re half way through with the group mate, I want us to write a song that expresses how ‘nothing’s gonna change my world.’” Of course not. Their music had meaning, because they understood and had adhered to the true creative process: they did not short-cut.

When I posted, I thought maybe there was someone else who, like me, knew music and electronics, and had created some pages of patch examples (and by the way, I owned my LP for a few years now, it’s the MF’s that are new). If there is, I’d appreciate it. That’s all.

Thanks for the more detailed info on your background. It will definately help folks be able to help you better around here. The knob tweak yahoo group mentioned above has some good Fooger info (big doc on the Ring Mod). http://launch.groups.yahoo.com/group/KnobTweak/
I would guess the best thing would be to have a list of don’t connect this to this (just for equipment saftey). I think the list is very short with Foogers. The experiment can be a lot of fun. With the foogers listed you should be able to patch some sounds where you hit a key or open the gate on the LP and the sounds can evlovle with a pattern or endlessly without. Also check out the Jordan Rudess LP demos on you tube. Some incorporate Foogers. I especially like the one of the ENV out of the 101 triggering the LP as a Rhythm track is sent through.

Sir Nose,

Thank you very much for responding. I looked for the group in question, but couldn’t find it. The full URL really helps.

As to your post, I was struck by something you wrote:

” I would guess the best thing would be to have a list of don’t connect this to this (just for equipment saftey). I think the list is very short with Foogers.”

I think that’s profound, and shows me that you have a lot of experience and common sense. Hopefully, it’s just the pedal inputs that have the potential for grounding out. I’ve read the manuals, and am doing some experimenting. It’s quite fun.

I saw Jordan Rudeness’s videos, hence the reason my first MF purchase was the CP-251 and the Freq Box, as per his video. I ordered the other 3 after seeing that Moog offered a good deal on a packaged deal Can’t wait to try em out on my guitar, as well.

JR is an amazing player. I learned to play keyboards initially by chording, as the ease of 1,3,5 and applying both hands enabled me to play quite a bit right outta the gate. The first song I learned was “Let it Be”, and people thought I could actually play. I knew I wouldn’t fool a real piano player, but it did give me something to work with. Over the years, I’ve gotten better on keyboards, but watching a real master like JR is a real pleasure. Thank you again!

Submitted my membership request. Thank you again.