Moog Music has announced that they are discontinuing two of their Moogerfooger effects units – the MF-105M MIDI MuRF (est. 2009) and the MF-107 Freq Box (est. 2007).
Moog Plans to continue buidling a limited quantity of units at their factory in downtown Asheville while parts and materials last.
Both pedals were recently used extensively in the realization of 3 Impressions, a three track EP, produced by M. Geddes Gengras.
You can listen to it below:
M. Geddes Gengras’ work is described as being ‘based in modular synthesis, comfortably straddling a variety of forms and remaining rooted in a deep affinity for the limitations of analog electronics and a keen ear for timbral manipulation.’
For the EP, Gengras used various Moog analog effects and synths such as the Moog Sub Phatty Analog Synthesizer, MF-104Z Analog Delay, MF-105M MIDI MuRF and a MF-107 Freq Box.
- #1 – Sub Phatty->MF-105M (various patterns & voicings used for each layer)->MF-104Z. the lead voice that comes in around 3:10 is the MF-107 sync’d to the Sub Phatty @ 100% mix. Slow modulation to the pitch & waveform in the Sub Phatty patch create pleasing glitches & dips in the sync’d pitch. 107->MF105M for filtering->MF-108M in an exaggerated version of the classic chorus patch in the manual (increased depth of modulation & delay time) to create a huge, stereo sound.
- #2 – All tracks are made up of the same chain, SP->107->105M->104Z->108m(in chorus mode, output in stereo). the electric piano-like sound is dirtied up by slightly mixing in the sync’d VCO on the 107, adding in a bit of ENV amount creates an almost dynamic distortion while setting the feedback on the 108m introduces a physical sounding resonance. the panned high frequency sounds are the result of syncing the 107 (waveform all the way up, frequency between 8-10) to a highly modulated (lfo speed in the upper reaches, random or square wave lfo shape), unfiltered high sound from the Sub Phatty & feeding that to the 108M in flange mode.
- #3 – Highlights the 105M, the drone loop the track is built over is processed with a percussive setting, and the only overdub is another percussive voice, in this case a looping preset on the Sub Phatty (bank 1, preset 2) feeding the sync on the 107 which in turn is run through the 105m to create hand drum-like patterns, which were sped up & down to follow the motion of the piece. The drum feel is augmented by feeding that signal through 108m to accent different resonances of the tone. Slow animation of the 105M across the main track (with mix & envelope around 7 & rate at 2) creates a subtly shifting stereo signal from the Sub Phatty’s mono output.