Viper Musical Instrument Amplifier MF 105B User Manual

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 MuRFs 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 MuRFs 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.  
Heres 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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