Moog MF-104 Specifications download pdf (Page 5)

8 9

SETTING LEVELS

1. Turn your amp or monitor on, then, turn its volume control

down but not off.

2. On the MF-104M, turn all controls except the MIX and

OUTPUT LEVEL to their far left position. Turn the MIX knob to

12:00 and the OUTPUT LEVEL to 9:00 as shown in Figure 1.

3. Press the BYPASS switch so the BYPASS LED turns green

(Figure 2). This means the effect is ON. If you press and hold

the BYPASS switch, you’ll see the LED change from red to

orange or green. Orange or green indicate that the effect

is on but in different modes. For now we’ll focus on Normal.

•NORMAL MODE – Green LED

•SPILLOVER MODE – Orange LED

•OFF – Red LED

4. While playing your instrument (or signal source) turn the

DRIVE control clockwise as in Figure 3 until the LEVEL

LED stays green with occasional orange ﬂashes on peaks.

Note: Red indicates clipping - this is OK if you want to use the Drive

control to add some distortion.

5. Tap the BYPASS switch until the BYPASS indicator is red.

This means the effect is OFF (bypassed).

6. Play your instrument or source again. Then adjust the

OUTPUT LEVEL control until the overall volume with the

effect on and with the effect bypassed is the same. You may

have to switch the effect off and on a few times and make

small adjustments. Once you ﬁnd the sweet spot keep those

knobs set to maximize ﬁdelity and signal-to-noise ratio.

Since we know you are eager to start hearing what your Analog

Delay can do, let’s dig in, learn a little, and hear how the Delay

Line and LFO work together to create some amazing sounds.

If you really need some instant gratification skip to page 13

for some great setups.

GETTING TO KNOW THE DELAY LINE

As you go through this section, adjust controls as shown in

the illustrations on the right side of the page to hear how dif-

ferent Delay Line settings affect the audio output.

Adjust the Delay Line settings as shown in Figure 4 then

play your instrument. That’s the classic “slapback” echo.

Now increase the FEEDBACK control to 5 and play your

instrument again. You’ll hear a fast series of decaying echoes.

As you increase the FEEDBACK more of the delayed

signal gets sent back through the Bucket Brigade Device

which means a longer series of repeats.

Adjust the settings again as shown in Figure 5 and start

jamming. There’s that slapback again but the delayed sound

is darker (has less treble). Now increase the FEEDBACK to 5.

Play while listening to the echoes and you’ll really notice the

difference, even if your ears are a little cooked from a recent

overdose of decibels.

Your Analog Delay was designed with an area of overlap in

the SHORT and LONG delay ranges, with the SHORT range

having a higher frequency response. This provides the ability

to ﬁne tune the tonal characteristics of the delayed sound

(see Figure 6).

FIGURE 1

FIGURE 2

FIGURE 3

DIGGING IN

As you already know by now the MF-104M has a Delay Line and a LFO.

To demonstrate how they work we’ll ﬁrst check out the Delay Line with

the LFO off. Next, we’ll go over the LFO with the Delay Line at the

minimum setting. Then, we’ll put them together to create some magic.

NOTE: It only seems like magic. In actuality it’s some serious know how on the part

of Moog’s product design team.

FIGURE 4

SHORT LONG

FIGURE 5

SHORT LONG

FIGURE 6

3.0 KHz

)

(

)

(

40 80

400

800 msec

1.7 KHz

SHORT

LONG

1 2 3 4 5 6 7 8 9 10 ... 14 15

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Moog MF-104 Specifications Page 5

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