The all-new MF-109S Saturator is a “free gift” for Moogerfooger plugin owners

Moogerfooger MF-109S Saturator plugin
(Image credit: Moog Music)

It’s been little more than a month since Moog revived its Moogerfooger effects pedals as a bundle of plugins, but already it’s added another one to the collection. The difference here is that the MF-109S Saturator plugin isn’t an emulation of a hardware device - it’s an all-new design that emerged while the other Moogerfooger software ports were being developed.

The focus here is on the renowned Moogerfooger input drive stage, which is known for adding warmth, distortion and crunch. In the case of the MF-109S, you have dynamic control over this, and it can be used to create everything from distorted overdrive and analogue-style saturation to smooth compression.

As a further bonus, you also get the noise generator circuit from the Minimoog Model D synth. You can adjust both the level and tone of this and switch the filter type.

The MF-109S Saturator is included as a “free gift” if you buy the Moogerfooger plugins bundle, and is also being offered for free to anyone who already owns said bundle (which seems only fair, to be honest). This is billed as a limited-time offer, though - whether the plugin will be withdrawn at some point remains to be seen (Moog certainly won’t be able to blame parts shortages if it is…)

The Moogerfooger effects plugins are available now priced at $149 and run in VST/AU/AAX formats on PC and Mac. You can purchase them or download a 7-day trial from the Moog website.

If you’d rather have your Moog hit on your mobile device, we can also tell you that the company’s three iOS synths - Minimoog Model D, Model 15 and Animoog Z - are currently on sale for half price on the Apple App Store. These will run as macOS plugins, too.

Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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