The Moogerfooger MuRF already comes in two flavours, the standard version and the bass version. This latest revision rolls these two variants into one unit with a switch to change the filter ranges between mids and bass, but the most important change is the addition of a MIDI input. Though the MIDI MuRF still possesses CV (Control Voltage) inputs for parameter control, as with all Moogerfoogers, the introduction of a MIDI input allows for full external parameter controls via this more widespread protocol. Before looking at what can be done via MIDI let’s first look at what the MIDI MuRF can do on its own. Overview The MIDI MuRF is an array of eight resonant band-pass filters, the individual levels of which are set by the eight sliders. These filters are controlled by the animation parameters (Pattern, Rate, Envelope and LFO), whilst the Drive (input), Mix and Output knobs adjust the overall effect blend. The animation controls can be adjusted via CV and/or foot controllers/ switches via the input jacks at the rear of the pedal. The Pattern selector accesses 12 animation step sequences per frequency type (toggled via the Freq switch). The first of each 12 has no animation and turns the MuRF into a static filter array which can be used to achieve some lovely scoops and peaks. The LFO switch adds some basic movement to the sound as it sweeps the filter frequencies as a group, though this requires CV or a foot controller to adjust the rate. “The MIDI MuRF is an array of eight resonant band-pass filters, the individual levels of which are set by the eight sliders.” The essential character of the MuRF kicks in with the other 11 patterns, which are pre-programmed sequences with anything from eight to 64 steps. These sequences trigger an envelope for each of the eight filters, the shape of which is determined by the Envelope knob (more later). The clever part is that the triggering can either be momentary (on for a sequence step only) or latched (on until the next trigger which turns it off again). This produces rich variations in patterns that may take several revolutions around the sequence to resolve. Changing the filter levels further adjusts the balance within the patterns to radically change their rhythmic emphases. This effect is generally referred to as ‘step filtering’. Envelope The Envelope control is just one knob and sets the behaviour for all the filter triggers. At its 12 o’clock position the filter attacks and decays are even and resemble a triangle wave, but by rotating clockwise/anti-clockwise the attack/decay is lengthened, thus smearing the filter overlaps in time. Further rotation starts to shorten the whole envelope so a more pulsed shape is achieved, which works wonders for harder rhythmic patterns. The Rate knob controls the overall stepping speed, with a corresponding LED flashing red to indicate it. When a foot switch is used in the Tap/Step socket the LED will flash green to indicate the tempo – a small detail, but it really helps when it’s on the floor amongst a mass of other pedals. On the subject of LED colours, the Drive knob controls the input gain and can be used to introduce some smooth distortion into the signal, and so the corresponding LED goes from green (signal present) through yellow (optimum level) to red (clipping occurring). Another detail that impresses us about the MIDI MuRF is that when both output jacks are used the filters are split so that the odd numbered ones go to the left and the even numbered ones go right, which creates great stereo panning tricks. (2 pages; go to page: 2 )