Moogerfooger Modular.

northern hope · Post by **northern hope** » Thu Oct 20, 2005 10:44 am

I was just wondering what kind of results anyone has got just using an MF-101, 102, 103, 104 etc. as it's own self contained modular unit? I know it probably wouldn't be anything more than some kooky special effects sounds, but that's all I'm looking to do in a live situation anyway.

Has anyone done just what I'm describing?

Thanks.

godzilla · Post by **godzilla** » Thu Oct 20, 2005 11:08 am

i only have the 104SD but using the CV out of SH 101 i've got some very cool results
i used my etherwave at the audio in on the SD and the SH101 (playing an arpeggio) on the delay time, very cool
also used the sh101 as audio source as its keyboard voltage changes the feedback, so the lower down you play the more feedback.

i haven't had much of a chance to really get to grips with this pedal as i've got lot's of work to do (i should be doing an essay now, well i kinda am i'm just having a short break

) but so far it's amazing

in answer to your question i think that using all the moogerfoogers (along with the cp 251) would yield great results. The fact that you can use all of the pedals (apart from the murf and the original 104, as the feedack gain can't be set to 1 or higher ie: self-oscillate) as a controlable tone source, allows for a self contained (albeit rather crazy) synthesizer. I have decided to enter the world of the modular synth with the moogerfoogers, as they can do more interesting things than normal modules can.

Duke Foog · Post by **Duke Foog** » Thu Oct 20, 2005 1:51 pm

I did that once with the resonance cranked on the low pass filter and my zvex fuzz factory making crazy feedback. then controlling that mess with the ring mod and murf. a portal opened up and the purple zucchinis told me to tickle their knees. i did and it was bliss.

he he.
just got the 104 sd 5 minutes ago and this thing is incredible

I think i smell zuchinis again

OysterRock · Post by **OysterRock** » Thu Oct 20, 2005 5:03 pm

CTRLSHFT who posts here made a cool song using the MF101 as an oscillator. Check it out here:
http://www.moogmusic.com/forum/viewtopi ... ht=ableton

Lengai · Post by **Lengai** » Thu Oct 20, 2005 6:06 pm

Zucchinis have knees?

Duke Foog · Post by **Duke Foog** » Thu Oct 20, 2005 8:59 pm

these ones did

newname · Post by **newname** » Tue Oct 25, 2005 2:05 pm

>I was just wondering what kind of results anyone has got just using an MF-101, >102, 103, 104 etc. as it's own self contained modular unit?

hi there, that's exactly how i treat my moogers. i've got 102, 103 and 104 in an SKB mixer rack with a 251, 351 and sherman filterbank 2. i leave my 101 loose, and available for the envelope follower and just in case i need more filtering.

if you check out the archives a bit, you'll see a thread regarding the 102 ring modulator and how it can be used as a primitive VCO with some unique properties. also, mentioned elsewhere in this thread is work by one mooger user who uses feedback loops to make his 101 into a tone source.

the rig is great for generating wild sci-fi effects, but don't rule out more subtle things, like slowly evolving tonal sequences that can be created by running one of the LFOs into the 251's S/H module, then using the voltage output to _slightly_ adjust the cF of a barely ringing filter.

because the LFOs on 102 and 103 are voltage controllable, you can do interesting things by cross-modulating the two, resulitng in some interesting rhythmic effects. if you want a ramp wave LFO, modulate the frequency of the 251's LFO with its own square wave output - this will distort 50% of the duty cycle of the waveform, speeding it up and causing the triangle output to begin looking like a ramp. this can be made positive or negative going by using the 251's output mixer.

the 104 is an incredible noisemaker under voltage control, and to my ear provides a pretty unique set of effects.

if i was asked to pick one module out of the bunch, i'd say that the 102 is the most 'useful' electronic sound generator, but doesn't really come into its own until it's interfaced to a 251.

lx

godzilla · Post by **godzilla** » Wed Oct 26, 2005 12:01 am

newname wrote:
the 104 is an incredible noisemaker under voltage control, and to my ear provides a pretty unique set of effects.

if i was asked to pick one module out of the bunch, i'd say that the 102 is the most 'useful' electronic sound generator, but doesn't really come into its own until it's interfaced to a 251.

lx

I only have the 104SD and i'm trying to choose between the 101, 102 or 251 as my next purchase. which do you think would complement the delay the best as a pair?

MarkM · Post by **MarkM** » Wed Oct 26, 2005 12:31 am

Depends on your music. I like the 102. You can get a saw and square wave LFO for CV out in addition to some cool sounds. It's milder effect is a very nice tremolo. I think that would complement a 104, but ofcourse you'll end up getting all of them. The low pass filter is mighty fine as well. Heck, they're all good.

OysterRock · Post by **OysterRock** » Wed Oct 26, 2005 12:45 am

I think the 103 gets overlooked sometimes. Its not as outrageous as the other MFs, and if your running in in mono you're missing out. Run it in stereo and you have a amazing, space-creating, head-dizzying effect! Sounds great on a Rhodes.

newname · Post by **newname** » Wed Oct 26, 2005 3:39 pm

my 02 izzz:

i agree with mark and oyster [so in other words, i say that any of them are good].

if you don't already have a cp251, and you are aiming to do oldskool modular type wackiness, i strongly suggest starting with that.

if you're doing spacy, smoother sorts of music [or you want something to supply that right 'oily' character for your rough, gnarly sinister music] i say go for the phaser. you can get some 'ring mod' type FX with its LFO set high, btw.

if you want a tone source to make wackiness with, get a 101 or a 102 the 101 for full-on feedback craziness, the 102 if you want to be a bit more clinical about things....

lx

canadianwarship · Post by **canadianwarship** » Fri Nov 04, 2005 8:38 pm

newname wrote:if you want a ramp wave LFO, modulate the frequency of the 251's LFO with its own square wave output - this will distort 50% of the duty cycle of the waveform, speeding it up and causing the triangle output to begin looking like a ramp. this can be made positive or negative going by using the 251's output mixer.

I just wanted to thank you for this tip - it sounds great. I can finally get those filter sweeps I'd been seeking on my guitar without buying one of those crummy expression pedals

newname · Post by **newname** » Sun Nov 13, 2005 9:59 pm

newname wrote:if you want a ramp wave LFO, modulate the frequency of the 251's LFO with its own square wave output - this will distort 50% of the duty cycle of the waveform, speeding it up...

duh, oops. see below...

canadianwarship wrote:I just wanted to thank you for this tip - it sounds great. I can finally get those filter sweeps I'd been seeking on my guitar without buying one of those crummy expression pedals :)

...i did make a mistake, but i think it suits your purpose better. above, i said that the voltage would _speed up_ the LFO. i was wrong, the polarity is reversed, so it slows it down...how much, you ask? well, i'll tell ya:

i just tested, using my 102 as a VCO. plugging straight from the squarewave out into the LFO CV in on the 251, the resulting waveform takes over 30 seconds to run thru its cycle! very nice. any of you audionauts trying this, i suggest running the square wave through an attenuator before sending it to the CV in - you can get all sorts of fun waveshaping effects this way.

a similar patch with slightly different characteristics can be made this way:
-square out to mixer in 2
-mix out to LFO CV in
-LFO triangle out to VC input of choice

you lose the mixer's inverter, so the LFO will only be 'shapeable' into a downgoing sawtooth wave, but you can do a lot more with the frequency control of the LFO, including driving it up into audio frequency ranges, and add things like sample/hold in to make the sweep less consistent..,

i like this patch a lot, btw - being able to shape the wave and change frequency with a single knob provides a bit more musical frequency shifting than just patching the squarewave thru the lag generator. very oldskool modular sounding!

hope this helps! thanks for your response, it prompted me to do a bit more creative patching with my little system here... ;)

lx