The past 50 years have been an adventurous time in music, and Bob Moog’s contributions become ever-important and evident in retrospect. His dedication to the craft of making instruments is as legendary as the instruments themselves, and Bob has helped make possible the creation of some of the most important music of the 20th century and beyond.

 

Moog Music is proud to introduce the Little Phatty Stage II; the newest member of the Little Phatty family. Like the Stage and Tribute Edition before it, the Little Phatty Stage II puts the performer in control of a 100% analog signal path, two ultra stable Voltage Controlled Oscillators, a Voltage Controlled Filter and other versatile features like an external audio input, CV and KB gate inputs and a full MIDI controller.

Additionally, the Stage II boasts great new features designed for the contemporary musician:

► MIDI over USB
► MIDI Clock Sync
► Arpeggiator
► Tap Tempo
► New Black Finish

Make your Little Phatty the center of a modular universe with the Little Phatty CV Output Modification.

This exciting modification gives you the power to control Moogerfoogers and other analog gear with Control Voltages generated by your Little Phatty.

The list of possible applications is as endless as your imagination.

The LP CV Out Mod gives your LP five 1/4" analog CV outputs.

- Gate (O to +5V)
- Pitch (1 volt per octave)
- Volume Envelope (0 to 5 Volts)
- Filter Envelope (O to 5 Volts)
- Mod Bus (Variable)

The CV output jacks are located on the right side panel.

The theremin is one of the oldest electronic instruments, and the only one known that you play without touching. Moving your hands in the space around its antennas controls pitch and volume. The Etherwave is an authentic adaptation of inventor Lev Termen's original design.

The Etherwave is a quality musical instrument designed for ruggedness and portability. It has a five-octave pitch range and reliable spacing between notes for sophisticated playability. Antennas are nickel-plated 3/8" brass tube and cabinets are furniture-grade hardwood, finished with a custom Moog stain. The Etherwave is fitted with an adapter for mounting on a standard microphone stand and works best with Moog's TB-15 instrument amplifier.

All Etherwaves ship with two video tutorials on one DVD: Clara Rockmore: the Greatest Theremin Virtuosa and Mastering the Theremin, featuring Lydia Kavina.

The award-winning MF-101 Lowpass Filter is a direct descendant of the original Moog modular synthesizers. It contains two complete modular functions: a voltage-controlled lowpass filter and an envelope follower. It can be used with any instrument-level to line level-signal.

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 its 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.

110 V Power supply is included.

The MF-102 Ring Modulator is a direct descendant of the original Moog modular synthesizers. It contains three complete modular functions: a ring modulator, a voltage-controlled carrier oscillator, and voltage-controlled dual-waveform LFO. It can be used to process any instrument-level to line-level signal.

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 its 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.

Power supply is included for use with 110 VAC.

The MF-103 12-stage phaser is a direct descendant of the original Moog modular synthesizers, yet can be used with any instrument level to line level signal. It contains two compete modular functions: a 6 or 12-stage phaser with resonance control, and wide range LFO with amount control.

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.

Power supply is included for use with 110 VAC.

The 104Z from Moog Music is a 1000 msec totally analog delay. One Full Second of analog delay time makes the MF-104Z the longest standalone analog delay module on the market. That’s exciting but the reason many of you have been clamoring for Moog to build a delay (again) is the unmistakable sound, quality, and flexibility of this newest Moogerfooger.

The MF-104Z sounds fantastic and like all Moogerfoogers it has controls that allow you to vary the sound in a variety of ways that you can only do with a Moogerfooger. Controls include:

Drive and Output Levels allow you to set-up the Z to match the type of signal you want to delay from low level signals (vocals,guitar) to strong signals (studio console output, drum machine). The Z is designed to work with them all.

Delay time: from slightly less than 50 msec to slightly more than 1000 msec.

Mix: Pot Control from completely Dry to completely Wet or anything in between.

Feedback Control mixes a portion of the delayed signal with the signal from your instrument. Feedback control can generate a single echo, sustaining echoes, or echoes that build up in chaotic ways.

Switchable Internal Loop / External Loop selects the feedback path. In the Internal Loop position the feedback path goes directly from the output of the delay back to the input. In the External Loop position the feedback path goes through the Loop Out Jack and the Loop In Jack. This gives you an opportunity to insert signal processing in the feedback path, thereby enabling processing of the echoes as they are generated. Very cool with another Moogerfooger (unbelievable with the MuRF).

Loop Gain controls the signal level which is applied to the Loop In jack when the “External Loop” is on.

Here is a listing of the jack inputs and outputs on the back of this incredible effect:

Inputs: Audio In

Feedback Amount, Delay Time, and Wet/Dry Mix each of these can be controlled from a Moog Expression Pedal thru individual jacks on the back of the Z.

Outputs: Mix Out and Delay Out – the Output Level on the front panel adjusts the levels of the direct and delayed signals that appear at the Mix Out and Delay Out.

AND..
Loop In and Loop Out as previously mentioned.

How many times have you wondered, "Why aren't there any NEW effects?" Whether you play guitar, bass, keyboard, make beats, or work in the studio - most effects boxes are based on the same old classics. The Moogerfooger MF-105 MuRF is the antidote to generic, boring effects.

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.

For all players, the MuRF will open up new sonic worlds for you!

The evolution of the MuRF continues with the MF-105M MIDI MuRF. The MF-105M combines Bob Moog’s classic MuRF and Bass MuRF to make one powerful Moogerfooger. Its warm, resonant, 100% analog Mid and Bass filter bands bring you everything from shimmering timbral morphing and rhythmic stuttering to deep bass grooves, and like all Moogerfoogers, it’s built like a tank to stand up to the toughest touring and studio use.
We didn’t stop there. In addition to the full range of Control Voltage inputs, it also sports an extensive MIDI implementation. Create tempo-synced filter sequences with MIDI Clock Sync. Change patterns with MIDI Program Change messages. Control front panel knob settings with MIDI CC messages and play the filters in real-time with MIDI Note On commands.

It’s equally at home on the floor, table-top or rack mount, and with all this sound and control in one package, the MF-105M MIDI MuRF connects you to a world of sonic expression, with tight integration into today’s performance, production, DJ and remix environments.

Explore Sonic Infinity with the MIDI MuRF.

The MF-107 FreqBox is different from other effects – the effected sound is not a processed version of your input signal, but the sound of the input signal modulating an internal oscillator. It contains a VCO with continuously variable waveshape, and the capacity to modulate that Oscillator in the following ways:

- the VCO can be hard synced by the input signal
- The VCO can be frequency modulated (FM) by the input signal
- The VCO frequency can be modulated by an envelope follower which tracks the dynamics of the input signal
- The Amplitude of the VCO also tracks the dynamics of the input signal

Hard sync is a classic analog synthesis technique where the start of an oscillator’s cycle can be reset by another. The oscillator being synced takes on the frequency characteristics of the other oscillator, and when its frequency is swept, it reinforces the harmonics of the fundamental frequency. In the case of the FreqBox, the input signal is used to reset the FreqBox’s VCO.

FM is a technique used to get really rich sounds from simple waveforms. The type of FM used in the FreqBox is linear FM. Sounds range from gong or bell-like tones to sizzly sweeps.

The FreqBox, like all moogerfoogers, works with any instrument to line-level input. In addition to the panel controls there are control inputs for use with expression pedals or control voltages and control outputs for interconnecting moogerfoogers like you would a modular synth.

The FreqBox can provide some really unusual processing to all types of signals – guitars, synths, drum sounds, vocals or wind instruments allowing you to enter previously unexplored sonic territory.