Octaves, Fifths or complex chords from a single note. Four filters with separated controls. A bunch of modulations, and a fuzz.

  • At the heart of MOUTARDE EXTRA FORTE, there are 3 low-pass filters and 1 band-pass filter running in parallel.
  • Each filter can be controlled independently. Cutoff (FREQ) , resonance (PEAK) and modulation depth (MOD)
  • You can feed the filters by 3 ways: dry signal, gated fuzz or PLL
  • PLL consists of 4 audio-controlled squarewave-oscillators. Octaves, fifths, simple or complex chords can be obtained by tweaking 2 rotary swicthes. (VOICINGS) , (TRANSPOSE)
  • Filters can be blended with the dry signal. (MIX)
  • Modulation applied to filters frequency can be either envelope, LFO , LDR or expression pedal. (MOD)
  • The LFO speed can be controlled by envelope, LDR or expression pedal. (LFO CTRL)
  • As mentioned before, there are 4 resonant filters. They were specifically designed not to oscillate at highest frequencies, so as to prevent any possible damage to your ears or speakers. Each filter has its own individual control (mini-knobs) :
  • Frequency cutoff: FREQ The frequency range of the filters goes from sub-bass up to mid-treble.
  • Modulation depth: MOD
  • Resonance: PEAK Fully CW the filters are oscillating
  • FILTERS knob controlls the global level of the filters, it’s useful if you want to tame things in some situations.
  • MIX knob is used to blend the dry signal with the filtered signal. Fully CCW is dry only and fully CW is filters only.
  • MOD rotary switch selects which modulation is applied to filters: envelope down, envelope up, LFO, expression pedal, LDR. In addition, it shifts the frequency range of each FREQ knob up or down:
    envelope down = higher frequencies.
    envelope up = lower frequencies.
    LFO or expression pedal = mid frequencies.
  • SENS sets the sensitivity of the envelope generator.
    Settings will vary according to your playing dynamics, your instrument (guitar/bass) or pickups (single coil/humbucker).
  • This envelope generator is followed by a slew
    limiter that will slow/smooth the envelope:
  • ATTACK slows down the attacks
  • DECAY slows down the decay
    When increasing ATTACK, you may need to increase SENS
  • This is a simple triangle LFO with two frequency ranges: SLOW and FAST.
    LFO frequency is set by the small SPEED knob.
    The corresponding LED will blink in relation to the speed.
  • BONUS FEATURE: when the switch is on FAST position, LFO will be acting on other modulations (envelope down, envelope up, expression pedal).
    EG: if MOD selector is on envelope up and LFO switch is on FAST, the resulting modulation will be an envelope modulated by a LFO. (can be better heard with slower envelopes)
  • With the LFO CTRL rotary switch, the LFO rate can be controlled by: (from left to right)
    none, envelope down, envelope up, expression pedal, LDR
    In this case, the SPEED knob will set the slowest rate. (don’t put it fully CW, you wouldn’t notice any speed modulation)
  • It’s a basic PNP transistor gated fuzz. It’s placed just before the filters input, switching it on has no affect on SENS or on the dry sound.
  • The FUZZ switch turns it on or bypasses it.
  • The FUZZ knob changes the fuzz texture from soft saturation (fully CCW) to hard squared fuzz (fully CW).
  • The gate starts to engage around 12 o’clock. You’ll be able to hear the noise floor disappearing.
  • You can control the filters frequencies or LFO rate with external hardware.
  • If using a classic/passive expression pedal, use a TRS stereo jack.
  • If you use CV signal (0-5V), then use a TRS stereo jack with RING detached. (it would temporarily work with a mono jack, but for some reason it’s better to use the cable described above)
  • You can use the LDR to control the filters or the LFO speed (unmarked fifth position of the MOD rotary selector or of the LFO CTRL rotary selector)
  • LDR is a light dependant resistor. It will not work in a dark environment. If needed put a light source near the LDR.


  • PLL (Phase Locked Loop) is a technology allowing the control of a VCO (Voltage Controlled Oscillator) by an audio source. The PLL will only work properly when playing single notes, avoid playing chords unless you want to hear sonic chaos. For best tracking with guitar and bass, please use your neck pickup at full volume. Turning CCW your guitar/ bass tone knob and playing above the 7th fret might be helpful too.
  • SENS mini-knob determines the sensitivity of the PLL. Fully CW will give the longest sustain. 9 o’clock is a good setting for guitar while 12 o’clock will be better on bass.
  • FOLLOW mini-knob determines how fast the PLL is following the changes of the input signal. Fully CW, you’ll obtain strange oscillations. Fully CCW, the attack of the PLL is slowed down.
  • SIDE KNOB is interacting with the FOLLOW mini-knob. Set it at 9 o’clock for a start. Turning it CCW will limit the pitch range.
  • SIDE SWITCH is a 3 way switch. Center position is the basic setting. Up and Down position will do more glide, interacting with the FOLLOW mini-knob.
  • The PLL section creates 4 squarewave VCOs with different notes.
  • VCO1 is your root note, that means the exact note you’re playing. It is routed to the first filter (from the left).
  • VCO2 will be either an octave and a 3rd or 5th down of your root note, depending on the 3RD/5TH switch setting, and goes into the 2nd filter.
  • VCO3 and VCO4 can carry different intervals depending on the VOICINGS rotary switch (see PLL 3), and are routed to the 3rd and 4th filter.
  • Finally, when playing single note melodies, you will obtain chords moving in parallel. PLL ON/OFF does what it should. Fuzz should be desactivated while in PLL mode. If activated, this will result in bad attack and longer sustain.
  • TRANSPOSE rotary switch shifts VCO2, VCO3 and VCO4 of the indicated interval (see PLL Tables). VCO1 stays unchanged.
  • GUITAR/BASS switch also shifts VCO2, VCO3 and VCO4 an octave up when on bass position.