;

69

ราคา : 145000

It's the Voyager with all the sonic quality one would expect plus a finish that rivals its sound.

Played by the likes of Jesse Carmichael of Maroon5 and Printz Board of the Black Eyed Peas. The Electric Blue Voyager is housed in a fractal blue solid ash cabinet. At first it looks black but as one draws near the fractal blue flecks pop out in an eye catching display. Combine this with the stunning look of the electric blue back lit panel, new blue LED's, and some new killer patches and you have an instrument you will be proud to play for a lifetime.

Now, all Electric Blues will have the upgraded software and hardware to allow the player 7 banks of 128 presets and the following capabilities:

The External Mixer knob (just right of the display panel) has a dual function that allows you to rapidly change presets as opposed to continuously punching the cursor buttons.

Other Enhancements:

- Allows you to send either 7 or 14 bit resolution from the Mod Wheel.

- Optionally reduces the amount of MIDI data being sent from the Touch Surface.

(These changes enable the Voyager to work better with older MIDI equipment.)

-Transpose the entire keyboard by 2 octaves up or down.

ENJOY!

151

ราคา : 145000

For years musicians have expressed their creative muse through Moog synthesizers, an instrument with enormous sonic range and possibilities.

And now the new Minimoog Voyager Select Series offers unprecedented aesthetic customization with SIX backlight options and SEVEN different wood cabinet styles, allowing you to choose any combination for a look all your own.

Since introducing the Electric Blue edition, we've received hundreds of requests to build customized Voyagers, which previously could only be fulfilled for a handful of artists. Now a standard offering and available online, you can view, select and purchase any combination of cabinet and backlight styles-40 different possibilities-making your Voyager a truly distinctive and personalized instrument.

Hand crafted and custom built, the Minimoog Voyager Select Series fuses classic analog sounds with modern functionality and packages it all into the design of your choice. Once thought impossible, the new Voyager looks as good as it sounds.

 

Minimoog Voyager
product specifications

Features and Technical Specifications
The MINIMOOG� VOYAGER Synthesizer is a monophonic (one note at a time) analog performance synthesizer. It incorporates virtually all of the sound resources and functions of the original Model D Minimoog, which was produced by Moog Music, Inc. from 1970 to 1982. It has many new additional features, including a three dimensional touch surface, MIDI IN and MIDI OUT implementation, extensive patching facilities, and a large number of new panel features.

The signal path starts with a bank of three wide-range, high-stability voltage controlled oscillators, one noise source, and one audio preamplifier for externally-applied audio signals. The sound modifiers are two Moog filters and one stereo VCA (Voltage Controlled Amplifier). Modulation sources are two ADSR (Attack Decay Sustain Release) envelope generators and one multiwaveform LFO (Low Frequency Oscillator).Control devices include a 44-key keyboard with velocity and afterpressure outputs, pitch bend and modulation wheels, a three dimensional touch surface, and many control/pedal input jacks.

The MINIMOOG� VOYAGER has a hinged, multi-position panel and a solid hardwood cabinet. The power supply accepts any power voltage from 100 volts to 240 volts.

Oscillators Module
Three wide-range, high stability VCO�s (Voltage Controlled Oscillators) with continuously-variable waveforms.

* FREQUENCY controls (2) vary the frequencies of Oscillators #2 and #3 over a +/-7 semitone range with respect to Oscillator #1.
* OCTAVE selectors (3) set the frequency ranges of the oscillators in six octave steps.
* WAVE controls (3) provide continuous control over the waveforms of the oscillators, from triangular, to sawtooth, to square, to narrow rectangular.
* 1-2 SYNC switch synchronizes the Oscillator #2 waveform to the frequency of Oscillator #1, for dramatic timbral effects.
* 3-1 FM switch provides linear frequency modulation of Oscillator #1 by Oscillator #3.
* 3 KB CONT switch disconnects Oscillator #3 from control by the keyboard, thereby enabling it to function as a drone.
* 3 FREQ switch lowers the frequency of Oscillator #3 into the sub-audio range, thereby enabling it to function as a low frequency audio or modulating oscillator.

Mixer Module
Five-input mixer for combining the audio sources prior to filtering.

* Input Level controls (5) adjust the relative levels of the oscillator, noise, and external audio input signals.
* Input switches (5) enable the player to quickly switch individual audio signals in and out.
* External Level LED enables the player to set the correct external audio signal level.


Filters Module
Dual mode filter module includes dual lowpass and highpass-lowpass filtering. Dual lowpass mode consists of two Moog lowpass-resonant filters in parallel, one per output channel. Highpass-lowpass mode consists of Moog lowpass filter in series with a highpass filter.

* CUTOFF control sweeps the frequencies of both filters throughout the audio range.
* SPACING control sets the spacing between the frequencies of the two filters, over a +/-3 octave range.
* RESONANCE control adjusts the resonance of both filters, from none (pure lowpass response) to filter oscillation.
* KB CONT AMOUNT control sets how much the filters open and close as the player presses different keys on the keyboard.
* Dual Lowpass/Highpass-Lowpass switch selects between dual lowpass operation or highpass-lowpass operation.


Envelopes Module
The Envelopes Module generates two wide-range ADSR (Attack Decay Sustain Release) envelopes. The Filter Envelope sweeps the filter and is available for modulation shaping. The Volume Envelope shapes the overall volume.

* ATTACK controls (2) determine the attack times of the envelopes.
* DECAY controls (2) determine the decay time constants of the envelopes.
* SUSTAIN controls (2) determine the sustain levels of the envelopes.
* RELEASE controls (2) determine the release time constants of the envelopes.
* AMOUNT TO FILTER control determines how much the filter envelope will open and close the filter, from full negative (inverted envelope) to full positive (non-inverted envelope).
* ENVELOPE GATE SWITCH selects whether the envelopes will be triggered by the keyboard, on , or by an externally-applied gate.


LFO Module
Low Frequency Oscillator generates triangular, square, Sample & Hold, and smoothed Sample & Hold waveforms for use as modulating signals.

* RATE control sets the LFO rate over the range 0.2 Hz (one cycle every five seconds) to 50 Hz (fifty times a second).
* SYNC selector selects LFO synchronization source to be from the keyboard gate, external envelope gate, external gate, or off (no synchronization).
* RATE LED provides visual indication of the LFO rate.


Modulation Busses Module
Selects the sources, destinations, and shaping signals for the MOD WHEEL bus and the EXT PEDAL/ON bus.

* SOURCE selectors (2) selects the modulation source from the LFO triangle or square waveforms, Oscillator# 3, sample and hold, the external modulation input (MOD2) or noise.
* DESTINATION selectors (2) selects the modulation destination from all the audio oscillators, just Oscillator #2, just Oscillator #3, the filter cutoff frequencies, the oscillator waveforms, or LFO Rate.
* SHAPING selectors (2) selects the key pressure signal, filter envelope, note-on velocity or on to shape the modulation signal on that bus.
* AMOUNT controls (2) sets the overall modulation amount for each bus.


Output Module
* MASTER VOLUME control sets the overall level of the instrument�s audio outputs.
* HEADPHONE VOLUME control sets the overall level of the headphone output.
* HEADPHONES jack: 1/4� tip-ring-sleeve phone jack for regular headphones.


Glide and Fine Tune Module
* GLIDE varies the speed at which the keyboard voltage changes, from instantaneous to several seconds.
* FINE TUNE adjusts the overall tuning of the instrument.

V 3.3 Software Capabilities
Voyager Software developed by Rudi Linhard of Lintronics.
www.lintronics.biz
* FRONT PANEL STORAGE AND RECALL: Except for the Fine Tuning control, the settings of all front panel controls, selectors, and switches are stored in the nonvolatile digital memory. A total of eight hundred ninety-six front panel presets may be stored for instant recall.
* TRANSMISSION AND RECEPTION OF KEYBOARD DATA VIA MIDI: Polyphonic note-on and note-off with velocity can be transmitted (Note numbers 53-96).The Voyager responds to note-on (0-127) messages monophonically with user defineable note priority. The Voyager's Front Panel Controls transmit and respond to MIDI CCs. Please refer to the Voyager User's Manual for a list of the Front Panel Controls and their corresponding MIDI CC#s.
* UPLOADING AND DOWNLOADING OF PRESETS VIA MIDI: Individual Presets or whole Preset banks may be uploaded and downloaded via MIDI System Exclusive.
* UPDATING OF OPERATING SOFTWARE VIA MIDI: The instrument�s operating software can be updated via MIDI files (.syx Sysex files) which will be available on Moog Music�s web site in the Support Docs and Software section.
PANEL MODE FEATURES: Panel Mode features include Compare, Quick Mode (Preset changes with +/-1 buttons), Parameter Display (view stored paramter value, current parameter value), and enable/disable preset Master and Headphone Volume.
EDIT MODE FEATURES: Related to Preset Parameters not on Front Panel, these include: Compare tp Preset, Recall last Sound, Real Panel Control, Pitch Bend Amount, Programmable Mod Buss Sources, Destinations and Shaping, Keyboard and Trigger Modes, FIlter Pole Select, Envelope Gate Source, Touch Surface Destinations, Touch Surface Memory, Pot Mapping Mod. Matrix, LFO MIDI Clock Divider, Initialize Parameters, Preset Name, and Save Preset.
MASTER MODE FEATURES: Global Settings and functions for the Voyager include: LCD Contrast, MIDI Local Kbd. On/Off, MIDI Merge, MIDI Program Change On/Off, MIDI In/Out Channel, MIDI In/Out On/Off, Send Panel Sound, Send All Presets, Receive Presets, SysEx Device ID, Transpose In/Out, MIDI Key Order, Velocity Curve, Copyright Info, Software Version, Send System ROM, Send Boot System, Receive Update.

Player Control Interfaces
* 44 KEY KEYBOARD produces Pitch, Gate, Velocity, and Pressure control outputs.
* WHEELS: Pitch Wheel bends pitch over a range of up to +/-1 octave. Mod wheel controls the gain of the MOD WHEEL bus.
* GLIDE and RELEASE switches provide real-time on-off control over the glide and release functions.
* THREE DIMENSIONALTOUCH SURFACE provides three continuously-variable control signals which are derived from the up-down and left-right position of the player�s finger, and the amount of area with which the player makes contact to the surface.

Rear Jack Panel
Listed below:


Pedal/Control Inputs
These ten jacks have red nuts. They accept either expression pedals or control voltages, and control the following performance parameters:

* VOLUME
* PAN
* FILTER CUTOFF
* WAVEFORM
* PITCH
* MOD2 - EXTERNAL MODULATION SOURCE
* MOD1 - EXTERNAL CONTROL OF THE PEDAL MOD. BUS
* SAMPLE AND HOLD IN
* ENVELOPES RATE
* LFO RATE

Accessory Port
The Accessory port delivers
the Control Voltage and gate
signals generated inside the Voyager to a standard DB-25
connector. This is designed for use with the VX-351 Voyager CV Expander.

LFO Sync
A footswitch or gateapplied to this input will reset the LFO waveform to the beginning of its cycle.

Envelopes Gate
A footswitch or gate applied to this input will start the envelopes.

Sample and Hold Gate
A gate signal applied to this jack will trigger a new sample and hold voltage.


Release
foot switch plugged into this jack will have the same effect as depressing the corresponding switch on the left hand controller panel.


Mixer Ext In
Plug any instrument-level or line-level audio signal in this jack to combine with the oscillator and noise signals prior to filtering.


Mix Out/Filter Audio In
The output of the audio mixer appears here, before being fed to the filter. Normally, the Mixer output is bridged directly to the filter input. If you plug something into this jack, that breaks the normal connection. Using a standard insert cable (1/4" TRS plug to two 1/4" TS plugs) this jack can be used as an effects loop for external processing of the Mix before it goes to the filter.


Left(Mono) and Right Audio Outputs
The audio outputs are 1/4 " unbalanced outputs. The two output channels are summed to mono when only the left(mono) output is used.


12V Lamp
The BNC Lamp Socket provides 12VDC for a gooseneck lamp.


MIDI In, Thru, and Out Connectors
Standard MIDI connectors for interfacing with other MIDI gear.

Power Input
The Voyager's power input accepts a standard power cable. The Voyager works from 100-250 VAC, 50-60 Hz.


Dimensions and Weight
30 1/2" Wide X 18" Deep X 3" High (when flat) 12" High when fully upright.

40 lbs.
152

ราคา : 50000

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.

 

 

153

ราคา : 88000

We are pleased to inform you that we are now shipping the Taurus 3 Bass Pedals.

The fact that we are shipping, unfortunately, does not mean that we are shipping YOUR order. We have a 4-5 month backlog and each one is hand-built here in the factory. It will take some time to build all 1,000 pieces. Please be patient with us. For the most part, orders will be shipped on a first come, first served basis.

Thank you for your patience.



Players, producers and DJs everywhere have been anxiously awaiting the return of the ultimate bass machine. Bass connoisseurs worldwide made this instrument possible by pre-ordering it sight-unseen. Now the wait is over.

The new Moog Taurus 3 Bass Pedals faithfully recreate the sound of the legendary Taurus I. We started with an in-depth analysis of the original circuitry, and then added modern amenities like MIDI and USB. We didn’t stop until we had created a work of art that can knock down a small building.

If you're serious about bass, take the next step up to the ultimate bass synthesizer: Taurus 3 Bass Pedals

Limited run - Less than 1,000 will be built.

If you are interested in being one of the first owners of this legendary bass pedal, visit the New Taurus Bass Pedals product page for more information.

154

ราคา : 19500


Easy to carry and set up, fun to play. Fully assembled in a beautiful ash wood cabinet. Power supply is included: order 110v for use in US or Canada or 220v for use in Europe, Asia, South America, and Australia.

Etherwave Theremin
Product Specifications

What is a Theremin?

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. Like the Ethervox, the Etherwave is an authentic adaptation of inventor Leon Theremin's original design.


The Etherwave

The Etherwave is a quality theremin with a design that retains many characteristics of the original theremins, including 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 black. The Etherwave is fitted with an adapter for mounting on a standard microphone stand and is designed for use with a musical instrument amplifier such as the Moog TB-15.

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

Power supply is included: order 110v for use in US or Canada or 220v for use in Europe, Asia, South America, and Australia. 110v Etherwaves ship with videotapes in NTSC format; 220v Etherwaves ship with videotapes in PAL format.

Features

* POWER rocker switch - switches on and off the AC power to theremin.
* AUDIO OUT - standard 1/4" phone jack, which delivers line level output to your amplifier.
* PITCH rotary control, for adjusting the response of the pitch antenna.
* VOLUME rotary control, for adjusting the response of the volume antenna.
* WAVEFORM rotary control, for adjusting the waveform of the audio output.
* BRIGHTNESS rotary control, for adjusting the brightness of the audio output.
* POWER INPUT - receptacle for the special AC adapter that comes with the Etherwave. 110 volt and 220 volt adapters are available.
* ANTENNA CONNECTORS - threaded connectors which allow the antennas to be removed for travel.
155

ราคา : 14000

The MF-103 12-Stage Phaser is a high quality effect designed by Bob Moog. It contains an amazing-sounding 6 or 12 stage phaser circuit as well as a wide-range LFO with an adjustable sweep amount. Used with guitars, basses, keyboards, samples, or recorded tracks, the MF-103 can apply subtle tonal coloration or extremely deep phasing that spins your speakers and ears out of control.
Uncontaminated by the digital world!

Other purchasing options

 

MF-103 12 Stage Phaser
Product Specifications

Features

* RATE rotary control, which varies LFO�s frequency over a 250:1 range.
* AMOUNT rotary control, which adjusts the amount by which the LFO output varies the phaser sweep.
* SWEEP rotary control, which moves the phaser frequency response over a six-octave range.
* RESONANCE rotary control, which adjusts the height and sharpness of the peaks of the phaser frequency response.
* DRIVE rotary control, which adjusts the gain of the audio input to the phaser.
* OUTPUT LEVEL rotary control, which balances the phaser signals with the bypassed signal.
* LO-HI rocker switch, which chooses between the low LFO range (0.01 Hz to 2.5 Hz) and the high LFO range (1.0 Hz to 250 Hz).
* LEVEL, a three-color LED that is used to set the DRIVE control.
* LFO, a LED that indicates the LFO rate.
* BYPASS, a two-color LED that tells whether the phaser is active or bypassed.
* ON/BYPASS, a rugged, smooth-acting �stomp switch.�


Jack Panel Features

* AUDIO IN 1/4" phone jack - accepts any instrument-level or line-level audio signal from -16 dBm to +4 dbm. Input impedance is one megohm.
* AUDIO OUT 1/4" phone jack - -4 dBm nominal output level. +8 dBm absolute maximum output level. Output impedance is 5,000 ohms.
* AUX OUT 1/4" phone jack - -4 dBm nominal output level. +8 dBm absolute maximum output level. Output impedance is 5,000 ohms.
* RATE, AMOUNT, SWEEP, RESONANCE, 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.
* SWEEP IN - provides a means of applying an external +/- 2.5 volt control signal to the second 6-section phasing circuit, in place of the LFO. Input impedance is 50,000 ohms.
* LFO OUT 1/4" phone jack - delivers the LFO waveform (triangular wave; +/- 2.8 volts) for use by other voltage-controlled devices. Output imedance is 600 ohms.
* +9V POWER INPUT jack - accepts standard 9 volt power adaptors (power adaptor included).


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: 105-125 volt, 5W. 220 volt power adaptor available on special order.
156

ราคา : 26000

- 8 Analog Filters
- MuRF and Bass MuRF Filter Bands
- MIDI Clock Sync
- Tap Tempo
- MIDI CC Control
- Pattern Editor


Can’t decide between the MuRF and Bass MuRF? Get both in one package!

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.

The MIDI MuRF Pattern Editor software is now available as a free download for MIDI MuRF owners.

Other purchasing options

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.

 

What is an Analog Delay?

A delay circuit produces a replica of an audio signal a short time after the original signal is received. If you listen to the original and the delayed signal together, the delayed signal will sound like an echo of the original. If you then mix some of the delayed signal with the original signal and feed the mixture to the input of the delay circuit, the delayed output will be a string of echoes that die out gradually. You can determine how far apart the echoes are by adjusting the delay time of the delay circuit, and you can determine how fast the echoes die out by adjusting the amount of feedback from the delay circuit output to its input. In addition, you can determine how loud the echoes are by adjusting the mix between the original signal and the signal from the delay circuit output.

Today there are three types of delay devices: tape, analog and digital. The first delay devices used magnetic tape to create the delay. The sound was recorded on a moving tape and then played back after the tape had moved a few inches or so. Then, during the early 70s, large-scale semiconductor analog delay circuits became available. These were called bucket brigade delay chips, because they functioned by passing the audio waveform down a chain of several thousand circuit cells, analogous to water being passed by a bucket brigade to put out a fire. Each cell in the chip introduces a tiny time delay. The total time delay depends on the number of cells and on how fast the waveform is �clocked,� or moved from one cell to the next. Analog delays were less noisy, easier to use, and more reliable, and came to be more widely used than tape echo units.

More recently, digital delay units have come into use. In a digital delay unit, the sound signal is first converted to numbers. The numbers are stored in a digital memory for a certain time, and then retrieved and reconstructed into the delayed audio waveform. One significant difference is that the particular frequency and overload contours of well-designed analog delay devices generally provide smoother, more natural series of echoes than digital delay units. Another difference is that the echoes of a digital delay are static because they are the same sound repeated over and over, whereas a bucket brigade device itself imparts a warm, organically evolving timbre to the echoes.

The MF-104Z Analog Delay is unique because it combines authentic, finely-tuned vintage analog bucket-brigade delay circuitry with total voltage control of all three performance parameters.


Features

* DELAY TIME rotary control, which adjusts the delay time from slightly less than 50 milliseconds to 500 msec in the SHORT position; 100 msec to slightly more than 1000msec (1 second) in the LONG position.

* MIX rotary control, which adjusts the mix between the direct and the delayed signals.

* FEEDBACK rotary control, which adjusts the amount of delayed signal that is fed back to the input.

* INT. LOOP-EXT. LOOP switch routes the feedback either directly or through an external effects processor that you hook up. For example, inserting the MF-102 Ring Modulator in the feedback loop will create echoes that change timbre as they die out.

* DRIVE rotary control, which adjusts the gain of the audio input to the delay.

* OUTPUT LEVEL rotary control, which balances the delayed signal with the bypassed signal.

* LOOP GAIN rotary control, which sets the gain of the external feedback loop.

* LEVEL, a three-color LED that is used to set the DRIVE control.

* LOOP LEVEL, a LED that aids in setting the external loop level.

* BYPASS, a two-color LED that tells whether the delay is active or bypassed.

* ON/BYPASS, a rugged, smooth-acting �stomp switch.�


Jack Panel Features

* AUDIO IN 1/4" phone jack - accepts any instrument-level or line-level audio signal.

* MIX OUT 1/4" phone jack - delivers the delayed and the direct signals, depending on the setting of the MIX control.

* DELAY OUT 1/4" phone jack - delivers just the delayed signal.

* TIME, MIX, FEEDBACK, 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.

* LOOP IN - 1/4" phone jack - provides access to the feedback loop for connecting an external processor.

* LOOP OUT 1/4" phone jack - provides access to the feedback loop for connecting an external processor.

* +9V POWER INPUT jack - accepts standard 9 volt power adaptors (power adaptor included).


General Specifications

* CASE: Black panel with hardwood sides - classic analog appearance.

* DIMENSIONS: 9" x 6" x 2-1/2"

* NET WEIGHT: 3 lb

* SHIPPING WEIGHT: 5 lb, including power adaptor and instruction manual.

* POWER REQUIREMENTS: 105-125 volt, 5W or 220 volt power adaptors available.
157

ราคา : 20000

- 8 Analog Filters
- MuRF and Bass MuRF Filter Bands
- MIDI Clock Sync
- Tap Tempo
- MIDI CC Control
- Pattern Editor


Can’t decide between the MuRF and Bass MuRF? Get both in one package!

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.

Other purchasing options

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 Heart of the MIDI MuRF is a bank of eight resonant bandpass filters tuned to fixed frequencies. The Animation module is a 24-Pattern sequencer triggering volume envelopes for the eight filters. The Freq Switch toggles between two banks of patterns; 12 bass patterns and 12 mid-range patterns.


Front Panel


PATTERN Rotary Switch: Selects one of 12 Animation Patterns in each bank.

FREQ Slide Switch: Selects whether BASS or MIDS pattern bank is active.

LFO Slide Switch: Applies LFO modulation to patterns

RATE Rotary Control: Sets the Rate of the Pattern. Sets Clock Divider value when synced to MIDI Time Clock.

ENVELOPE Rotary Control: Sets the envelope shape of the patterns.

DRIVE Rotary Control: Adjusts the gain of the audio input circuit.

OUTPUT Rotary Control: Adjusts the output level when the effect is active. Used for balancing the filtered signal with the bypassed signal.

MIX Rotary Control: Sets the proportion of direct to effected signal that appears at the output.

FILTERS Slider Controls: Controls the gains of the following frequency bands(determined by FREQ Slide Switch): BASS -110 Hz, 160 Hz, 240 Hz, 350 Hz, 525 Hz, 775 Hz, 1.2kHz, 1.8kHz. MIDS - 200 Hz, 300 Hz, 450 Hz, 675 Hz, 1kHz, 1.5 kHz, 2.2 kHz, 3.4kHz

DRIVE LED: 3-color LED indicates the level of the Input signal. Green indicates a low-level signal, yellow indicates optimal signal level, and red indicates soft clipping.

BYPASS LED: 3-color LED indicates effect status. Red indicates bypass, and Green indicates Mid Voicing, Orange indicates Bass Voicing.

RATE LED: RED = Pattern Clock Rate determined by the Rate control/CV Input, GREEN = Pattern Clock Rate determined by Tap Tempo/Step control and ORANGE = The Current State has been last modified by MIDI and the front panel control knob doesn't indicate the state of the unit.


Back Panel


AUDIO IN: Phone jack accepts any instrument-level or line-level signal from 16 dBm to +4 dBm. Input impedance is 1 megohm.

LEFT/MONO OUT: " Phone Jack carries the summed signal (left+right, all freq. bands) when Right Output is not connected, and carries the Left output signal (Freq. bands: 200 Hz, 450 Hz, 1 KHz, 2.2 KHz) when the right output is connected. Nominal output is �16 dBm to +4 dBm depending on setting of Output Level control when effect is active. Output impedance is 5,000 Ohms.

RIGHT OUT: Phone Jack carries the Right Output signal (Freq. Bands 300 Hz, 675 Hz, 1.5 KHz, 3.4 KHz). Nominal output is �16 dBm to +4 dBM depending on setting of Output Level control when effect is active. Output impedance is 5,000 Ohms.

RATE, MIX, ENVELOPE, LFO/SWEEP are TRS jacks that accept Moogerfooger EP-2 (or equivalent) expression pedals, or control voltages from two or three-circuit jacks.

TAP/STEP IN: This tap tempo input accepts a normally open momentary footswitch for syncing the rate of ANIMATION to the tempo of the music.


MIDI

The MIDI In implementation on the MIDI MuRF makes possible a powerful new set of synchronization and control features that respond to the following MIDI Messages:

- System Real-time: MIDI Timing Clock, MIDI Start, Continue and Stop
- Channel Voice messages: Program Change, Control Change, Note On/Note Off
- System Exclusive messages: change MIDI channel, write user pattern sets, firmware upgrade.

Program Change:

A MIDI Program change received on the current MIDI Channel with a value 000-023 will override the position of the pattern and Freq Switch. A movement of the Pattern Knob or the Freq Switch sets the MIDI MuRF's current pattern to the one selected by the front panel.

Control Change Messages:

The MIDI MuRF can respond to MIDI CC Messages to alter the settings of the MuRF or the pattern clock rate. Changes made by MIDI CCs are over-ridden by moving the corresponding panel control or changing the state at the corresponding CV input.

Note On Messages:

In MUTE MODE, TRIGGERED MODE and SUSTAINED MODE, MIDI Note On messages can play the MIDI MuRF's filters. In STEP MODE the rate setting is ignored and Note On messages advance the pattern step.

SYSTEM REALTIME:

MIDI_RTC_CLOCK: MIDI CLOCK sets the rate of the pattern clock. When synced to MIDI CLOCK, the RATE LED flashes ORANGE at the Clock division.

MIDI_START: MIDI Clock Start Messages starts the Pattern Clock at the beginning of the Pattern, and synced to the MIDI Clock messages

MIDI_STOP: MIDI Clock Stop Message Stops the Pattern Clock.

MIDI_CONTINUE: MIDI Clock Continue Message restarts a stopped Pattern Clock at the next step in the Pattern.

CLOCK_DIVISIONS: Front panel RATE knob/CC9 or LFO Rate CV Input/CC3 are quantized to 16 positions and sweep through clock-divisions of MIDI Clock Messages (12 o'clock is quarter-note):


SYSTEM EXCLUSIVE:


MIDI Channel:

Defaults to Channel 1 on each power up, unless the stomp switch is closed. If the stomp switch is closed when power is applied then the Pattern Rotary switch sets the current MIDI Channel from 1-12. Changes are stored on power down.


General


CASE: Steel case with black powder coat finish and wood sides; classic analog appearance.

DIMENSIONS: 9" x 5" x 3"
WEIGHT: 4 lbs
SHIP WEIGHT: 6 lbs
POWER REQUIREMENTS: Power Supply included. 120 Volts, 9 VDC unregulated, 300 mA max current. Positive tip barrel connector.

 
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