MF-105 MuRF - Analogue Haven
Contents
1. 11 Polyrhythm 3 4 Khz 2 2 Khz 1 5 Khz 1KHz _ L 675 Hz _ 1 Filters a N 3 4 Khz 2 2 Khz 12 Rhythmicon LI 1 5 Khz BL 1KHz HL 675 Hz 450 Hz 300 Hz 200 Hz 12345678910111213141516 Steps Filters gt BANK with LFO 1 No Animation 2 Downward Staircase 3 4 Khz 2 2 Khz 1 5 Khz 1KHz L 675 Hz L H 450 Hz 300 Hz 200 Hz Filters gt COCE C 3 Upward Cascade 2 2Khz LL 1 5 ECC CO LR 675 Hz LIL 402 5 E ILI ILI 200 LILI ILI ILI min Im 1234567 8 9 101112131415 16 17 18 19 20 21 22 23 24 4 Down and Up 3 4 Kaz 2 2 Khz CLIC 1 5 Khz 1KHz IL Im 675 CIC LE ER a 45042 5 300 Hz EC2. 300 Hz 200 Hz 2 9 Upward Notch 19 20 21 22 23 24 pep gt ne i 10 Growing and Shrinking Band 2 LORS gt i EER MERRE OOM a 2 Se BK B ses B O ONE 0070008 So pee S OB 000 WERNE E E BE 2 10000 B E E OE EL 02 OE gt OOR EL 3 9 E_E 5 2 OE E lt 8 3 I Pam 2 2 Khz 1 5 3 4 Khz IR 12 Inverted Rhythmicon kHz B 234656 7 8 9 101112131415 16 oe Notes Notes 2004 Moog Music Inc MOOG MUSIC Inc 554C RIVERSIDE DRIVE ASHEVILLE NC 28801 Phone 828 251 0090 FAX 828 254 6233 Email info moogmusic com WEB SITE http www moogmusic com
3. Your moogerfooger 105 MuRF MuRF OUTPUT 4 6 4 5 10 ARTE BYPASS RATE TABLE OF CONTENTS Getting Started 3 T Frequencies and Filters ta i The Filter nains 7 Envelope Generat rs Sequencers and Pattern Generation T The MuRF s The MuRF s Tap Step Audio Level Controls and Mixing ii Using Both Outputs Together Expression Pedals and Voltage Control 15 T Some Typical 6 Technical Information Limited Warranty ot MF 105 5 Appendix A the MuRF s Patterns 22 5 CED 4 CED 24 How ett FT 8 088000 lt pr Welcome to the world of moogerfooger Analog Effects Modules Your model MF 105 MuRF is a rugged professional quality instrument designed to be equally at home on stage or in the studio Its great sound and jaw dropping effects come from the state of the art analog circuitry designed and built under Bob Moog s personal direction Your is a direct descendent of the original Moog modular synthesizers and professional rack effects It contains two basic functions an 8 band array of resonant bandpass filters and a pre programmed
4. Filters AN NZ 2 NNN 6 Upward Bounce L 23 45 6 7 8 9 10 11 12 13 14 15 16 3 4 Khz 2 2 Khz 1 5 Khz 1KHz 675 Hz 450 Hz IL Brownian Motion 00 005 8 Random like 12345 6 7 8 9 10111213 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 3 4 Khz 2 2 Khz 1 5 Khz 1KHz 675 Hz 450 Hz 300 Hz 200 Hz 4 O 9 Double Up and Down 3 4 Khz 23 45 6 7 8 9 10 1112 13 14 15 16 1 Steps 2 2 300 Hz 200 Hz 2 10 Downward Band Expansion
5. Animation module that generates sequences of envelopes that modulate the levels of the 8 filters Several of the performance parameters are voltage controllable which means that you can use expression pedals MIDI to CV converter or any other source of control voltages such as other moogerfoogers to play your MuRF While you can use it on the floor as a conventional effects box our MuRF is much more versatile and its sound quality is higher than the single fixed function stomp boxes that you re probably accustomed to The MuRF is an astoundingly versatile effects device you will find it provides an incredible variety of effects ou will find that your MuRF is a deep musical resource and will become your creative companion as you explore its possibilities The following pages will first tell you how to hook up your and set the panel controls for the basic setup Next we ll explain how the functions of your MuRF work After that we ll go through the panel features and give you suggestions on how to use your in specific applications At the end of this booklet you Il find technical specifications service and warranty information information about Moog Music and diagrams of the MuRF s Animation patterns GETTING STARTED Here are some simple instructions on how to quickly plug in and try out your MF 105 1 Unpack your 105 Place it on table while you become familiar with i
6. or not a step can be passed over like a musical rest The trigger signals can then be used to trigger envelope generators according to the way each step is programmed creating a rhythmically reoccurring pattern The MuRF s Animation contains 8 simple sequencers one for each filter each capable of triggering an Envelope Generator that shapes the volume of the filter ANIMATION The MuRF s ANIMATION module is designed as a means of automatically turning the levels of the individual filters up and down using envelope generators according to a pre programmed pattern The ENVELOPE control morphs through different envelope shapes as you turn it creating effects that are highly rhythmic in nature or are swirling and ethereal The RATE control sets the speed of the pattern The patterns selected by the PATTERN selector rotary switch in conjunction with the Bank slider switch have been selected to provide a surprisingly wide variety of rhythmic timbral effects There are a total of 24 patterns 3 4 CLIM arranged in two banks of 12 2 2Khz JL ILIC IL JE An easy way to understand 1 5 Khz the Animation is to look at a HH a simple pattern displayed on 404 OOM OOOO esit 300 Hz 200 Hz Figure 10 shows 12345 6 7 8 graphic representation of 2 pattern 2 in Bank A The columns going left to right are the steps of the pattern The rows going from bott
7. turns off the Animation so you Nay can hear the effect of just the ENVELOPE RATE 3 Make sure the effect is on and MIX 1 at 10 SEE ET 4 Connect just the left mono Figure 5 Basic Settings for checking out the filters output to your amplification You may want to experiment with the panel controls and switches as we discuss each of the parameters 5 Now play a bright sustained sound preferably of low pitch into the keep in mind that filter effects work by removing frequencies so you must have a bright sound to hear the effect Figure 6 shows the MF 105 s basic frequency response the response that you hear when the panel controls are set up as in the basic setup Note that there are 8 resonances they impart warmth and color to the sound For a moment press the bypass switch and turn the effect off Note the change in character of the sound Now switch the effect back on 200 300 450 675 1K 1 5K 2 2K 3 4K FREQUENCY Figure 6 Frequency Response of MuRF in Basic Setup 6 Now turn all the sliders down except the lowest one Figure 7 shows the frequency response of just the lowest filter Experiment by turning each slider up one at a time while the rest of the sliders are all the way down Pay careful attention to the sound of each filter When you have learned the sound of each individual filter try various combinations suc
8. 675 1K 1 5K 2 2K 3 4k 7 SWIRLING CASCADES MuRF moogerfooger OUTPUT ENVE LOPE RATE CT Here is a variation on the basic setting of figure 2 that shows off the abil ity of the MuRF to cre ate rhythmic variations within the patterns This is really nice with sus tained chords or slowly arpeggiated playing This setup shows off the long envelope times of the MuRF creating a shimmering slowly evolving timbral land scape for your playing This shines on chordal playing but also gives leads an extra something that makes them stand out GROWING and SHRINKING TREMOLO moogerfooger MuRF The Envelope control set 7 at 5 gives a tremolo feel to the effect the pat O tern changes gradually from one filter on to all filters on making the tim 6 bre feel like it is growing shrinking ENVELOPE RATE TECHNICAL INFORMATION NOTE The following information is intended for use by people who understand analog electronic circuitry and have enough practical experience to interconnect sophisticated electronic equipment correctly POWER The MF 105 works This must be on 9 volts DC and uses a max LOW DC of about 240 milliamperes of current Use only the power supply supplied with the MF 105 or the exact equivalent Power sources rated with This is ground voltages in exce
9. RC 200 Hz IL Il LILA 12 3 4 5 6 7 8 9 10 11 12 13 1416 16 3 4 Kz COCO 2 2 Khz 01 1 5 Knz JL IC EE 1 i _ 675 Hz 1 a 450 Hz 5 200Hz Il L234 5 6 7 8 5 3 4 CECI 2 2 Krz ikHz 675 Hz JE 450 _ EN EN 200 12345678 Steps 7 Rising Falling 3 4 Khz 2 2 Khz 1 5 Kz OL 1KHz 675 Hz LL 450 Hz 300Hz fal 200Hz 12 3 45 6 7 8 9 10111213 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 LJ LOLL 3 4 Krz Wo 8 Pulsar 2 2 Khz EO OLL 23 45 6 7 8 9 101112131415 16 1
10. inputs on your 105 the pedal adds and subtracts half the range to the setting of the corresponding control For example let s say that you plug an expression pedal into your MF 105 s ENVELOPE input with the ENVELOPE control set to 5 With the pedal all the way in the heel position the Envelope shape is the same as if the ENVELOPE control was set to zero Then when you advance the pedal the Envelope shape begins to morph just as if you were turning the knob At halfway the pedal equals the setting of the corresponding control and at full toe position it is as if the control is at 10 A good rule to follow is when you use an expression pedal you set the corresponding knob for the middle value you want From the middle of the pedal advancing to toe position increases that value pulling back to heel position decreases the value The expression pedal inputs can also be used as control signal inputs This enables you to use your MF 105 with virtually any control signal source modular analog synthesizers MIDI to CV converters etc You will find information on interfacing your MF 105 with external control signal sources in the Technical Information section on Pages 17 and 18 SOME TYPICAL SETUPS UPWARD STAIRCASE WITH RHYTHMIC VARIATION moogerfooger OUTPUT BANK MIX A 4 6 4 6 2 8 10 10 RATE 4 6 ro 4 ENVE LOPE 5944
11. jack accepts 9VDC unregulated 300 mA power adapter with positive center GENERAL SPECIFICATIONS CASE Black panel with hardwood sides classic analog appearance DIMENSIONS 9 x 6 x 2 1 2 NET WEIGHT 2 lb SHIPPING WEIGHT 4 lb including power adaptor and instruction manual POWER REQUIREMENTS 120 volt 5W 220 volt power adaptor available on special order MOOG MUSIC Inc 554C RIVERSIDE DRIVE ASHEVILLE NC 28801 Phone 828 251 0090 FAX 828 254 6233 Email info moogmusic com WEB SITE http www moogmusic com APPENDIX A THE MuRF s PATTERNS BANK A 1 No Animation 2 Upward Staircase 3 4 Khz ILI 2 2 Krz 1 5 Khz C ICIC ICE 675 Hz ILI IE LL 450 Hz IE ICI E 300 Hz IE I LE IE 200 Hz WLO 1234567 8 1 3 Downward Cascade_ 3 4 Khz 2 2 Kz A LILI 1 NL 675 Hz a 40H OOODOOCO 5 200H ILI ILI ILI 123 45 6 7 8 9 10 111213 14 15 16 17 18 19 20 21 22 23 24 Steps AA A 3 4 Khz 2 2 Khz 1 5 Khz 1KHz 675 Hz H 450 Hz ach 300 Hz 200 Hz Filters gt
12. that jack If a cable is inserted into the RIGHT jack then half of the filters are sent to the FREQUENCY RIGHT output and half are sent GAIN to the output J AAA Figure 12 shows the frequency response of the left and right outputs when both the left and Figure 12 Left and Right Frequency right output jacks are used Response of the 5 Filters Note that the odd numbered filters are sent to the left channel and the even numbered filters are sent to the right channel This allows for spreading sound s frequencies between two speakers which adds a spacious feel EXPRESSION PEDALS AND VOLTAGE CONTROL You now know what each of the rotary controls does to the sound of the MF 105 The ENVELOPE MIX and RATE controls have expression pedal control inputs that duplicate their effects In addition the MF 105 has a LFO SWEEP input which is used to adjust the speed of the LFO in Bank B patterns or to sweep the frequencies of the filters in Bank A patterns This enables you to plug in up to four expression pedals to play the MF 105 with your feet as well as with your hands The moogerfooger EP 1 Expression Pedal is designed for this purpose Or you can use expression pedals with equivalent specifications See the Technical Information section on Page 17 for more information on pedal specifications When you plug an expression pedal into one of the pedal
13. ATTERN 12 position rotary switch selects one of 12 animation patterns BANK A B LFO slider switch selects bank of patterns bank B patterns include LFO modulation of the filters frequencies ENVELOPE rotary control morphs the shape of the patterns envelopes RATE rotary control adjusts the rate of the animation patterns DRIVE a three color LED that shows the level of the input signal RATE a LED that indicates the animation pattern rate BYPASS a two color indicator LED that tells whether the effect is active or bypassed ON BYPASS a rugged smooth acting stomp switch JACK PANEL FEATURES AUDIO IN 4 phone jack accepts any instrument level or line level signal from 16 dBm to 4 dBm Input impedance is one megohm LEFT MONO OUT 4 phone jack 4 dBm nominal maximum output level 8dBm absolute maximum output level Output impedance is 1 000 ohms RIGHT OUT 4 phone jack 4 dBm nominal maximum output level 8 dBm absolute maximum output level Output impedance is 1 000 ohms RATE ENV LFO SWEEP MIX all of which are stereo 1 4 jacks that accept moogerfooger EP1 or equivalent expression pedals or control voltages from two circuit or three circuit 1 4 jacks TAP STEP IN 4 phone jack provides a means of syncing the tempo of the MuRF s Animation Patterns to the tempo of the music by pressing on an external footswitch Moog FS 1 or equivalent three times 9V POWER INPUT
14. CONTROLS AND MIXING The DRIVE control adjusts the signal level at the MuRF s circuit input With this control you can set the right input level for virtually any instrument or line level signal source Turn this control counterclockwise for strong input signals and clockwise for weaker sound sources The DRIVE light tells how strong the input signal is after being adjusted by the DRIVE control As the signal level increases the light goes from off to green to yellow and finally to red Very weak signals do not light up this light at all When the light is green the signal is below the level that results in audible distortion When the light is yellow some low order distortion may be audible giving the sound a subtle warm analog quality When the signal is strong enough to drive the light into the red the distortion at the output becomes stronger and more distinctly audible Watch this light when you set the DRIVE control for the desired effect The OUTPUT control adjusts the strength of the MuRF s signals that appear at the LEFT MONO and RIGHT output jacks Use this control to balance the MuRF s signals with the bypassed signal Note that neither the DRIVE nor the OUTPUT controls affect the strength of the bypassed signal USING BOTH AUDIO OUTPUTS TOGETHER The MuRF has two audio outputs LEFT MONO and RIGHT When a cable is plugged into just the LEFT MONO jack the A output of all filters are sent to 2
15. e MuRF s filters return to the basic setup outlined in figure 5 then move the BANK slider switch to B LFO Now as you play through MuRF you ll hear the filters swept up and down automatically To change the speed of the LFO plug a Moog EP 1 expression pedal into the LFO SWEEP Control Input The EP 1 can now slow down or speed up the LFO ENVELOPE GENERATORS Now that we have explained the MuRF s filters let s proceed with some more definitions to explain the Animation function of the MuRF The term Envelope is used to describe the changes that occur to a musical sound from its start to its end A musical sound can have a rapid onset like the plucking of a string or the striking of a drum It can also have a gradual onset like a slowly bowed violin With the term Envelope the shape of the start of a sound is called the Attack The end of a sound can have different shapes as well it can be abrupt like on an organ or it can be very gradual fading out like a piano note held down The shape of the end of a musical sound is called Decay Both Attack and Decay are time related and can be measured in seconds or milliseconds Figure 9 illustrates the components of an envelope Attack Decay An Envelope Generator is a circuit that creates a shape that corresponds to the changes in a musical sound The signal that comes out of an Envelope generator is sent to a control such as Vo
16. eight separate resonant filters in your MF 105 The 5 FILTERS The MuRF s eight resonant filters have a fixed center frequency shown on the legend underneath the filters sliders Their frequencies are 200 Hz 300 Hz 450 Hz 675 Hz 1 KHz 1 5 KHz 2 2 KHz and 3 4 KHz Each filter has a slider that adjusts the gain of that filter In this respect the MuRF resembles a graphic equalizer When a filter s slider is all the way down the gain for that filter is zero and the filter s output is zero When the slider is all the way up the filter s output is maximum However the resemblance to a graphic EQ ends there The MuRF s filters have characteristics that set them far apart from a graphic equalizer First they are resonant filters They boost the signal at the center frequencies of the filters Second they are tuned so they don t overlap A graphic equalizer will theoretically not color the signal at all when all the sliders are set to the same level The MuRF s resonant filters on the other hand color the signal a great deal adding warm analog resonances at pleasing intervals through out the frequency spectrum We ll now show how the MuRF s filters affect your MF 105 frequency response We will always start with this basic panel setup which is MuRF 1 Set each of the filters sliders to all the way up 2 Switch the PATTERN to Bank A Pattern 1 Pattern 1
17. fects and are frequently used as vital elements in the music making process Strong filters include phasers flangers and wah type resonant filters A graph showing what a filter does is called the filter s frequency response The horizontal axis is frequency The vertical axis is the filter s gain A gain of 1 unity means that at that frequency the output of the filter is just as strong as the input A gain of less than unity means that the filter s output is attenuated at that frequency while a gain of greater than unity means that the output is actually greater than the input GAIN A LOWPASS La FILTER 4 gt CUTOFF FREQUENCY RESONANT FILTER gt CENTER FREQUENCY Figure 4 Frequency responses of typical filters Figure 4 shows examples of the frequency response characteristics of two common types of filters a a lowpass filter which passes frequencies without attenuation up to a so called cutoff frequency and attenuates the frequencies above cutoff b a resonant filter which emphasizes frequencies around the filter s center frequency Both of these filter types are widely used in contemporary music performance Each of them has its own distinct sound a large part of which is directly related to the shape of its frequency response graph The first type is embodied in the moogerfooger MF 101 lowpass filter and the second type is embodied in the MuRF There are
18. h as the bottom two and top two Note that even without Animation the MuRF is GAIN a VERY POWERFUL filter bank with many possibilities to sculpt your tone 200 FREQUENCY Figure 7 Frequency response of 200 Hz Filter 7 The Filters resonant frequencies can be shifted up and down by a small amount to create an effect similar to phasing Figure 8 shows a graph that portrays the results of shifting a resonant filter s center frequency In the MuRF this can be done two ways depending on the position of the BANK slider switch The switch located below the PATTERN selector switch is labeled BANK A or B LFO When the slider is in the position the filters center frequencies can be shifted by an expression pedal such as the Moog EP 1 or CV plugged into the LFO SWEEP Jack To hear how this works return to the basic setup described in Figure 5 Plug a Moog EP 1 into the LFO SWEEP control input Then as you play into the MuRF rock the EP 1 back and forth You will hear the filters frequencies shift with the motion of the pedal Figure 8 Resonant Frequency shift When the BANK slide switch is in the B LFO position an LFO Low Frequency Oscillator shifts the frequencies of the filters as a group up and down automatically The LFO is a sine wave The rate is determined by the pattern or an expression pedal EP 1 or equivalent or CV connected to the LFO SWEEP jack To hear the effect of the LFO on th
19. is voltage is current limited so you won t burn anything out but no pedal will work in any of the pedal control jacks if a tip sleeve plug is plugged into even one of the pedal jacks Applying a varying voltage to the tip terminal of a pedal control input jack has the same effect as turning the corresponding knob A voltage change of about 5 volts at the tip terminal is equivalent to turning the corresponding knob through its entire range You can program your MF 105 performance parameters entirely from external control voltages by turning the ENVELOPE MIX and RATE control knobs to 5 and feeding 0 to 5 Volt programming voltages to the tips of the pedal control input jacks The LFO SWEEP jack can also receive 0 to 5 Volt programming voltages Figure 15 Correct wiring for a TRS CV patch AUDIO PATH The bypassed signal goes to the LEFT MONO output jack Thus when the MuRF is bypassed the signal at the LEFT MONO output jack is the same as what your instrument 15 producing and there is no signal at the right output jack The MF 105 will not pass an audio signal unless power is applied to it LIMITED WARRANTY Moog Music warrants that its products will be free from defects in materials or workmanship and shall conform to specifications current at the time of shipment for a period of one year from date of purchase During the one year period any defective products will be repaired or replaced at Moog Music s op
20. lume and is used to automatically turn up and down that control to shape the start and end of that musical sound An Envelope Generator is started by a trigger a signal used to start the envelope shape volume time Figure 9 a representation of a Volume Envelope In the MuRF there are 8 Envelope generators one for each filter that shape the Volume of that Filter s signal The shape of the Envelopes are all determined by the setting of the ENVELOPE Control When the Envelopes are started is determined by the PATTERN selected To understand that let s continue SEQUENCERS and PATTERN GENERATION A Sequencer is used to generate reoccurring rhythmic patterns often by triggering sequences of notes in synthesizers or drum machines However sequencers can be used for purposes other than triggering notes they can be set up to create reoccuring changes of timbre as well Vintage sequencers were typically designed so there were a certain number of steps The term step refers to the individual components of a pattern For instance in a bar of music in 4 4 you have four quarter notes If the rhythmic activity is no more complicated than quarter notes this would correspond to four steps In many vintage or analog sequencers a sequencer typically had eight or sixteen steps available to build a pattern In its simplest form as a sequencer plays back its steps each step can be programmed to send a trigger signal
21. nd 8 In the next sections we ll explain exactly how the MuRF s Filters work and what the Animation does For now get a feel for the controls by experimenting with different settings FREQUENCIES and FILTERS Let s start with some definitions Please read this section carefully as it will help you to understand the basic ideas behind the MF 105 MuRF s filters Sound is a vibration of the air The speed of vibration is called the frequency It is measured in Hertz Hz One Hz is one vibration per second We hear vibrations from 20 Hz to 20 000 Hz Musical sounds generally have many frequency components They re called harmonics or overtones or partials They are what give a sound its characteristic tone color or timbre A graph showing the strength of each of a sound s harmonics is called a spectrum A typical spectrum of a musical sound is shown in Figure 3 HARMONICS A filter is a signal ia modifying device that colors a sound by emphasizing FREQUENCY mg some parts of the audio spectrum and attenuating cutting down other parts In general a filter has a quality of its own which is superimposed on the tone color of the original Figure 3 Typical spectrum of a musical sound sound Some types of filters like the bass and treble controls on your sound system have subtle gentle effects on sound s timbre Other types of filters have stronger and more dramatic ef
22. of the Envelopes controlling the gain of the filters morphs Figure 11 shows the changes to the envelope times at different settings of the Envelope control The Envelope times also change as the Rate 0 5 10 changes faster Rate settings cause the envelope times to decrease and slower Rate settings slow the envelope times This makes the MuRF capable of both rhythmic and smooth changing swirling effects Spend some time to get to know how this control interacts with the different patterns and you will be rewarded with some very interesting sounds Figure 11 Effect of ENVELOPE control on the attack and decay times THE MuRF S TAP STEP INPUT The MuRF s Animation can be synced to the tempo of the music using a Moog FS 1 footswitch or equivalent plugged into the TAP STEP input Tapping three times activates the tap tempo feature of the MuRF The MF 105 calculates the time in between taps and translates this into the rate for the pattern It is important to make the time between the taps as much the same as possible to get the best results Note that the Rate light becomes green when the rate is set by the Tap input and returns to red if the RATE control is changed The tempo of the Animation is twice the rate that is tapped on the footswitch In other words if you tap in quarter notes the Animation will chug along in eighth notes If you tap eighth notes the Animation will proceed in 16th notes THE AUDIO LEVEL
23. om to top are the individual filters Illustrations all the Patterns are in Appendix page 22 Figure 10 Diagram of Pattern 2 Bank Return to the basic setting shown in figure 2 which features pattern 2 As you play your instrument through the MuRF pay attention to the sound of the effect and how it corresponds to figure 10 You should hear the Animation stair stepping through the filters Turn the RATE control up and down and notice how the pattern speeds up and slows down Now it s time to explore the ENVELOPE Control one of the most powerful parts of the MuRF 1 With the Control set at 2 you should hear each of the filters with a sharp attack and a decay that fades out smoothly but quickly 2 Turn the ENVELOPE control to 0 as you play through the MuRF The effect sounds much more choppy the decay time has been decreased 3 Now turn the ENVELOPE control up to 5 The effect now sounds smooth the attack is the same time as the decay like a tremolo effect 4 Turn the ENVELOPE control to 6 The effect becomes swirly and the transitions from filter to filter blurred as the Attack and Decay become so long that the effect is crossfading from one filter to the next 5 Finally turn the ENVELOPE control up to 8 The effect now sounds backwards as the attack time is now smooth but fast and the decay is abrupt What happens as you change the ENVELOPE control is that the shape
24. ss of 9 volts Figure 13 Correct wiring of power supply may cause damage to the MF connector 105 circuit PEDAL INPUTS pedal control input jacks 1 4 tip ring sleeve stereo phone jacks The sleeves are grounded and the ring terminals are supplied with 5 volts which is current limited The tip terminals receive the variable voltages from the pedals An expression pedal for SHIELD use with the MF 105 should 50K OR contain a SOK W or 100K W 100K POT potentiometer which is connected from the sleeve TIP RING SLEEVE to the ong terminals The Figure 14 Correct wiring for an expression potentiometer wiper 1s pedal connected to the tip terminal The pedal cable should be shielded with the shield connected to the sleeve terminal See Figure 14 When connecting one or more pedal control input jacks to a source of external control voltage such as an analog synth or a MIDI to CV converter you should use patch cords with tip ring sleeve phone plugs The ring terminal on the plug should not be connected to anything so that the MF 105 s source of 5 volts is not shorted out Or if you do APPLY 0 TO 5V not plan to use any expression pedals with your 105 but _ would like to apply control HED L voltages to one or more pedal TP RING SLEEVE control inputs you can use patch cords with regular two conductor phone plugs These will short out the 5 volt supply to the ring contacts Th
25. theremin drum machine or Effects Send output on your mixer Play your instrument or turn on the signal source Adjust the volume control on your monitor amp so that the sound level is comfortable moogerfooger MuRF 6 Now set the MF 105 panel controls as follows See Figure 2 PATTERN 2 ENVELOPE 2 RATE 6 MIX 10 ENVELOPE MIX RATE BANK A B Filter Slidersi Way Figure 2 Basic Settings Press the stomp switch The BYPASS light will now turn green Playing your instrument set the DRIVE control so that the DRIVE indicator lights up yellow most of the time You will also hear the filtered signal Adjust the OUTPUT control so the MuRF s effected signal is about the same loudness as the bypassed signal 7 Continue to play your instrument playing sustained sounds like ringing chords Your instrument s signal is going through the MuRF s filters Listen to how it affects the quality of your instrument s tone You will hear the level of each of the 8 filters being turned up and down automatically in sequence by the Animation at a tempo determined by the RATE control Note that changing the ENVELOPE control affects the shape that turns the filters up and down The PATTERN rotary switch selects different patterns that dictate the sequence that turns the Filters up and down automatically The MIX control is used to blend the direct sound of your instrument with the effected sou
26. tion on a return to factory basis This Warranty covers defects that Moog Music determines are no fault of the user RETURNING YOUR MF 105 FOR REPLACEMENT REPAIR You must obtain prior approval and an RMA number from Moog Music before returning any product to us Wrap your MF 105 carefully and pack it with the power adaptor in its original carton The warranty will not be honored if the product is not properly packed Then send it to Moog Music with transportation and insurance charges paid A reasonable cost for service and for materials and return freight will be charged to replace materials defective through the fault of the user or for which the one year warranty period has expired Transportation and insurance charges from Moog Music to your United States address of products repaired or replaced under warranty will be paid by Moog Music 105 SPECIFICATIONS DESCRIPTION Analog effects module incorporating two functions 8 band Resonant Filter Bank and 24 Pattern Sequencer triggering Volume Envelopes for 8 Filters FRONT PANEL FEATURES DRIVE rotary control adjusts the gain of the audio input to the effect OUTPUT rotary control balances the level of MuRF s signal when the effect is on with the bypassed signal when the effect is off MIX rotary control adjusts the ratio of direct to effected signal when the effect is on 200 Hz 3 4 Hz slider controls sets the gain of the 8 resonant filters P
27. ts features 2 Check that the power adaptor has nominal rating of 9 volts providing at least 300 mA milliamperes of current and is also rated at your country s standard power voltage 120 volts for the United States and Canada 100 volts A C for Japan and 220 volts A C for most other countries Plug the power adaptor s cord into the MF 105 s 9V jack Then plug the power adaptor itself into a power voltage receptacle Note the MuRF uses a different power supply than other moogerfoogers which is only rated at 200mA Using a 200 moogerfooger power supply may result in hum distortion and other less than desirable audio artifacts Make sure to use the proper power supply 3 Note that the BYPASS light is on It will light up either red or green Red indicates that the MF 105 s effect is off line bypassed while green indicates that the effect is on Pressing the stomp switch will toggle the BYPASS light between red and green For now leave the BYPASS light on red Refer to Figure 1 for steps 4 and 5 Figure 1 Basic Connections to MuRF 4 Connect an instrument cable from the LEFT MONO jack to line level input on your amp or mixer Turn the volume control on your amp down but not off 5 Connect an instrument cable from your signal source to the AUDIO IN jack You can feed virtually any instrument level or line level signal through your MF 105 Examples are guitar bass keyboard
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