MF-104Z and TR-606 CY/OH/CH ???

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rezzn8r
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MF-104Z and TR-606 CY/OH/CH ???

Post by rezzn8r » Thu Jun 11, 2009 11:35 am

Anyone else have a 104 and a 606?
What about a 104 with other analogue drum machines, or a 606 with a different analogue delay?
My Moogerfooger delay works great on my 606's BD/SD/LT/HT, but offers minimal response (if any) on the CY/OH/CH. Have I somehow blown part of the circuit on the 104, or is it just naturally 'deaf' to these frequencies? The 104 appears to be fine with signals from my LittlePhatty, it's just the high-end sounds from the 606 that have me concerned.

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Post by wetterberg » Thu Jun 11, 2009 12:30 pm

the way I've heard the story is that in general these are fairly deaf towards high-frequency signals... There's bound to be people out there who've removed this roll-off and lived to tell the story, but I haven't seen the reports :-?

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Post by Kent » Thu Jun 11, 2009 1:18 pm

Is this issue apparent on the 'short' delay settings as well? 'Long' delays are really dark due to the nature of slowing the clock down. It's akin to a lowered sample rate... it actually is analog sample rate!

I'll try it with my MF-104 and Concussor HH and let you know.

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Post by rezzn8r » Thu Jun 11, 2009 2:56 pm

:doh: thank you, Kent. It is the darker colour of the resulting delay that was making me lose track of the sound in the mix. I did some isolated tests, and the 104 is responding, just not in the frequency range that I expected. :doh:
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Post by rezzn8r » Thu Jun 11, 2009 3:32 pm

Kent wrote: I'll try it with my MF-104 and Concussor HH and let you know.
If you do try this, I would be interested to know what you get with the mix set to 10, fully wet you might say.
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Post by felix » Thu Jun 11, 2009 3:37 pm

Actually, the darker sound is mainly due to the LP filtering applied to the delay signal in order to filter out the sound of the BBD clock (which drops into the audio range with longer delay times).

This is very apparently in the LONG delay time range, but it's audible in the SHORT range as well. In the shorted end of SHORT it isn't so much though.

Mine is like that as well, there's nothing broken or blown. In my experience, I've found it to be quite musical (although I don't necessarily use it with a drum machine). It's fantastic with guitar because higher notes can really cut through with longer (and more feedback) ethereal sounding delays and not leave a "build up" of those high frequencies.

This is more or less the "character" of the MF-104.
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Post by 2012 » Thu Jun 11, 2009 4:24 pm

i did like the 104 very much but i felt its to dull and finaly sold it also (very quick)

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Post by plord » Thu Jun 11, 2009 4:29 pm

I keep mine so far but yeah, it's useless on high frequencies.

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Post by Suburban Bather » Thu Jun 11, 2009 5:44 pm

felix wrote:Actually, the darker sound is mainly due to the LP filtering applied to the delay signal in order to filter out the sound of the BBD clock (which drops into the audio range with longer delay times).

This is very apparently in the LONG delay time range, but it's audible in the SHORT range as well. In the shorted end of SHORT it isn't so much though.

Mine is like that as well, there's nothing broken or blown. In my experience, I've found it to be quite musical (although I don't necessarily use it with a drum machine). It's fantastic with guitar because higher notes can really cut through with longer (and more feedback) ethereal sounding delays and not leave a "build up" of those high frequencies.

This is more or less the "character" of the MF-104.
I love my MF-104 for this very reason, except I don't play guitar. EHX Deluxe Memory Man and digital delays are better for delays that don't muffle the highs.
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Post by Kent » Sat Jul 04, 2009 7:40 am

rezzn8r wrote:
Kent wrote: I'll try it with my MF-104 and Concussor HH and let you know.
If you do try this, I would be interested to know what you get with the mix set to 10, fully wet you might say.
Tried it out: Absolutely jack shit in high frequency response. The HH, on the echo repeats, are only audible if you distort them using the drive control. I knew that that there was a degree of high frequency roll-off, but this was much more than I expected. And this was using the shortest delay time possible. Just to make sure that I wasn't still under the influence of the crack pipe, I tried it with my ASys RS-290 and all was good.

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Post by rezzn8r » Sat Jul 04, 2009 9:31 am

thanks, kent
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Babaluma

Post by Babaluma » Sat Jul 04, 2009 9:37 am

i'll occasionally use my 606 with my blacet time machines, but i generally prefer to run the high frequency percussion sounds through analogue phasers.

if you want long delay times with full frequency response, then you're gonna have to go D*G*T*L.

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Post by nadafarms » Sun Jul 05, 2009 12:02 am

Babaluma wrote: if you want long delay times with full frequency response, then you're gonna have to go D*G*T*L.
Exactly thats the beauty of analog delays and tape echos is the rolloff of the high end don't look at it as a bad thing

From what I understand real echos, like going into a cave or gymnasium you're going to get high frequency roll off. And if you played your 606 in a gym you're going to lose some of those frequencies too, so thats why people like the sound of analog delays and tape echos because it actually sounds like a more natural echo than a digital one. Because in real life you're never hearing a perfect replication of a sound

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Post by SepticUnderground » Sun Jul 05, 2009 3:39 am

from what i've read and heard the moog delay, only works on a particular soundspectre, not the full range of 20-20K...its the main downside of the unit i read it most of the time.

My 606 has no problems with the Line6 echos hehe :P

But my guess is that the moog has that freq. response by design...for whatever reason...(maybe because the foogers that were more made for the guitarist ppl than the synthppl, and the need other charactistics then synthmen) just a wild guess btw
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