Moog resurrects Moogerfooger effects as a collection of digital plugins

Moogerfoogers are among the most sought after effects pedals out there. They were originally introduced in 1998 and were in many ways direct descendants of some of the . They were in 2018, but even during their lifetime they might be hard to come by due to limited production. Because of this, they come at quite a premium on the used market, with the MF-104 Analog Delay sometimes costing upwards of $1,500.

But just four years after Moog pulled the plug, Moog is bringing the family back to life, along with a suite of plugins that digitally recreate the original pedals. All seven – MF-101S Lowpass Filter, MF-102S Ring Modulator, MF-103S 12-Stage Phaser, MF-104S Analog Delay, MF-105S MuRF, MF-107S FreqBox and MF-108S Cluster Flux – are available as part of one single collection for $249. However, Moog is offering the bundle at an introductory price of $149, which isn’t a bad deal.

I’ve had a few days to play with them at this point and overall I’m quite impressed. But I want to clarify that I have never had the pleasure of playing any of the original pedals. I can’t tell you how convincingly the Cluster Flux plugin version replicates reality. All I can tell you is that they are pretty solid as plugins.

Moogerfooger effect plugins

Moog

The MF-104S Delay is an obvious highlight. It reproduces the sound of an analogue BBD (Bucket Brigade Delay) quite convincingly. It, like all other plugins, has an interface that replicates the look and feel of its physical counterpart. Below are footswitches, as well as a row of knobs and switches on the front panel for changing parameters. You can also click the CV button to show virtual inputs, typically used to connect to other modular devices. Here they show ways for your DAW or other plugins to control the Moogerfooger for some really out there sounds.

This ability to be controlled by or with other devices has always been a selling point of the Moogerfoogers. As do their built-in LFOs. The ability to easily modulate parameters allowed them to create sounds that other effects pedals really couldn’t. But in the world of audio plugins, it’s pretty standard. Moog makes it easier than others, where you may have to manually map the controls to automate. But it’s not really a big differentiator.

Like most plugins, the MF-104 can create subtle effects, such as the preset named after Mort Garson’s classic album, but really shines on the weirder end of the spectrum. Constantly shifting delay times, cranking up the drive, or using the LFO to slowly increase the feedback level until you get a crescendo of noise and then sharply pulling it back down creates the kind of textures that other effects might conjure up without outside help.

Another highlight is the MF-105S MuRF. It’s hard to describe exactly what it does, but it’s basically a bank of resonant filters that you can control with an onboard pattern generator. This can create phasing or flanging effects, or some sort of complex wah, or even a tremolo. There are few things in the world that are like that. It can even turn something simple and melodic into a sharp rhythm track.

For me, the 107-FreqBox is probably the low light of the collection. It’s a collection of synchronized oscillators with FM modulation. It makes hard, cold, and weird relatively well. But I found most of the factory presets almost useless. Much of the effect relies on distorted and clipped sounds, and that’s an area I think Moog could improve significantly here across the board.

Finally, it is worth talking about MF-101 Low Pass Filter and MF-108 Cluster Flux. (The phaser and ring modulator are fine, but pretty much do what they say on the box.) The low-pass filter is a solid recreation of what makes a Moog synth sound like a Moog synth. Except here, it’s easy to apply to guitar, bass, or even vocals. The Cluster Flux is flanger, chorus and vibrato in one. It can cover everything from lo-fi tape warbles to thumping 80s choruses for the goth kid drowning in his own teary mood.

They’re available now and come in AUv2, VST3, and AAX formats, so they’ll work whether you’re using GarageBand on your MacBook or ProTools on your Windows PC.

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Russell Falcon

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