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In use

Like all the Moogerfoogers, this unit works its magic on pretty much anything you throw at it - guitars, bass, vocals, drums, etc - though an analogue monosynth really takes some beating for sheer fun. We like the tonal shaping possible in the static mode, and with a foot controller or two plugged in, very pleasing and subtle tone shifts can be coaxed out.

Of course when the step sequenced animations come in, a world of filtered rhythmic excitement opens up. The potential for variation between the filter levels, pattern selections and envelope shapes keeps throwing up new sounds, from subtle tremolo filters to vocoder-esque effects to ever-evolving bass pulses.

The sound quality is excellent throughout and has enough bandwidth and headroom to make it a flexible studio and performance tool. It's not as universal as the low-pass filter, or as wild as the ring modulator, but there is a wealth of tonal shaping that will suit instrumentalists and producers alike.

So, what can you do with MIDI input? The answer is more than ever. What is really surprising is how far Moog has taken it, as every control can be adjusted via MIDI, even the input, mix and output levels. What's more, it has also introduced a whole other level of pattern control that isn't possible by other means.

By sending MIDI clock to the MuRF the step sequence tempo syncs to the incoming clock and the rate knob becomes a clock divider to achieve subdivisions from four whole notes to 1/64ths. This clock subdivision can also be set via MIDI CC09. The manual lists which CC numbers control which parameters, from bypass to LFO rate to bass/mids switching. The filters can also be individually controlled via note on/off messages.

The clock syncing is bang on and rate changes don't result in a loss of rhythm, though it can take a fraction of a beat to adjust, and all of the CC controls show no sign of the stepping associated with the 7-bit MIDI resolution. Though sequencing and editing MIDI CCs can become an arduous task the results are well worth it. It also means that the pedal can integrate seamlessly into a MIDI performance setup.

Summary

By rolling the two frequency types together Moog has created a more flexible sound shaping tool and by adding MIDI has increased its appeal and integration potential by a large factor. The fact that it has gone so far with the MIDI control implementation is a testament to the quality of this product range.

The price difference between this unit and the non-MIDI MuRFs is significant but easily justified. Though it may not have the appeal of a more standard effect, such as delay or envelope filtering, it is a unique and high quality tool that is worth the expense for those that want something more original.

LIsten to some of the things you can do with the MIDI MuRF: