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Understanding and Using Your
moogerfooger®
CP-251 Control Processor
Moog Music Inc. Asheville, NC USA
©2000, 2003 by Moog Music Inc.
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Welcome to the world of moogerfooger® Analog Effects Modules! Your Model CP251 Control Processor is a rugged, professional-quality instrument, designed to be equally at home on stage or in the studio. Its great functionality and classic effects come from its state-of-the-art all-analog circuitry, designed and built under Bob Moog's personal direction. Your CP251 is a direct descendent of the original modular Moog™ synthesizers. It contains a total of eight independent control signal gener
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SOME BASIC THEORY When you first try out an audio processor like a ring modulator or phaser, you plug your instrument into the AUDIO IN jack, connect the AUDIO OUT jack to your amplifier, and immediately hear what it does by playing your instrument. There are no AUDIO IN or AUDIO OUT jacks on the CP251. This is because it is not designed to process audio (musical sounds). Rather, it processes control signals, those electrical voltages which act as 'phantom hands', changing the performanc
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control input jack to change the oscillator's frequency, or you can use both together. We call this kind of oscillator a voltage-controlled oscillator (VCO). The voltage applied to the frequency control input is called (you guessed it) the frequency control voltage or, since the pitch that we hear is directly related to the frequency of the oscillator's signal, the pitch control voltage. Figure 2 - LEFT: Panel of a simple voltage-controlled oscillator; LOWER RIGHT: Graph showing steps in frequen
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applied to the VCO's pitch control input. The mixer in Figure 3 contains a circle with a "+" in it. This is a way of showing that the two input signals are combined, or added together. The player adjusts the LFO Frequency (sometimes called Rate) knob to change the vibrato rate, the Mixer Input Level control to change the amount of vibrato, and the VCO Frequency control to transpose the pitch range of the keyboard. Figure 3 - Using a mixer circuit to combine LFO and KEYBOARD control signals. Outp
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GETTING STARTED We are about to embark on a tour of your CP251's functions. To do this, you'll need the following items: • Your CP251, • A tone generator of some sort, whose frequency is voltage-controlled, • An expression pedal such as the moogerfooger EP-1, • Six or eight short (1’-3’) patch cords with ¼” phone plugs, • A monitor amplifier-speaker. We’ll feed the CP251’s signals into the tone generator’s frequency control input, and then listen to how the generator’s pitch changes. This
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receptacle. (See Page 28 for more detailed information on power adapters for the CP251.) Note that the LED in the LFO section lights up. Before we begin on our tour, let's look at two of the CP251's features. Placing your CP-251: Unlike the moogerfooger MF-Series effects modules, the CP251 is housed in a low rectangular enclosure. It's designed to be used in conjunction with one or more MF- Series modules and/or other voltage-controlled gear, and to be placed where it is most convenient. W
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octaves. Turn the RATE knob slowly to hear the LFO's full speed range. •Turn the RATE knob counterclockwise. •Plug an expression pedal into the PEDAL IN jack. Vary the setting of the pedal to hear its effect on the LFO speed. Figure 4 - Setup for trying out the LFO module. ATTENUATORS An ATTENUATOR cuts down the strength of a signal. Your CP251 has two identical attenuators, each of which has an input jack, an output jack, and a knob. When the knob is fully clockwise, the full input signal
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LFO's square wave output. Turn the ATTENUATOR knob back and forth. Note that the shape of the effect is determined by the signal that is fed to the ATTENUATOR's input, and the amount or intensity of the effect is determined by the setting of the ATTENUATOR knob. This is generally true for all control signal sources and all control destinations on voltage-controlled devices. Now we'll illustrate a patch that uses both attenuators. • Connect more patch cords as follows: a) from the OUT jack of t
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• Set knobs as follows: a) All four MIXER knobs to midposition, b) LFO RATE to 9 o'clock. A mixture of triangular and square waveforms will be modulating your tone generator. Vary the setting of the "1" knob to change the strength of the triangular wave, the "2" knob to change the strength of the square wave, the OFFSET knob to raise and lower the waveforms, and the MASTER knob to change the amplitude of the entire mix. Plug your expression pedal into input 3. Note that the pedal raises an
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c) from the ATTENUATOR OUT jack to your VCTG pitch control input. • Set knobs as follows: a) both RISE and FALL fully counterclockwise, b) ATTENUATOR knob to midposition, c) RATE to 9 o'clock. Note that the waveform sounds perfectly square. Now turn the RISE knob slowly clockwise. Note that the rising portion of the square wave is being slowed down. Next turn the RISE knob back to full counterclockwise and the FALL knob slowly clockwise. Note that the falling portion of the square wave is being
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a) from one of the unused MULTIPLE jacks, to the IN jack of an ATTENUATOR, b) from the ATTENUATOR OUT jack, to the PEDAL IN jack of the LFO. These connections enable the expression pedal to control the LFO rate. The rate range is determined by the setting of the attenuator knob. • Connect more patch cords as follows: a) from an unused MULTIPLE jack to INPUT 1 of the MIXER, b) from the LFO TRIANGULAR output to INPUT 2 of the MIXER, c) from the MIXER "+" output to your VCTG pitch control input.
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NOISE SOURCE The NOISE SOURCE has a single output jack. It delivers a waveform that is completely random. When you listen to this waveform directly, you will hear a steady pitchless "white noise" sound. When you apply the waveform as a control voltage, you will hear the resultant sound become rough and "static-y". Temporarily connect the NOISE jack directly to the input of your audio monitor. Note the distinctive "white noise" quality of the waveform. (NOTE: You can use this waveform as th
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the LFO rate, so turning the LFO RATE knob affects how smooth the OUT 2 waveform is. When no patch cord is plugged into the IN jack, the NOISE waveform is bridged to this jack. When no patch cord is plugged into the TRIG jack, the LFO square waveform is bridged to this jack. • Connect patch cords as follows: a) from OUT 1 to an ATTENUATOR IN jack, b) from the ATTENUATOR OUT jack to your VCTG pitch control input. Note that the pitch is changing in random steps at the LFO rate. Vary the setting
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USING THE CP-251 WITH OTHER MOOGERFOOGER MODULES The following examples show a few ways that you can use your CP251 with other moogerfooger modules. With each example that you try, be sure to experiment with the settings of all the knobs that you are using. Understand what each knob controls, and what function each patch cord performs. Try out your own variations. You will be delighted at the range of effects that you will discover. Filter Sample and Hold Effects with the MF101 Lowpass Filter
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BASIC SETUP: RANDOM STEP FILTER • Connect patch cords as follows: a) Expression Pedal to CP251 LFO PEDAL IN jack. b) CP251 S+H OUTPUT 1 jack to MF101 CUTOFF jack. • Set knobs as follows: a) MF101: AMOUNT “ 0” ; MIX “ 10” ; CUTOFF midposition; RESONANCE “ 7” . b) CP251 LFO RATE at about 10 Hz (1 o’clock). Play sustained tones through the MF101. (Brighter tones yield more audible filter effects.) Note the random filter effect. Turning up the resonance to filter self-oscillation adds random s
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Play a staccato line. The filter cutoff will change after every note that you play, so each note has a different tone color. However, the cutoff glides from one frequency to the next because of the smoothing action that is associated with S+H OUT 2. Note that the LFO RATE sets the speed of the glide. LFO Modulation of the MF101 Lowpass Filter BASIC SETUP: TRIANGULAR MODULATION OF THE FILTER • Connect patch cords as follows: a) LFO Triangular Out jack to ATTENUATOR IN jack, b) ATTENUATOR OUT
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that the rise of the modulation waveform is much faster than the falling part. Now change to RISE knob to “ 7” and the FALL knob to “ 0” to produce a modulation waveform in which the falling part is much faster than the rising part. Experiment with the LAG knobs, the ATTENUATOR knob, and the MF101 CUTOFF and RESONANCE knobs to explore the different effects that can be achieved by “ playing” the knobs that affect the modulation waveform. Figure 12 - Setup for LFO modulation examples. 18
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Talking Bass” (A patch that uses both an MF101 Lowpass Filter and an MF102 Ring Modulator) Figure 13 - Setup for “ Talking Bass” . • Connect patch cords as follows: a) MF101 AUDIO OUT to MF102 AUDIO IN, 19
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b) Output of your instrument to MF101 AUDIO IN, c) MF102 AUDIO OUT to input of your monitor amp, d) Expression Pedal to CP251 LFO PEDAL IN jack, e) CP251 LFO Square Wave out jack to LAG IN jack, f) CP251 LAG OUT jack to ATTENUATOR IN jack, g) ATTENUATOR OUT jack to MF101 CUTOFF jack. • Set knobs as follows: a) CP251: LFO RATE low (about 9 o’clock); LAG RISE “4” ; LAG FALL “7” , ATTENUATOR “4” , b) MF101: AMOUNT “ 0” ; MIX “ 10” ; CUTOFF mid-position; RESONANCE “ 7” c) MF102: AMOUNT “0” , MIX “5”
