Classic Moog Sound for the Next Generation of Producers
Moogerfooger Effects Plug-ins are a re-invention of Moog’s coveted 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.
Each of the seven effects (plus a brand newsaturation tool) have been meticulously renewed with reverence for the lush, distinctive tones of the original analog circuits—retaining the exceptional sound quality the pedals are known for, while expanding on what's possible in the hardware realm. With stereo functionality and an extended feature set, these plug-ins further tailor the classic Moogerfooger functionality to the modern digital creator. With all parameters ready to be automated as well as the ability to save and manage presets, Moogerfooger Effects Plug-ins mutate and re-shape themselves around your audio tracks.
Creative Tools Designed with Interconnectivity in Mind
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.Meet the Moogerfoogers: Each Effect Explained
Each member of the Moogerfooger Effects Plug-ins family has been designed to embody not only the warm and vibrant sound of Moog’s original analog effects pedals, but also the organic way in which the parameters interact to create a musical playing experience. With CV interconnectivity, stereo functionality, an extended feature set, the ability to run multiple instances, and presets, these effects tailor the classic Moogerfooger functionality to the modern digital creator.
- The MF-101S Lowpass Filter honors Bob Moog’s design of the classic Moog ladder filter. This effect pairs the filter with an envelope follower to impart dynamic motion to the filtered sound.
- The spaced-out, retro-futuristic sound of the MF-102SRing Modulator features a wide-range carrier oscillator paired with an LFO for effects from soft tremolo to far-out clangorous ring modulation tones.
- A descendant of the vibrant 1970s rack-mounted Moog phaser with an on-board LFO, the MF-103S 12-Stage Phaser gives users access to the pedal’s distinct psychedelic enveloping sound.
- Rich and full-bodied, the MF-104S Analog Delay captures the warm, organic texture and character of Moog’s sought-after analog delay circuitry, while adding modern flexibility and ease of use.
- The MF-105S MuRF (Multiple Resonant Filter Array) combines a resonant filter bank with a pattern generator and skewing envelope for vibrant animation of an incoming sound.
- Unconventional, eccentric, freaky: the MF-107S FreqBox lives up to its name with gnarly synced VCO sounds plus envelope and FM modulation.
- For flexible processing, the MF-108S Cluster Flux can do it all. Modulate between chorus, flanging, and vibrato to achieve sounds ranging from subtle swirling to intense flanging.
- The new software-only MF-109S Saturator is a powerful saturation tool based on the classic Moogerfooger input drive stage that adds warmth, distortion, and compression to any sound.
This feature-packed suite of Moogerfooger Effects Plug-ins is now available to purchase at moogmusic.com. Click here to get started!
Moog’s Focus on Making Its Instruments More Accessible
The company’s foray into the software space began just over a decade ago with the release of Moog’s first iOS app. Its growing collection of budget-friendly applications for iOS and macOS users has made it possible for more creatives around the world to experiment with sound design and synthesis concepts.
With today’s announcement of the new Moogerfooger Effects Plug-ins, available for both Apple and Windows, the team at Moog takes a giant leap forward in its mission to make professional-level audio production tools more accessible—and useful—for the artist community. Steve Dunnington, the company’s current VP of Engineering and former apprentice of Bob Moog, shares more on this evolution and the importance of paying tribute to Moog's heritage.
“Bob liked to describe himself as a toolmaker for musicians,” Steve recalls. “He felt that technology should not drive the needs of musicians, but that engineers and toolmakers should use the needs of musicians to harness the power of technologies to serve those needs. He was never dogmatic about whether analog or digital was better; he saw both technologies as different means to serve the musicians that he respected and admired.”
The Moog veteran of 28 years and counting has worked on the development of dozens of hardware and software instruments, including both the classic analog Moogerfooger and new plug-in emulations.
“As we began the development of the Moogerfooger Effects Plug-ins, it was of paramount importance not just to clone the devices, but to look for opportunities where digital technology could improve some of their characteristics. This is in alignment with Bob Moog’s philosophies—he was reluctant to copy his old designs but preferred to continue to refine and improve them based on the needs of musicians. Thus, the envelope follower controls on the MF-101S become more flexible for a wider variety of program material than the original MF-101, thanks to the possibilities provided by digital technology. Other examples abound in the Moogerfooger Effects Plug-ins, where inspiration was taken from the original with the addition of useful improvements. They sound great, like the classic Moog circuits we know and love.”
Ty Segall Creates Original Song with Moogerfooger Effects Plug-ins, Vintage Minimoog Model D & More
In a new video from Moog Music, Ty Segall invites you inside Harmonizer Studio, home to his wonderland of custom and vintage instruments. Witness the musician and producer’s creative process as he builds an original composition piece by piece using guitar, bass, piano, synthesizer, a mix of percussion, and Moog’s new software effects plug-ins.
In the making of “Frog Meets Fly” Ty demonstrates the sonic range and transformative potential of these effects. Using the MF-107S FreqBox to morph metallic percussion into synth voices and imitate 60s-style fuzz tones on the track’s bass line, adding depth to his Rhodes with multiple instances of the MF-108S Cluster Flux, transforming clean electric guitar into alien lead lines via the MF-102S Ring Modulator, and adding vintage-toned delay to his Minimoog Model D with the MF-104S Delay, Ty puts the processing power of these effects on full display over the 15 separate tracks in this arrangement.
Watch the debut of “Frog Meets Fly” by Ty Segall on Moog’s YouTube channel Here.
Expand Your Effects Collection
In addition to the full collection of all eight effects, these professional sound design and audio production plug-ins are now available individually or in bundles of two or four.
- Individual Purchase (1 Plug-in): $59-$79 each
- Build-Your-Own Set (2 Plug-ins): $99
- Build-Your-Own Set (4 Plug-ins): $149
- Complete Suite (8 Plug-ins) : $279
Ty Segall | Frog Meets Fly | Moogerfooger Effects Plug-ins
Gibson originally launched the EB-6 model with the intention of serving consumers looking for a “tic-tac” bass sound.
The Gibson EB-6 was announced in 1959 and came into the world in 1960, not with a dual-horn body but with that of an elegant ES-335. They looked stately, with a thin, semi-hollow body, f-holes, and a sunburst finish. Our pick for this Vintage Vault column is one such first-year model, in about as original condition as you’re able to find today. “Why?” you may be asking. Well, read on....
When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye. The real competition were the Danelectro 6-string basses that seemed to have popped up out of nowhere and were suddenly being used on lots of hit records by the likes of Elvis, Patsy Cline, and other household names. Danos like the UB-2 (introduced in ’56), the Longhorn 4623 (’58), and the Shorthorn 3612 (’58) were the earliest attempts any company made at a 6-string bass in this style: not quite a standard electric bass, not quite a guitar, nor, for that matter, quite like a baritone guitar.
The only change this vintage EB-6 features is a replacement set of Kluson tuners.
Photo by Ken Lapworth
Gibson, Fender, and others during this era would in fact call these basses “baritone guitars,” to add to our confusion today. But these vintage “baritones” were all tuned one octave below a standard guitar, with scale lengths around 30", while most modern baritones are tuned B-to-B or A-to-A and have scale lengths between 26" and 30".)
At the time, those Danelectros were instrumental to what was called the “tic-tac” bass sound of Nashville records produced by Chet Atkins, or the “click-bass” tones made out west by producer Lee Hazlewood. Gibson wanted something for this market, and the EB-6 was born.
“When the EB-6 was introduced, the Bass VI was still a glimmer in Leo Fender’s eye.”
The 30.5" scale 1960 EB-6 has a single humbucking pickup, a volume knob, a tone knob, and a small, push-button “Tone Selector Switch” that engages a treble circuit for an instant tic-tac sound. (Without engaging that switch, you get a bass-heavy tone so deep that cowboy chords will sound like a muddy mess.)
The EB-6, for better or for worse, did not unseat the Danelectros, and a November 1959 price list from Gibson hints at why: The EB-6 retailed for $340, compared to Dano price tags that ranged from $85 to $150. Only a few dozen EB-6 basses were shipped in 1960, and only 67 total are known to have been built before Gibson changed the shape to the SG style in 1962.
Most players who come across an EB-6 today think it was a response to the Fender Bass VI, but the former actually beat the latter to the market by a full year.
Photo by Ken Lapworth
It’s sad that so few were built. Sure, it was a high-end model made to achieve the novelty tic-tac sound of cheaper instruments, but in its full-voiced glory, the EB-6 has a huge potential of tones. It would sound great in our contemporary guitar era where more players are exploring baritone ranges, and where so many people got back into the Bass VI after seeing the Beatles play one in the 2021 documentary, Get Back.
It’s sadder, still, how many original-era EB-6s have been parted out in the decades since. Remember earlier when I wrote that our Vintage Vaultpick was about as original as you could find? That’s because the model’s single humbucker is a PAF, its Kluson tuners are double-line, and its knobs are identical to those on Les Paul ’Bursts. So as people repaired broken ’Bursts, converted other LPs to ’Bursts, or otherwise sought to give other Gibsons a “Golden Era” sound and look ... they often stripped these forgotten EB-6 basses for parts.
This original EB-6 is up for sale now from Reverb seller Emerald City Guitars for a $16,950 asking price at the time of writing. The only thing that isn’t original about it is a replacement set of Kluson tuners, not because its originals were stolen but just to help preserve them. (They will be included in the case.)
With so few surviving 335-style EB-6 basses, Reverb doesn’t have a ton of sales data to compare prices to. Ten years ago, a lucky buyer found a nearly original 1960 EB-6 for about $7,000. But Emerald City’s $16,950 asking price is closer to more recent examples and asking prices.
Sources: Prices on Gibson Instruments, November 1, 1959, Tony Bacon’s “Danelectro’s UB-2 and the Early Days of 6-String Basses” Reverb News article, Gruhn’s Guide to Vintage Guitars, Tom Wheeler’s American Guitars: An Illustrated History, Reverb listings and Price Guide sales data.
Originally released in the 1980s, the Victory has long been a cult favorite among guitarists for its distinctive double cutaway design and excellent upper-fret access. These new models feature flexible electronics, enhanced body contours, improved weight and balance, and an Explorer headstock shape.
A Cult Classic Made Modern
The new Victory features refined body contours, improved weight and balance, and an updated headstock shape based on the popular Gibson Explorer.
Effortless Playing
With a fast-playing SlimTaper neck profile and ebony fretboard with a compound radius, the Victory delivers low action without fret buzz everywhere on the fretboard.
Flexible Electronics
The two 80s Tribute humbucker pickups are wired to push/pull master volume and tone controls for coil splitting and inner/outer coil selection when the coils are split.
For more information, please visit gibson.com.
Gibson Victory Figured Top Electric Guitar - Iguana Burst
Released in 1983, the Roland SDE-3000 rackmount delay was a staple for pro players of the era and remains revered for its rich analog/digital hybrid sound and distinctive modulation. BOSS reimagined this retro classic in 2023 with the acclaimed SDE-3000D and SDE-3000EVH, two wide-format pedals with stereo sound, advanced features, and expanded connectivity. The SDE-3 brings the authentic SDE-3000 vibe to a streamlined BOSS compact, enhanced with innovative creative tools for every musical style. The SDE-3 delivers evocative delay sounds that drip with warmth and musicality. The efficient panel provides the primary controls of its vintage benchmark—including delay time, feedback, and independent rate and depth knobs for the modulation—plus additional knobs for expanded sonic potential.
A wide range of tones are available, from basic mono delays and ’80s-style mod/delay combos to moody textures for ambient, chill, and lo-fi music. Along with reproducing the SDE-3000's original mono sound, the SDE-3 includes a powerful Offset knob to create interesting tones with two simultaneous delays. With one simple control, the user can instantly add a second delay to the primary delay. This provides a wealth of mono and stereo colors not available with other delay pedals, including unique doubled sounds and timed dual delays with tap tempo control. The versatile SDE-3 provides output configurations to suit any stage or studio scenario.
Two stereo modes include discrete left/right delays and a panning option for ultra-wide sounds that move across the stereo field. Dry and effect-only signals can be sent to two amps for wet/dry setups, and the direct sound can be muted for studio mixing and parallel effect rigs. The SDE-3 offers numerous control options to enhance live and studio performances. Tap tempo mode is available with a press and hold of the pedal switch, while the TRS MIDI input can be used to sync the delay time with clock signals from DAWs, pedals, and drum machines. Optional external footswitches provide on-demand access to tap tempo and a hold function for on-the-fly looping. Alternately, an expression pedal can be used to control the Level, Feedback, and Time knobs for delay mix adjustment, wild pitch effects, and dramatic self-oscillation.
The new BOSS SDE-3 Dual Delay Pedal will be available for purchase at authorized U.S. BOSS retailers in October for $219.99. To learn more, visit www.boss.info.