Moog Music MF104Z MoogerFooger Analog Delay Pedal
The MoogerFooger MF104Z Analog Delay is a genuine, professional-quality, all-analog delay processor designed for floor, table-top, or rack mount use. The MF104Z has delay times as short as 50 milliseconds to as long as 1000 milliseconds. Like all Moogerfoogers, the MF-104Z sounds fantastic and has the famous user flexibility that's built-in to all Moogerfoogers.
One Full Second of analog delay time makes the MF-104Z the longest standalone analog delay module on the market. That’s exciting but the reason many of you have been clamoring for Moog to build a delay (again) is the unmistakable sound, quality, and flexibility of this newest Moogerfooger.
Moog originally offered its first analog delay in 2000. Today the original MF-104 is one of the more sought after vintage pedals on the market. The new MF-104Z, also designed by Bob Moog, will, no doubt, take its place along side the original and offers extended delay times previously unavailable.
MoogerFooger MF-104Z Analog Delay Features
- DELAY TIME: Rotary control, which adjusts the delay time from slightly less than 50 milliseconds to slightly more than 1000msec (1 second), depending on the setting of the SHORT-LONG switch.
- MIX: Rotary control, which adjusts the mix between the direct and the delayed signals.
- FEEDBACK: Rotary control, which adjusts the amount of delayed signal that is fed back to the input.
- INT. LOOP-EXT. LOOP: Switch routes the feedback either directly or through an external effects processor that you hook up. For example, inserting the MF-102 Ring Modulator in the feedback loop will create echoes that change timbre as they die out.
- DRIVE: Rotary control, which adjusts the gain of the audio input to the delay.
- OUTPUT LEVEL: Rotary control, which balances the delayed signal with the bypassed signal.
- LOOP GAIN: Rotary control, which sets the gain of the external feedback loop.
- LEVEL: A three-color LED that is used to set the DRIVE control.
- LOOP LEVEL: A LED that aids in setting the external loop level.
- BYPASS: A two-color LED that tells whether the delay is active or bypassed.
- ON/BYPASS: A rugged, smooth-acting stomp switch.
Jack Panel Features
- AUDIO IN: 1/4-inch phone jack - accepts any instrument-level or line-level audio signal.
- MIX OUT: 1/4-inch phone jack - delivers the delayed and the direct signals, depending on the setting of the MIX control.
- DELAY OUT: 1/4-inch phone jack - delivers just the delayed signal.
- TIME, MIX, FEEDBACK: All of which are stereo 1/4-inch jacks that accept moogerfooger EP1 (or equivalent) expression pedals, or control voltages from two-circuit or three-circuit 1/4-inch jacks.
- LOOP IN: 1/4-inch phone jack - provides access to the feedback loop for connecting an external processor.
- LOOP OUT: 1/4-inch phone jack - provides access to the feedback loop for connecting an external processor.
- +9V POWER INPUT Jack: Accepts standard 9 volt power adaptors (power adaptor included).
What is an Analog Delay?
A delay circuit produces a replica of an audio signal a short time after the original signal is received. If you listen to the original and the delayed signal together, the delayed signal will sound like an echo of the original. If you then mix some of the delayed signal with the original signal and feed the mixture to the input of the delay circuit, the delayed output will be a string of echoes that die out gradually. You can determine how far apart the echoes are by adjusting the delay time of the delay circuit, and you can determine how fast the echoes die out by adjusting the amount of feedback from the delay circuit output to its input. In addition, you can determine how loud the echoes are by adjusting the mix between the original signal and the signal from the delay circuit output.
Today there are three types of delay devices: tape, analog and digital. The first delay devices used magnetic tape to create the delay. The sound was recorded on a moving tape and then played back after the tape had moved a few inches or so. Then, during the early 70s, large-scale semiconductor analog delay circuits became available. These were called bucket brigade delay chips, because they functioned by passing the audio waveform down a chain of several thousand circuit cells, analogous to water being passed by a bucket brigade to put out a fire. Each cell in the chip introduces a tiny time delay. The total time delay depends on the number of cells and on how fast the waveform is “clocked,” or moved from one cell to the next. Analog delays were less noisy, easier to use, and more reliable, and came to be more widely used than tape echo units.
More recently, digital delay units have come into use. In a digital delay unit, the sound signal is first converted to numbers. The numbers are stored in a digital memory for a certain time, and then retrieved and reconstructed into the delayed audio waveform. One significant difference is that the particular frequency and overload contours of well-designed analog delay devices generally provide smoother, more natural series of echoes than digital delay units. Another difference is that the echoes of a digital delay are static because they are the same sound repeated over and over, whereas a bucket brigade device itself imparts a warm, organically evolving timbre to the echoes.
The MF-104Z Analog Delay is unique because it combines authentic, finely-tuned vintage analog bucket-brigade delay circuitry with total voltage control of all three performance parameters.