The day after a Halloween show in Asheville, DJ/VJ Mike Relm meets the MP-201 Multi-Pedal at the Moog Factory

Notes on the soundtrack, by Moog Guru, Amos Gaynes... The melodic arpeggio that runs from beginning to end is a Little Phatty running through a MuRF and an MF-104 Analog Delay. The MuRF pattern was synchronized to Ableton Live's MIDI clock using the MP-201 Multi-Pedal. Here's how to do it: Set up a MP-201 channel to be a square wave LFO. Set LFO Sync = MIDI and pick whatever clock divisions you want. Next, connect a patch cable to the analog output of the MP-201 channel you are working with, and connect the other end of the cable to the TAP/STEP input jack on the MuRF. You want to use STEP mode, which means either plugging the patch cable *halfway* into the tap/step jack, or using the MuRF Step Adaptor on this end of the patch cable. Now, each pulse of the MP-201 LFO will advance the MuRF pattern by one step. Connect a MIDI output (usb or DIN) from your computer to the MP-201 and set your sequencer to send MIDI Sync... now when you hit Play in your sequence, the MP-201 LFO will lock to your MIDI tempo and the MuRF will step along with the LFO. Due to a combination of factors, it's possible that there may be a timing offset between the downbeats of your MIDI sequence and the firing of the MuRF pattern steps, but it should be pretty easy top work with. I only had to try 2 or 3 times before I got everything lined up perfectly. The bass line is the simplest part; it's straight Little Phatty presets with no effects. The first patch used was Taurus Bass 2; in the second half the low bass sound is the Lambsbread preset with a subtle layer of Electroflux added for extra grit. The melodic lead sound was played live on the Little Phatty, running into an MF-103 Phaser and the MF-104 Delay. The Multi-Pedal was used as an expression pedal to tweak the MF-103 Phaser Sweep and Resonance controls in realtime. Finally, the crazy sound effects layer. This was created using a chain of Moogerfoogers, all being modulated by different LFOs from the Multi-Pedal. The original sound source was an MF-101 lowpass filter with the resonance boosted to self-oscillation. This signal was then sent to an MF-102 Ring Modulator, and then the output from the Ring Modulator was sent to an MF-103 phaser. The MP-201 was sending independent analog LFOs to the MF-101 cutoff frequency, the MF-102 carrier frequency, and the MF-103 Sweep input; all three of these LFOs were being controlled simultaneously from the MP-201 foot pedal. This left my hands free to tweak Moogerfooger knobs at the same time, further increasing the sonic mayhem.

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Here Amos gives us some insight into using the Multi-Pedal to control parameters on the MF-102 Ring Modulator...

Amos at Moog demonstrates the incredible arpeggiator on the new Little Phatty Stage II.

Moog Minimoog Voyager - Old School at NAMM Eric Levy rocks the Old School. For more info, visit www.moogmusic.com

Eric Levy of Garaj Mahal does a searing solo on the Little Phatty. Great use of the Moogerfooger, MF-104Z Analog Delay too!

Happy Holidays from Moog Music.

Jordan demonstrates the powerful sonic and expressive uses of oscillator sync. Visit www.moogmusic.com for more info.

Jordan give some great tips on using glide (portamento) in lead lines and explains how the Little Phatty's unique features connect players to this important expressive capability. Visit www.moogmusic.com for more info.

Jordan shows some great Moog Bass techniques. Visit www.moogmusic.com for more info.

Jordan explains how the Little Phatty lets him take advantage of his favorite pitch-bending techniques. Visit www.moogmusic.com for more info.

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Jordan give some tips on using the LP's note triggering options to develope your playing technique.

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