Contact Us. Select your model name from the list below. You can enter the first few letters of your model to narrow the list. To order, contact the Miller Literature Department - Have your serial number ready. To activate your FREE subscription today, simply select which newsletter s you would like to receive and complete the form below.
Miller respects your privacy concerns. Read our privacy policy for more information. Already signed up? Manage your subscription s by signing into your account. Or if you don't have a Miller account, create one today. Thank you for subscribing to our eNewsletters. A compatible expression pedal can also be plugged into some of the jack sockets, as is common to all the Moogerfoogers, with the corresponding sockets marked by a different coloured socket ring.
The unit's functions can be broken down into seven parts. Two of these can be attenuated, while two are summed at their input level. With the Offset and Master controls the overall mix can be altered and then sent on its way in positive and negative voltage form. Below the mixer is a Four-Way Multiple which is a row of four sockets that allow one input to be routed to three other destinations.
Adjacent to the Noise is the Sample and Hold module with a source input, a trigger input and two outputs, the second of which is through a low-pass filter linked to the LFO rate. Without getting into the details of what Sample and Hold is download the manual for a good explanation , the input source and trigger are connected to the Noise and LFO square wave respectively unless an external source is plugged in. The fifth function is the Lag module, which has single input and output sockets and two knobs Rise and Fall for reducing the rate at which a waveform voltage increases and decreases.
In practice this means you can turn a square wave into a sawtooth ramped up or ramped down depending on whether Rise or Fall is 'lagged' or pinch it into a tiny pulse by using both knobs in the extreme.
The single knob controls the speed from 0. There's an additional input for external control or modulation of the LFO rate. These are used for controlling the overall voltage of a signal to soften its effect. Following the manual, we turned up the resonance on the MF Low-pass Filter pedal to get it self-oscillating and started connecting its CV inputs to the CP Connecting the two LFO outputs to the mixer and then routing the sum to the MF frequency CV input via the Lag and an Attenuator produced sumptuous oscillations that seemed limitless.
If things get out of hand, the Attenuator provides the requisite level control. Once the MF Ring Modulator was added after the filter it all got far too exciting. The initial CV routed to the filter cutoff could be duplicated via the Four-Way Multiple to the Ring Mod's frequency and rate inputs, which sent the resultant sound into orbit. Using a guitar as the audio source revved the results up even more, allowing the filter to function as a filter again and turning the guitar into a loose tonal and rhythmic source for feeding the machine.
Subtle yet rich effects are easily achievable and the level of fine tuning with the CP is staggering. The Phaser, as one would expect, just got wetter and weirder in a way we hadn't heard from a phaser before. Though we've tried to describe the effect the CP has on the Moogerfooger pedals, it's not a wholly bi-directional relationship.
You may plug the Phaser's oscillator CV out or the FreqBox's envelope output into the CP to route it to more pedals for syncing up.
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