Moog Music Forum

I have an MF 101, 102, 103 and 104 and I was wondering what would be a simple way to generate some resonancey', spacey, sound effects just using those four units, or maybe just the the 101 filter and 102 ring mod.

Any suggestions would be appreciated.

Thanks.

This is a really simple patch for a very common "synthesizer" sound:

Adjust the Resonance knob of your 101 so that it self-oscillates (above 3/4 of the way up). It will now be producing a sustained squeeling to low sub-bass sine wave tone (as long as the stompbox switch is on). As you adjust the Cut-Off Frequency knob you can change the pitch of this tone.

Connect the "LFO out" on your 102 (on the back) to the "Frequency" input on the 101. Now you'll be getting a rythmic bubbling or chopping sound (depending on the LFO waveform switch position on the front of the 102).

Adjust the LFO rate to control the tempo of this rythmic effect.

Another tone source that is available on these Moogers is the "carrier output" on the 102 (as long as the lo/hi switch on the front is in the "hi" position). The frequency knob or the frequency input on the 102 controls the pitch of this tone. You can connect this output directly into the 101 for a typical OSC-VCF synth patch.

in addendum to what Eric just mentioned when using the the 101's self osc as a signal source, try connecting the lfo output (set to square) to the mix in on the 101, and set the mix to about "2". Now you have an amplitude gate!

with the help of a cp-251 you can shape an envelope generator together. (AR with the lag control processor!)

take a listen to this quick demo as an example: http://www.yousendit.com/transfer.php?a ... 0C31B98613

MF-101 self-osc resonance out direct, no inputs

cv:
102 Carrier Out -> 101 Freq In
102 LFO Out -> 101 Mix In
103 LFO Out -> 102 Freq In

extra, but i used it for this to show you just one of the many reasons why you need to buy one stat

102 LFO Out -> CP-251 Lag Processor In
CP-251 Lag Processor Out -> 101 Mix In

voila, instant AR envelope generator.

i skipped over the mf-104, as i think you know full well what sort of fun chaos can ensue with a single patch cord by now

Thanks for the tips. Some interesting, if not overly standard results, but it is what it is.

I just posted this in another thread, but put the moogerfoogers in a feedback loop. Especially with the 101's self-resonance and envelope follower, you can do so much. I can yousendit some example mp3's if you're interested and also the basic patching approach that I use.

Hearing all that I could get out of the 101 alone controlled by a couple of lfo's and a sample-and-hold has started me on the route towards saving for a full fledge modular system...

northern hope wrote:Thanks for the tips. Some interesting, if not overly standard results, but it is what it is.

aye, this is mostly bread and butter stuff.. another way to expand your sonic range here is the use of a patchbay to multiply your control signals or audio chaining, try using audio sources as the carrier in on the 102, or maybe the env follower input. the aid of a cv mixer greatly enhances the whole as you get the change to really shape and almost sequence your cv modulation.

here's another demo with the same foogers you're using thats a little longer, and uses alot more patching and unusual modulation routes:

http://www.yousendit.com/transfer.php?a ... A50AF1D5ED

northern hope wrote:Thanks for the tips. Some interesting, if not overly standard results, but it is what it is.

that's what you asked for, isn't it?

Absolutely.

CTRLSHFT wrote:

northern hope wrote:Thanks for the tips. Some interesting, if not overly standard results, but it is what it is.

aye, this is mostly bread and butter stuff.. another way to expand your sonic range here is the use of a patchbay to multiply your control signals or audio chaining, try using audio sources as the carrier in on the 102, or maybe the env follower input. the aid of a cv mixer greatly enhances the whole as you get the change to really shape and almost sequence your cv modulation.

here's another demo with the same foogers you're using thats a little longer, and uses alot more patching and unusual modulation routes:

http://www.yousendit.com/transfer.php?a ... A50AF1D5ED

I'd be interested in seeing how you patched the mf's for this.

asd wrote:

CTRLSHFT wrote:

northern hope wrote:Thanks for the tips. Some interesting, if not overly standard results, but it is what it is.

aye, this is mostly bread and butter stuff.. another way to expand your sonic range here is the use of a patchbay to multiply your control signals or audio chaining, try using audio sources as the carrier in on the 102, or maybe the env follower input. the aid of a cv mixer greatly enhances the whole as you get the change to really shape and almost sequence your cv modulation.

here's another demo with the same foogers you're using thats a little longer, and uses alot more patching and unusual modulation routes:

http://www.yousendit.com/transfer.php?a ... A50AF1D5ED

I'd be interested in seeing how you patched the mf's for this.

alas, it was pretty much just by screwing around. any particular moments catch your ear that you'd wanna talk about?

the demo is actually a couple different takes with live tweaking kind of intermittent. The biggest thing i could mention is the use of the carrier out on the 102 and the 103's lfo as they both get very comfortably into audible range as modulation sources.

CTRLSHFT wrote:... try connecting the lfo output (set to square) to the mix in on the 101, and set the mix to about "2". Now you have an amplitude gate!

with the help of a cp-251 you can shape an envelope generator together. (AR with the lag control processor!)

This is a really cool patch, that I never would have discovered until you pointed it out above.

I don't have a CP251 yet, but I have an MS20 with an envelope out and was able to use it to control the level of the MF101's sine wave via the mix input, as you suggested. By sending keyboard CV to the MF101's Cut-Off frequency input, I was able to "play" the MF101 as a self contained synth (a very basic VCO-VCA synth, of course, but still... pretty cool).

But, I was also wondering how well the Lag Generator on the CP251 works as an AR envelope generator?
How would you single trigger the Lag Generator to use it as an envelope? Maybe just send a Gate Voltage to the input?

CTRLSHFT wrote: 102 LFO Out -> CP-251 Lag Processor In
CP-251 Lag Processor Out -> 101 Mix In

voila, instant AR envelope generator.

On this patch, the AR(Lag) will continuously auto-trigger, right?

eric coleridge wrote:

CTRLSHFT wrote:... try connecting the lfo output (set to square) to the mix in on the 101, and set the mix to about "2". Now you have an amplitude gate!

with the help of a cp-251 you can shape an envelope generator together. (AR with the lag control processor!)

This is a really cool patch, that I never would have discovered until you pointed it out above.

I don't have a CP251 yet, but I have an MS20 with an envelope out and was able to use it to control the level of the MF101's sine wave via the mix input, as you suggested. By sending keyboard CV to the MF101's Cut-Off frequency input, I was able to "play" the MF101 as a self contained synth (a very basic VCO-VCA synth, of course, but still... pretty cool).

But, I was also wondering how well the Lag Generator on the CP251 works as an AR envelope generator?
How would you single trigger the Lag Generator to use it as an envelope? Maybe just send a Gate Voltage to the input?

CTRLSHFT wrote: 102 LFO Out -> CP-251 Lag Processor In
CP-251 Lag Processor Out -> 101 Mix In

voila, instant AR envelope generator.

On this patch, the AR(Lag) will continuously auto-trigger, right?

yeah you can totally control the mf-101 as a monosynth using a gate trigger (and yeah, in that particular patch it autotriggered, as it was just a square lfo getting shaped by the lag processor, but the same AR eg rules were applying.) ive been using my kenton pro solo for a while to do this and tracked notes by connecting the cv to freq in. you can also pseudo gate by using the resonance knob instead of the mix, and basically riding between self osc and not self osc. this makes it REALLY hard to keep the pitch decent though. either way the tracking only really stays solid for maybe 2 octaves if you're lucky. 's pretty cool though.. especially when you start introducing the other foogers around it.

CTRLSHFT wrote: alas, it was pretty much just by screwing around. any particular moments catch your ear that you'd wanna talk about?

the demo is actually a couple different takes with live tweaking kind of intermittent. The biggest thing i could mention is the use of the carrier out on the 102 and the 103's lfo as they both get very comfortably into audible range as modulation sources.

So my response to this is really late. Anyways, is the demo just a few takes strung together or does it have overdubs? Initially I thought you did it all in one shot, no overdubs, with a single patch and some tweaking throughout. You get a pretty wide variety of sounds from your setup though which caught my ear.

Did you use just the 101/102/103 and the 251? Is the audio just the 101 and 102? (I've been playing around with the 101/102/251, seems like you have a lot more modulation/cv control going though than I have).


Just to pick a few random moments if you still remember the patching/approach:
The opening 20 or so second patch (do you go to another cut/patch at around 25 second?)

Around 1 minute - 1 min 20/25 second, when things start to get noisier.

asd wrote:

CTRLSHFT wrote: alas, it was pretty much just by screwing around. any particular moments catch your ear that you'd wanna talk about?

the demo is actually a couple different takes with live tweaking kind of intermittent. The biggest thing i could mention is the use of the carrier out on the 102 and the 103's lfo as they both get very comfortably into audible range as modulation sources.

So my response to this is really late. Anyways, is the demo just a few takes strung together or does it have overdubs? Initially I thought you did it all in one shot, no overdubs, with a single patch and some tweaking throughout. You get a pretty wide variety of sounds from your setup though which caught my ear.

Did you use just the 101/102/103 and the 251? Is the audio just the 101 and 102? (I've been playing around with the 101/102/251, seems like you have a lot more modulation/cv control going though than I have).


Just to pick a few random moments if you still remember the patching/approach:
The opening 20 or so second patch (do you go to another cut/patch at around 25 second?)

Around 1 minute - 1 min 20/25 second, when things start to get noisier.

mf-101 through mf-104, cp251. i have an extra cp251, mf102, and a murf, but those weren't in this.

this is actually all one take, no overdubs, no stops. i cut it quite a bit though, the original is probably like 8 minutes or something, hence the drastic changes. as far as patching goes, really most of it came from using every possible modulation source available, and lots of cp-251 abuse. you can mult, you can change what the mod source sounds like with the mixer, the lag processor is just as evil. getting to use the carrier osc, self-osc on the 101, and the lfo on the phaser will get you through as far as using these sounds go. sorry i don't have any specifics, but it was quite a while ago; just experiment and use lots of patch cables, you'll get sounds like these pretty quickly.

can you post the sample again?