User manual MOOG MF102

[. . . ] Understanding and using your moogerfooger® MF-102 Ring Modulator Welcome to the world of moogerfooger® Analog Effects Modules!Your Model MF102 Ring Modulator is a rugged, professional-quality instrument, designed to be equally at home on stage or in the studio. Its great sound and classic effects come from the state-of-the-art all-analog circuitry, designed and built under Bob Moog's personal direction. Your MF-102 is a direct descendent of the original modular MoogTM synthesizers. [. . . ] Continue to turn up the FREQUENCY control, one mark at a time, playing a few simple, sustained notes at each mark. You will hear the tremelo get faster and faster. When the carrier frequency is above 20 Hz or so, the MF-102 output will no longer sound like a tremelo. Instead, your sound will begin to sound "rough" and "detuned" because the two sets of harmonics are far enough apart so you begin to hear them as two distinct sounds. When the FREQUENCY control is as far clockwise as it will go, turn it all the way back and set the switch on HI. Continue to play simple, sustained notes while turning the FREQUENCY control clockwise. You will hear some pitches going up (the sum frequencies) and some going down (the difference frequencies). What happens when a difference frequency gets down to zero and you continue to turn the carrier frequency up?Technically speaking, the difference frequency then becomes negative. But as far as our ears are concerned, a negative frequency sounds just about the same as a positive frequency!So, as you continue to turn the carrier frequency up while you're playing, you'll hear the difference frequencies first go down, then start to come up, one by one. When the carrier frequency is up around 4 kHz, nearly all of the output sound will be very high pitched, even if you play low-pitched notes on your instrument. WHAT IS THE LFO, AND WHAT DOES IT DO? LFO stands for Low Frequency Oscillator. LFO's are generally used to create slow modulations such as vibrato and tremelo. The LFO in your MF-102 is a wide-range, dual-waveform, voltage-controlled oscillator which frequency-modulates the carrier oscillator. This enables you to move the sum and difference frequencies toward and away from each other at speeds from one cycle every ten seconds, to 25 times a second, with either a square wave or a sine-like wave contour. To hear the effect of changing the carrier oscillator frequency, first set up your MF-102 as follows: AMOUNT RATE MIX FREQUENCY Left Switch Right Switch 4 0. 1 10 120/2. 5 sine waveform HI Connect your instrument and monitor amp to your MF-102, set the stomp switch so the BYPASS light is green, and play a few simple, sustained notes. You will hear the sum and difference frequencies slowly drifting apart, and then together, once every ten seconds or so. Audio Input Level The DRIVE control and the LEVEL light are part of the audio input level circuitry. The DRIVE control adjusts the input gain. With this control you can set the right input gain 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 control is always active, even when the MF-102 is in BYPASS mode. [. . . ] 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. Transportation and insurance charges from Moog Music to your United States address, of products repaired or replaced under warranty, will be paid by Moog Music. . Moog Music Inc. 554C Riverside Drive Asheville, NC 28801 PHONE: (828) 251-0090 FAX: (828) 254-6233 EMAIL: info@moogmusic. com WEB ADDRESS: http://www. moogmusic. com MF-102 SPECIFICATIONS DESCRIPTION: Analog effects module incorporating three functions: ring modulator, carrier oscillator, and low-frequency modulating oscillator (LFO). FRONT PANEL FEATURES: FREQUENCY rotary control, which varies the carrier frequency over a seven-octave range. [. . . ]