I never said I didn’t like the sound…I love the sound, as well! Just not the wheel lags and sketchy control. If I could have the Waldorf sound without the sketchy control, it would be awesome! Hence, me wanting the Microwave for my studio. 
Voltor, I have a microwave XT and an LP and they are just lovely together. Assigning the the LP’s mod wheel to any parameter on the XT seems to feel OK to me. It’s MIDI, so I suppose there could be some perceived lag, but it’s plenty quick for me.
Really, the XT is a mad science machine. 
It lets you use all sorts of operations to modify the internal control signals. It has an 8 stage, loopable envelope and so many awesome ways to shape the modulation signals. I rarely need to make super accurate control movements because I can create so much animation just by programming it.
The sound is very unique as well. I have a Virus TI, and while the wavetables are more flexible, complex and generally “better” sounding, they don’t have that glitched out, fizzy, crunchy, awful harsh awesomeness that only the XT can provide. I almost sold it to buy the LP and I am SOOO glad that I didn’t.
Wow, totally off topic with all the Waldorf chat.. OK, so on the subject of stereo MF-101s- I would like to experience this, for sure. I did try something similar using my LP and single MF-101. Basically, I use the audio in on the LP, use its filter and then modulate its cutoff with the Env Out on the 101 to get the other filter. I set up the filter on the LP to sound as close to the 101’s as I could. I know that technically they are both Moog ladder filters, but they sound very different. The LP is a little grimier, in my opinion, with the 101 having a wetter, juicier sound. Regardless, with no overload or drive you just have to tweak the resonance to get them sounding close. Subtle offsets of the parameters between the filter units give it a really cool sound and stereo image.
idea: use a 107’s Env Follower to track drum pattern (or something rhythmic), multiply the env out with a CP-251 and use that to control the filters. S&H that CV for stepped stereo moog filtering. 
God I love this stuff!
Kingfriday, thanks for all that. Great info!
EDIT: The lag I was referring to can be found on the Waldorf keyboard models, not the rack mount stuff. Which is why I’d rather go with a Waldorf Microwave for my studio. On a keyboard, you’d expect the controls to respond in real time, not half a second later. MIDI lag I can deal with. I’d expect some lag on MIDI. But not on the actual hardware. That’s just cheap.
The A6 is MIDI and CV. (same with the Voyager)
I have done that, it is a sweet combo. 
I used my A6 this evening and it really is an amazing piece of equipment.
Wow, totally off topic with all the Waldorf chat..
Yea.. this thread went “sideways” for a bit. In the end… we are all here for the love of synthesis… no matter the brand… this is our tiny corner.
We all share the love of Moog Music, but I’ll talk synthesizers with anyone!
]Cheers everyone!!!
Happy ThanksgivingQ!@!!
It is late on a Wednesday and I a “little” buzzed up!! 
enjoy your synths and have a good feast.
Peace on Earth and Good Will towards Men.
There’s not a single thread on this forum that hasn’t gone sideways. Usually, it’s all related to subtractive synthesis, but on occasion, the thread gets completely derailed, and nothing can revive it. 
The last bit of my signature comes to mind. 
You say that like it’s a good thing. Thread drift gets old in my opinion, especially if the original poster’s question gets completely ignored.
2nd that
This post would be so much more worthwile if the person who posted it would have had some positive input/suggestions on the original question. 
I wonder if thread drift is anything like Oscillator drift. Perhaps a calibration of posting frequency is in order. lol
(Sorry)
But I was thinking about this the other night and I started to post. I wonder what the difference would be if you had 2 101s going to 2 different amps, or if you just used the Voyagers filters to a PA system.
WHat exactly is the difference between the 101 and the Voyagers dualing filters?
Something that I think woudl be interesting is lets think about the Moog 55. I have been advocating for a cp251 style VCA (with 4 channel audio mixer)/2 Envelope Generators /Dual Trigger Delay/Envelope FOllower (MOdules 911, 911a 912). Now if we had a trigger delay, then if we had 2 MF101’s then with a single sweep of a multiplied pedal, it would create an effect very similar to the SPACING control on the Voyager.
I don’t know how easy it would be, or if they would have a stereo effect but I think that this could be a solution to the original posters problem.
A dual trigger delay module like that found on the Moog 55 or better yet, just make the cp251 style unit that would essentially provide us with the advanced modular synthesis capabillity.
EricK
Or, use a third-party dual trigger delay module! Great idea, EricK!
If the OP is still around, my question is: how do you want to use a stereo filter?
You asked about controlling two 101s from an MP-201. What would you want to control? If you wanted to have envelopes following both channels independently, the filter reacts to the incoming audio, so no extra control is necessary.
If you want to have both envelopes triggered from one channel only, patch the Env. Out on one to Cutoff on another (insert attenuator if desired).
If you wanted the Voyager “spacing” control that EricK described, you could probably just offset the cutoff frequency for each filter. A trigger delay might be a bit different.
If you wanted to simultaneously alter parameters on both units, you would use a multiple to split CV or expression pedals. The MP-201 might be better for adjusting many controls at once or changing parameters at different rates/depths etc.
Hey, you do have “stereo” hands, don’t you? 
I assume you’re referring to me? I’ll go even further and say that it helps if the original poster would revisit the thread and respond to the various questions!
Bamse,
I assume from your question that you are asking about using two MF-101’s to get stereo effects, and not a just a single '101 with a Multi-Pedal (there are ways to create a psuedo-stereo signal from a mono output like the MF-101, and you wouldn’t need a Multi-Pedal to do it, but that’s another topic.)
By splitting your input signal and routing it to two MF-101’s (let’s just call them LPF’s from here), you have a LOT of stereo effect possibilities. The most basic effect would be to set all controls identically on both LPF’s, and then offset the filter CUTOFF on just one (this is same thing that happens when you adjust the ‘Spacing’ control does on the Voyager - it spreads out the cutoff frequencies creating a stereo effect). Doing this would result in a brighter sound on one channel, and a duller sound on the other. Pretty basic, and not terribly interesting by itself.
Now, bringing the other controls into play, you could set one for 2 pole mode, and the other for 4-pole mode. Or adjust one for high resonance while the other is set for little or none (decisions, decisions…).
Adding some envelope filter modulation brings dynamics and interest to the filter sound. If you set the envelope AMOUNT controls identically, the stereo effect would come from the differences in the knob and switch settings of each respective LPF. Or, if you keep the switch and knob settings the same on both LPF’s, you could adjust the envelope AMOUNT controls slightly and get some subtle stereo shadings - it really depends on the type of stereo effect you’re going for.
Going a bit further, if you have an inverting attenuator handy, you could take the Envelope Out CV from one LPF, invert it, and route it to the Cutoff Input of the other LPF, resulting in contrary response filters; when the cutoff of one LPF goes up, the other goes down, and vise-versa (this technique also works well when an LFO is applied to one LPF while an inverted version of the the same LFO is applied to the other - it sets up a see-saw kind of effect).
Of course, now I’m into the topic of interfacing the LPF with external control voltages (that’s what the CP-251 CV Processor and MP-201 Multi-Pedal are for), but you get the idea…
Sorry, I must have unchecked the notifications and forgotten about this thread… ehermmm…
Anyways, I am indeed asking about two MF-101s that I could use for stereo synths or drum machines to create simple filter sweeps of both the Resonance and the Cutoff.
Are there any “expression pedal” knobs out there that I could split? That might be most cost effective.
Lol, SuperBump! Yup, this thread got a away a bit…
You can use a Moog CP-251 to “split” expression pedals (the 4-way multiple)
Yeah. 
I couldn’t just use a Y cable for the CV as was mentioned?
Hi Bamse
I just tried it for you, and yes, you can split an EP-2 with a Y-cable (I just did mine with alligator clips and some connectors).
So you should make (or buy) a cable with a TRS socket and two TRS plugs.
If you wanted to, you could make a “Voltor” box, which basically takes the control inputs and connects them to knobs in an external enclosure. (BTW, I did this myself a few years back so I could control my MF-102 from standing height.)
In your case, if you wire the cables of two units together, you will have one knob that controls both 101s Cutoff, Resonance etc. You could then wire a socket in parallel with this knob, and plug an expression pedal in, and you would have foot control over both parameters. Too confusing?
Hi latigid on,
Thanks for trying the EP-2 with Y cable for me.
Nobody sells the “Voltor” box? I’m not crazy about soldering.
I think I understand what you said. I would prefer the two knobs to one knob or EP-2s. One for Cutoff, another for Resonance.
Any idea how the Sherman Filterbank accomplishes linking with just one 1/4" cable?
Voltor box! That’s funny! No, no one sells it. It’s quite simple for anyone with tools to make one. Perhaps if you found someone who tinkers with electronics to make one for you?
The Shermans are connected with an insert cable (it’s actually wired a little differently than normal).
It’s still a mono filter, but with 48 dB/oct
Only one of the units has its envelope triggered by audio.