Understanding and Using
Your Moogerfooger®
MF-105B
Bass MuRF®
TABLE OF CONTENTS
Getting Started............................................3
Frequencies and Filters...............................5
The Bass MuRF’s Filters............................7
Envelope Generators.................................10
Sequencers and Pattern Generation.......... 11
The Bass MuRF’s Animation................... 11
The Bass MuRF’s Tap/Step Input............ 13
Audio Level Controls and Mixing............14
Using Both Outputs Together..................14
Expression Pedals and Voltage Control....15
Some Typical Setups.................................16
Technical Information...............................17
Limited Warranty......................................19
MF-105B Specifications........................... 20
Appendix A
-The Bass MuRF’s Patterns........................22
Appendix B
-The MuRF Pattern Step Adaptor...............27
GETTING STARTED
Here are some simple instructions on how to quickly plug in and
try out your MF-105B.
1. Unpack your MF-105B. Place it on a table while you become
familiar with its features.
2. Check that the power adaptor has a 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 A.C.
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-105B’s ‘+9V’ jack. Then plug the power adaptor
itself into a power voltage receptacle. Note the Bass MuRF
uses a different power supply than some other Moogerfooger
effect modules, which are only rated at 200mA. Using a 200mA
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 the
MF-105B’s effect is off-
line (bypassed), while green
indicates 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 Bass MuRF
4. Connect an instrument cable from the LEFT/MONO jack to a
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-105B. Examples are bass,
keyboard, 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.
6. Now set the MF-105B panel
controls as follows (See Figure
2):
PATTERN
ENVELOPE
RATE
2
2
6
MIX
10
BANK A/B
Filter Sliders 1-8
A
All the
way up.
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 Bass MuRF’s
effected signal is about the same loudness as the bypassed signal.
7) Continue to play your instrument, holding sustained notes or
extended sounds. Your instrument’s signal is going through the
Bass 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 sound.
8. In the next sections we’ll explain exactly how the Bass MuRF’s
filters work and what the Animation does. For now, understand 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-105B Bass 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.
A filter is a signal-
modifying device that colors
a sound by emphasizing
some parts of the audio
Figure 3 - Typical spectrum of a musical sound.
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
sound. Some types of filters (like the bass and treble controls on
your sound system) have subtle, gentle effects on a sound’s timbre.
Other types of filters have stronger and more dramatic effects, 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.
Figure 4 - Frequency responses of typical filters.
Figure 4 shows examples of the frequency response
characteristics of two common types of filters: (a) a shelving
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. A cut-off filter is used at the lowest effected frequency of
the MF105B. The remaining seven filters are all resonant filters.
33.
The Bass MuRF’s FILTERS
The Bass MuRF’s seven resonant filters have fixed center
frequencies and a shelving(lowpass) filter that has a fixed cutoff
frequency. These frequencies are shown on the legend underneath
the filters’ sliders. Their frequencies are: 110 Hz(shelving filter),
160 Hz, 240 Hz, 350 Hz, 525 Hz, 775 Hz, 1.2K and 1.8K.
Each filter has a slider that adjusts the gain of that filter. In this
respect, the Bass 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 maximized. The resemblance to a graphic EQ
ends there. The Bass MuRF’s filters have a characteristic that sets
them far apart from a graphic equalizer. A graphic equalizer will
theoretically not color the signal at all when all the sliders are set
to the same level. The Bass MuRF’s resonant filters and shelving
filter on the other hand color the signal a great deal, adding warm
analog resonances at pleasing intervals through out the frequency
spectrum of a bass instrument. We’ll now show how the Bass
MuRF’s filters affect your MF-105B frequency response. We will
always start with this ‘basic’ panel setup, which is:
1) Set each of the filters’
sliders to all the way up.
2) Switch the PATTERN to
Bank A, Pattern 1. Pattern 1
turns off the Animation so you
can hear the effect of just the
filters.
Figure 5 - Basic Settings for checking out the
filters.
3) Make sure the effect is on, and MIX is at 10.
4) Connect just the “left/mono” 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 Bass MuRF. Figure 6 shows the MF-105B’s basic frequency
response, the response that you hear when the panel controls are set
up as in the basic setup. For a moment press the bypass switch and
turn the effect off. Note the change in the character of the sound.
Now switch the effect back on.
6) 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
Figure 6 – Frequency Response of Bass MuRF in Basic
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, such as the bottom two and top two.
Note that even without Animation, the Bass MuRF is a VERY
POWERFUL filter bank with many possibilities to sculpt your
tone!
7) The filters’ 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 filter’s
center frequency. In the
Bass MuRF this can be
Figure 7 – Frequency response of 110 Hz Shelving Filter
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 “A” 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 Bass
MuRF, rock the
EP-1 back and
forth. You will
hear the filters’
frequencies shift
with the motion of
Figure 8 - Resonant Frequency shift
the pedal.
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 the Bass 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 the Bass 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 Bass MuRF’s filters, let’s
proceed with some more definitions to explain the Animation
function of the Bass 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.
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
Figure 9 - a representation of a Volume Envelope
control, such as Volume,
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.
In the Bass 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 reoccurring
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 - 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 Bass 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 Bass 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,
arranged in two banks of 12.
An easy way to understand
the Animation is to look at a
simple pattern displayed on
a grid.
Figure 10 shows a
graphic representation of
pattern 2 in Bank A. The
columns going left to right
are the steps of the pattern.
Figure 10 - Diagram of Pattern 2, Bank A
The rows going from bottom to top are the individual filters.
Illustrations of all the Patterns are in Appendix A, page 22.
Return to the basic setting shown in figure 2, which features
pattern 2. As you play your instrument through the Bass 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 Bass MuRF.
1) With the ENVELOPE 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 Bass
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 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
changes - faster Rate settings
cause the envelope times to
decrease and slower Rate
Figure 11 - Effect of the ENVELOPE control
on the Bass MuRF’s attack and decay times
settings slow the envelope
times. This makes the Bass 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!
THE Bass MuRF’S TAP/STEP INPUT
The Bass 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 Bass MuRF. The MF-105B 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/STEP 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 CONTROLS AND MIXING
The DRIVE control adjusts the signal level at the Bass 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 Bass MuRF’s
signals that appear at the LEFT/MONO and RIGHT output jacks.
Use this control to balance the Bass 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 Bass MuRF has two audio outputs: LEFT/MONO and
RIGHT. When a cable is plugged into just the LEFT/MONO jack,
the output of all filters are sent
to that jack. If a cable is inserted
into the RIGHT jack, then half
of the filters are sent to the
RIGHT output, and half are sent
to the LEFT/MONO output. .
Figure 12 shows the frequency
response of the left and right
outputs when both the left and
right output jacks are used.
Figure 12 – Left and Right Frequency
Response of the Bass MuRF’s 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 a 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-105B. The ENVELOPE, MIX, and RATE
controls have expression pedal/control inputs that duplicate their
effects. In addition, the MF-105B 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-
105B 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 inputs
on your MF-105B, 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-105B’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 voltage
inputs. This enables you to use your MF-105B with virtually any
control voltage source: modular analog synthesizers, MIDI-to-
CV converters, etc. You will find information on interfacing your
MF-105B with external control signal sources in the Technical
Information section on Pages 17 and 18.
SOME TYPICAL SETUPS
UPWARD STAIRCASE WITH RHYTHMIC VARIATION
Here is a variation on the
basic setting of figure 2
that shows off the abil-
ity of the Bass MuRF to
create rhythmic variations
within the patterns. This
is really nice with sus-
tained sounds or slowly
arpeggiated playing.
BREAKBEAT
This setup produces a
beat by the rhythmic
filtering of the input.
The sound of the beat is
varied by your dynamics
as well as the brightness
of your tone.
X-FACTOR
This setup shows off how
long envelope times, in
relation to the pattern’s
rate, creates a morphing
timbre. Try increasing
the rate on this setup to
make for a more tremu-
lous effect.
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-105B works
on +9 volts DC and uses a max
of about 240 milliamperes of
current. Use only the power
supply supplied with the MF-
105B or the exact equivalent.
Power sources rated with
voltages in excess of +9 volts
may cause damage to the MF-
Figure 13 – Correct wiring of power supply
connector
105B’s circuit.
PEDAL INPUTS: All pedal control input jacks are 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
use with the MF-105B
should contain a 50KW
or 100KW potentiometer
which is connected from the
sleeve to the ring terminals.
The potentiometer wiper is
connected to the tip terminal.
Figure 14 – Correct wiring for an expression
pedal
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-105B’s source of +5 volts
is not shorted out. Or, if you do
not plan to use any expression
pedals with your MF-105B
but would like to apply control
voltages to one or more pedal
control inputs, you can use
patch cords with regular two-
Figure 15 – Correct wiring for a TRS CV
patch
conductor phone plugs. These
will short out the +5 volt supply to the ring contacts. This 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-105B 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.
AUDIO PATH: The bypassed signal goes to the LEFT/ MONO
output jack. Thus, when the Bass MuRF is bypassed, the signal at
the LEFT/MONO output jack is the same as what your instrument
is producing, and there is no signal at the right output jack. The
MF-105B 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 option, on a return-
to-factory basis. This Warranty covers defects that Moog Music
determines are no fault of the user.
RETURNING YOUR MF-105B FOR REPLACEMENT/REPAIR
You must obtain prior approval and an RMA number from Moog
Music before returning any product to us. Wrap your MF-105B
carefully and pack it with the power adapter 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.
Moog Music will pay transportation and insurance charges from
Moog Music to your United States address, for products repaired
or replaced under warranty.
MF-105B SPECIFICATIONS
DESCRIPTION:
Analog effects module incorporating two functions: 7 – band
Resonant Filters and 1 - band Shelving (Lowpass) Filter and a 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 Bass 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.
110 Hz – 1.8K slider controls - sets the gain of each filter.
PATTERN 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 ꢀ” phone jack – accepts any instrument-level or line-
level signal from –16 dBm to +4 dBm. Input impedance is one
megohm.
LEFT/MONO OUT ꢀ” phone jack - -4 dBm nominal maximum
output level; +8dBm absolute maximum output level. Output
impedance is 1,000 ohms.
RIGHT OUT ꢀ” 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 ꢀ” jacks
that accept Moogerfooger EP1 (or equivalent) expression pedals,
or control voltages from two-circuit or three-circuit ꢀ” jacks.
TAP/STEP IN ꢀ” phone jack – provides a means of syncing the
tempo of the Bass 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 jack – accepts +9VDC unregulated 300 mA
power adaptor 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. 2004-E RIVERSIDE DRIVE ASHEVILLE, NC 28804
Phone: (828) 251 0090
FAX: (828) 254 6233
Email:
APPENDIX A: THE Bass MuRF’s PATTERNS
BANK A
1) No Animation
2) Upward Staircase
3) Repeater
4) X-Factor
5)Perpetual Motion
6) Arpeggiated Filters
7) Rhythmicon
8) Prime Number Rhythmicon
9)Double X
10) Double Dip
11) Squiggly
12) Slowbeat
BANK B - with LFO
1) No Animation
2) Downward Staircase
3) Down and Up
4) Upward Cascade
5) Pyramid
6) Asymmetry
7) Arpeggiated Perpetual Motion
8) Asymmetry 2
9)Folded Rhythmicon
10) Multi-groove
11) Breakbeat
12) Big Beat
APPENDIX B: Moog MuRF Pattern Step Adaptor
(Sold separately)
What it is:
The MuRF Pattern Step Adaptor is a female to male 1/4” adaptor
that attaches to your Moog (FS-1) footswitch cable and plugs into
the tap/step input allowing the user to manually “step” through the
patterns generated by the sequencer.
Here’s how it works:
1. Attach the Pattern Step Adaptor to the Moog FS-1 footswitch.
2. Connect the Pattern Step Adaptor end into the Tap/Step Input
jack
3. Start Playing. Rate is controlled by the RATE Control knob.
4. Click the footswitch or send a gate signal. The cycling of
the pattern will stop and each subsequent footswitch tap or gate
signal will advance to the next step in the pattern, allowing you to
manually step through the pattern.
5. To disengage this feature, move the RATE control knob to
restore the Bass MuRF to automatic cycling through the patterns.
What is it good for:
- Advance the steps of the pattern by foot or gate signals to create
your own variations.
- Use the pattern step adaptor as a clock input, bypassing the tap
tempo calculation.
Notes:
Notes:
©2005 Moog Music Inc.
MOOG MUSIC Inc. 2004-E RIVERSIDE DRIVE ASHEVILLE, NC 28804
Phone: (828) 251 0090 FAX: (828) 254 6233 Email:
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