Moog Brings the Moogerfoogers Back: All 7 Pedals Available as Audio Effects Plug-ins
Moog makes its debut in the universal software space with recreations of its beloved analog effects pedals.
Moogerfooger Effects Plug-ins are a re-invention of Moog’s analog effects pedals, bringing the legendary tone, musicality, and interconnectivity of the original hardware effects to your digital music production environment. Designed by Bob Moog and his engineering team in the late '90s and '00s, Moogerfooger effects pedals were direct descendants of the original Moog modular synthesizers, adapted to process, modulate, and play with inputs ranging from guitar, voice, and synthesizer to any imaginable audio source. From the MF-104's lush, warm analog delay circuit to the swirling phaser effects of the MF-103 and legendary resonant ladder lowpass filter in the MF-101, Moogerfoogers have become renowned for their sound and adopted by studios and performers around the world.
The original collection of Moogerfoogers were more than the sum of their parts due to their powerful and flexible control voltage inputs and outputs—able to play amongst themselves and combine into dynamic inter-related effects.
Moogerfooger Effects Plug-ins recreate that CV interconnectivity, allowing each instance of a Moogerfooger to modulate the parameters of any other across your project in any major DAW. With digital attenuverters added to every CV input, side-chain capabilities, and DC offset capabilities, Moogerfooger Effects Plug-ins allow for deep control over every aspect of your sound.
The effects family range from clean filtering to wildly experimental modulation designed to manipulate, enhance, and fully transform any sound. Each with its own distinct identity, these effects are designed to work perfectly alongside one another in your audio chain.
The complete collection of Moogerfooger Effects Plug-ins includes all seven reimagined Moogerfooger pedals in software form:
- MF-101S Lowpass Filter - the classic Moog ladder filter with an envelope follower for dynamic control
- MF-102S Ring Modulator - a wide-range carrier oscillator paired with an LFO for effects from soft tremolo through far-out clangorous ring modulation tones
- MF-103S 12-Stage Phaser - a descendant of the vibrant 1970s rack-mounted Moog phaser with an on-board LFO
- MF-104S Analog Delay - a rich, full-bodied delay and modulation circuit that has remained highly sought after to this day
- MF-105S MuRF - a groundbreaking effect combining a resonant filter bank with a pattern generator and skewing envelope for vibrant animation of an incoming sound
- MF-107S FreqBox - a box of gnarly synced VCO sounds with envelope and FM modulation
- MF-108S Cluster Flux - a flexible processor that can modulate between chorus, flanging, and vibrato
Ty Segall | Frog Meets Fly | Moogerfooger Effects Plug-ins
Moogerfooger Effects Plug-ins are available for a limited-time introductory price of $149 USD (regularly $249). This offer includes all seven Moogerfooger effects in one powerful and convenient collection that is compatible with all major DAWs.
For more information, please visit moogmusic.com.
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PG contributor Tom Butwin takes us through three exceptional solidbody electric guitars: the versatile Gibson Les Paul Studio, the uniquely styled Zemaitis SCW22, and the dynamic PRS CE 24. Each brings a distinct flavor—find out which one matches your style!
Gibson Les Paul Modern Studio Electric Guitar - Worn White
PRS SE CE 24 Standard Satin Electric Guitar - Vintage Cherry Satin
Loud, evil, searing hot, and unexpectedly versatile, the Fuzz War’s demented bass cousin has a bold and more-complex personality all its own that sounds radical with guitar, too.
Evil. Just plain evil. Unexpected and vast variation. Responds interestingly to bass volume and tone attenuation. Wet/dry mix control. Sounds amazing (and extra evil) with guitar.
None.
$195
Death By Audio Bass War
deathbyaudio.com
If you like your fuzz measured in megatonnage, the Death By AudioFuzz War is one of life’s great joys. And if you’re a bass player with similar predilections and accustomed to watching guitar players have all the fun, the new DBA Bass War will be sweet revenge.
The original Fuzz War is a creatively twisted derivative of the Colorsound Supa Tone Bender But while you can hear some family resemblance among the Tone Bender, the Fuzz War, and Bass War, the latter is a very different animal indeed. I’m pretty sure it’s louder than the Fuzz War (holy #@*!). The fuzz is also much brighter than a Fuzz War, which sounded positively muddy by comparison.
That means a bass player has lightyears of headroom and range within which to shape their tone. And for such a loud, hectic pedal, it can be really precise and surgical. The experience of reshaping fuzz sounds is made easier, more fun, and much more expressive for the oversized outboard tone and fuzz controls, which can be swept with your toe to achieve wild filter effects. Along with the cutting fuzz tonalities, that lends the Bass War an almost synth-like feel and functionality. The pedal also responds in interesting ways to bass volume and tone attenuation: Lower bass volume generates less compressed, more focused, but still very insane tones that can be boosted to superheated levels with the pedal’s volume knob. Add in the dry/wet mix knob, which lends exponentially more complexity and range to the Bass War’s voice, and you’re talking about an exceedingly varied and evil fuzz device. Oh ... it sounds freaking amazing with guitar, too—yielding psychotically piercing lead tones, vintage biker fuzz, and vicious punk and metal grind. Wow.
Originally introduced in 1975 as part of the Schaffer-Vega Diversity System (SVDS) wireless system, this mini boost pedal originated from a 1/4” headphone jack intended for monitoring purposes.
"The SVDS Boost is a recreation of one of the first full-frequency boosts ever used on stage."
Originally introduced in 1975 as part of the Schaffer-Vega Diversity System (SVDS) wireless system, this mini boost pedal originated from a 1/4” headphone jack intended for monitoring purposes. However, guitarists and bassists soon discovered an unexpected benefit: by connecting their instruments to the headphone output, they could boost their signal by up to 30dB.
Legendary guitarists like Angus Young, David Gilmour, Eddie Van Halen, Carlos Santana, and more utilized this technique. The SVDS Boost is a faithful reproduction of this iconic boost, which may very well be the first full-frequency boost ever heard on stage.
The Sound
Unlike typical clean boosts, the SVDS Boost adds vintage coloration and harmonics that instantly transport you to the golden era of rock. The unique "Goalpost" EQ design enhances the extreme ends of the frequency spectrum, while maintaining the integrity of your mid-range. With up to 30dB of boost, the SVDS unlocks new tonal possibilities, delivering rich harmonics, singing sustain, and even controlled feedback.
Pedal
Placement The SVDS Boost truly shines when placed after other overdrive, distortion, or fuzz pedals, adding dynamic response and restoring low-end fidelity that can often be lost with mid-boost pedals. Its ability to enhance your existing gear is unparalleled, making your guitar, amp, and pedals sound better than ever.
Build
Quality Precision-built using high-quality components, the SVDS Boost is designed to withstand the rigors of professional touring. Its robust construction ensures years of reliable performance, whether in the studio or on the road.
Availability
The SVDS Boost is now available at solodallas.com and authorized SoloDallas dealers worldwide.
Price: $129 USD.
Behind every great guitarist is probably a great tech.
The life of a tech is where art, craft, science, and sorcery collide. My story isn’t so different from thousands of others in the performing arts world. It began at an extremely young age, in what they now call middle school. As much as I wanted to play music, draw, paint, and photograph, I was also drawn to the technical side of the creative pursuits.
Luckily, schools at the time offered classes in photography and art right along with printing, drafting, woodworking, stage crew, and auto repair. I never thought of them as disparate—even then I knew they were all interconnected. There wasn’t a master plan—there was only a path.
Along the way, I met others who shared a passion for music and mechanics. One of the first was a ham-radio fanatic who also loved music. He was referred by a classmate for electronic repair on my guitar amp, and we soon found we had a lot of common interests. Vince was a high school student by day and a radio-phone operator by night. These were the days before cell phones, a time when car phones were huge radio transceivers stowed in the trunks of wealthy people’s cars. To place a call, the driver had to radio in to an operator who would connect them to a landline. Vince would make the connection and then go back to waiting for the next call. We got to talking about repairing guitar amps, or even the possibility of building one from scratch, and started work on an amplifier within days. While Vince worked on the amp chassis, I constructed a plywood speaker cabinet and stuffed it with 15" Utah speakers. After a few weeks and a dozen trips to the electronics store, we had a functioning, terrible-sounding amplifier. Vince was convinced it had something to do with the plate voltages. “Needs more pressure,” was his cryptic explanation. After that, we lost interest, moved on, and lost touch. But I’d learned enough to be dangerous to myself.
That was the beginning of my long-standing respect for technicians of all sorts. There was Gary, who owned a fledgling amplifier company and rental shop on the West Side of Chicago. His amps were robust and had plenty of clean headroom, which really wasn’t what guitarists were looking for by the end of the 1960s. Still, my long drives to his shop were rewarded with free-flowing lectures about amp design. It was a prototype for a DIY music gear business, which was inspiring.
“Because pros rotate through different tours, their experience and expertise come from an infinitely deeper and wider range of real-world experience than working in a music store or watching YouTube videos.”
Similarly, Bruce Gordon had a repair shop shoehorned into a tiny space off Dempster Street in Evanston, just north of Chicago. Gordon started his repair business while playing in local bands, including one that had a string of regional and national hits. I used to walk past his open door on my way to work in the morning and would often stop to talk to him. He might have been the first pro musician that I had ever met who was also a technician. Once again, I found a person who was willing to share information and tips readily. I worked at a later incarnation of his expanded business where I learned from more seasoned techs who were always comparing notes and helping each other.
Over the decades, I learned to lean on the expertise of pro guitar technicians. As the touring business grew, being a tech became a serious profession, and knowing the techs on the road was a constant source of great information and camaraderie. Because pros rotate through different tours, their experience and expertise come from an infinitely deeper and wider range of real-world experience than working in a music store or watching YouTube videos. When I deal with pro musicians as a guitar builder, it’s often through an introduction made by a tech as much as the other way around. If I find a guitarist to be lacking in the ability to verbalize their ideas, often a great tech is there to sort things out.
So here’s to all those who make the big wheels roll. They learn from each other and pass their lessons along to others freely with no strings attached. Like Jackson Browne sang: “They’re the first to arrive, and the last to leave.” They don’t get the spotlight, but the artists know that without them, there is no show. Without them, I wouldn’t be here today. Thank you to every one of you.