There are two kinds of signals in a modular analog synthesizer: audio and control. As audio signals go through a system of synthesizer modules, they get shaped into the sounds that you hear. Control signals, on the other hand, correspond to the variations in the sound that are imparted by the synthesizer modules, like invisible hands that turn the knobs of the modules.
The CP-251 provides a dual waveform LFO, Noise Generator, Sample-and-Hold circuit, as well as two attenuators, a lag processor, a CV mixer and a 4-way mult. This gives you ways to modify, mix, and distribute control voltages to product the incredible variety of sounds and effects that analog synthesizers are famous for.
Power supply is included: order 110v for use in US or Canada or 220v for use in Europe, Asia, South America, and Australia.
The moogerfooger filter's control parameters are signal mix, cutoff frequency, resonance amount, and envelope amount. All of the Lowpass Filter's parameters can be controlled with expression pedals or external control voltages as well as by great feeling knobs which beg to be tweaked. Panel switches select filter mode and envelope follower speed. 1/4" jacks are provided for audio input and output, pedal/control inputs and envelope follower output. A heavy-duty, yet smooth-acting bypass switch allows tabletop or foot operation.
A lowpass filter removes high frequencies from a tone. It makes the tone sound more mellow or muted. The lower the Cutoff, the more muted the tone sounds. Imagine a window shade. As it is pulled down, it cuts out the higher light, then the light from the middle of the window, then finally all the light. The MF-101 Lowpass Filter does the same sort of thing to the sound spectrum with it's Cutoff Control. As you turn up the Resonance control, the overtones near the cutoff frequency are boosted. Resonance gives the moogerfooger filter the same classic Moog filter sound as the Minimoog; and Moog modular synthesizers.
The envelope follower tracks the loudness contour (envelope) of a sound, and produces a voltage that follows the dynamics of your playing. Every time you play a note, the envelope voltage goes up and then down. The harder you play, the higher the envelope voltage goes. The envelope follower opens and closes the lowpass filter. Think of the envelope voltage as an invisible hand that turns the CUTOFF knob up and down every time you play a note. Since the envelope follows the dynamics of your instrument's signal, you actually play the filter as you play your instrument.
A ring modulator produces sum and difference frequencies between the audio input and a carrier oscillator. The ring modulator's LFO can be used to modulate the carrier frequency. The moogerfooger ring modulator can create effects ranging from subtle tremolo to harmonically rich distortion, gong-like sounds, sweeps, swoops, and divebombs. It can be subtle, or outlandish in it's use - you decide!
The moogerfooger ring modulator's control parameters are signal mix, carrier frequency, LFO rate, and LFO amount. All of the ring modulator's parameters can be controlled by the great feeling knobs that beg to be tweaked as well as with expression pedals or external control voltages. Panel switches select LFO waveform and carrier frequency range. 1/4" jacks are provided for audio input and output, pedal/control inputs, carrier input and carrier output. The heavy-duty yet smooth acting bypass switch allows tabletop or floor use.
Imagine that the ring modulator's carrier oscillator is producing a 500 Hz sine wave, and your input signal is a 100 Hz sine wave. The ring modulator's output will be a complex waveform. You will hear two pitches: 400 Hz and 600 Hz. You will not hear your original input or the carrier oscillator.
The 12-Stage Phaser's control parameters are Sweep frequency, Resonance, LFO Rate and LFO Amount. All of these parameters can be controlled by the great feeling knobs that beg to be tweaked as well as expression pedals or external control voltages. Panel switches select ranrge of LFO Rate and 6 or 12 stage phasing. 1/4" jacks are provided for audio input and outputs, pedal/control inputs, LFO out and auxiliary sweep input for bi-phase effects. The heavy-duty yet smooth-acting bypass switch allows tabletop or floor use.
A phaser is a type of comb filter, so called because its frequency response has several dips and peaks, like the teeth of a comb. As the phaser response sweeps back and forth across the frequency spectrum, the harmonics of the audio input signal are alternately increased and decreased. This produces the classic phaser "whooshing" sound. Phasing is one of the best ways to impart motion to a track and to make sounds come alive. With the MF-103 Phaser you can get swirling, shimmering, vibrating effects; fill up a whole stage from one sound source; even create brand new sonic textures.
The MF-103 produces two comb-filter responses. They are called 6-Stage and 12-Stage, because of the number of phase-shifting circuits that are used internally. The 6-Stage mode has three dips in its frequency response, while the 12-Stage mode has six dips. These two modes have distinctly different sound qualities. In addition, the MF-103 features a variable feedback circuit which increases the resonance, or depth of the phaser sound.
MuRF stands for "Multiple Resonance Filter Array". What this means is the MuRF has 8 filters - their levels are controlled by 8 sliders. It looks like a graphic eq, but the sound of the filters are very different: warm and resonant.
What is really unique is the ability to animate the levels of the 8 filters in up to 24 preset patterns. The rate of the patterns can be set by a knob, expression pedal, or plug a footswitch into the tap tempo input to match the rate to the tempo of your song. Rhythmic variations can be created by adjusting the levels of the filters. The Envelope control sets the shape of the modulation, which can be set for percolating techno rhythmic modulation or shimmering timbral morphing. Other controls include Input Drive, Output Level and Wet/Dry Mix.
MuRF shares the musician-oriented features that are common to all Moogerfoogers. All the audio processing is 100% genuine analog, for warm, fat sound quality. Any line level or instrument level audio signal may be processed. Wide-ranging player parameters may be controlled from the panel knobs as well as from expression pedals or CV-compatible analog synthesis instruments. Components are rugged and long lasting, to withstand the rigors of stage and studio. The MuRF is housed in the classic Moogerfooger "double-wedge" enclosure that may be used on a table or on the floor.
The MuRF is now shipping!!! For all players, the MuRF will open up new sonic worlds for you!
Corona Chorus offers great chorus tones right out of the box, but the knobs are specifically designed to allow you to tweak to your heart’s desire. The Speed knob lets you dial in anything from slow 80’s chorusing to fast leslie-like sounds, while the Depth knob sets how intense the sound is going to be. The Tone knob allows you dial in the chorus exactly how you like it- from dark and vintage to pristine TC shimmer to a sound that really punches through the mix. And finally, the FX Level determines how much of the effected signal is added to your dry sound. But there is more to Corona Chorus than meets the eye. We call it TonePrint, and it will rock your world. Via a simple USB-connection, TonePrint allows you to download custom tunings made by your favorite guitarists straight into your pedal, easy, free and fast. A vast and ever-expanding roster of the finest guitarists alive are working with us to give you their custom TonePrint settings, so forget emulation, let’s talk collaboration!