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.