At a time when Bob Moog and others were pioneering the concept of voltage control for oscillators, filters, amplifiers, and more, Bob Moog again broke the mold and conceived a fixed filter bank; no voltage control! This was not an equalizer although it had certain visual characteristics of one. No, the intent of the FFB was to enhance the primary signal, adding harmonics at specific frequencies or removing them at others. This was a time when musicians and engineers were struggling to come to terms with the new synthesizers charging across the music industry and how to employ them in the composing and performing world. Some wanted completely new and never before heard sonic landscapes to push themselves and their audiences into new worlds of musical experience. Others wanted to create more traditional and familiar sounds, while still pushing the boundaries and making use of the new voltage controls, features, and character not available in a traditional “un-plugged” instrument. Some wanted both. Enter the Moog Fixed Filter Bank. A filter which helped composers and performers by allowing them to add subtle or not so subtle resonances to the signal or removing frequency bands altogether. This process, when mixed in with the unaltered, “dry” signal, can mimic the actual behavior of a traditional instrument which has inherent natural, resonant modes due to construction and design. It can also act on its own as a unique and creative source of sound shaping possibilities not available in other filter structures. It’s a wonderful module and addition to any musical composition whether traditional or on the edge.
Of course, musicians are not going to confine their creativity to an intended use! This filter opens up amazing sonic vistas by adding a unique emphasis and bite to a signal. This results in an effect that goes beyond a basic equalizer by adding or subtracting harmonic content to a signal at specific points in the frequency spectrum.
This plug-in of course started with the genius and vision of Bob Moog. The next stage came with the resurgence of analog modular synthesizers and those who were resurrecting the great modules of the past and developing new modules for the future. Several clones of the 914 were being introduced primarily based on active filter design structures. The original structure of the 914, using simple inductors, capacitors, and resistors for the filter cells, has subtle interactions which become lost in the sterile world of semiconductors. These recent efforts were valiant and produced clones worthy of admiration. However, a design based on The original structure was begging to be pursued. A source for inductors was found, the schematics were scrutinized, errors in the schematics from copying were weeded out, circuit boards were designed, and the result was an extremely accurate and faithful copy of the original response as published by Moog in their original owner’s manual, see the 914 FFB page at http://moogarchives.com/.
With a solid hardware version in hand, a software model could begin. Careful characterization and measurement of the hardware, along with a software model keeping the unique structure of the Moog FFB with its two stage design, has resulted in a software model that faithfully matches and follows that of the original. Adding some extra features, such as being able to direct the output of each cell to either the left or right channel, opens up additional possibilities that add to the charm, utility, and character of the filter.
The Pulsar 914 is simply put, a meticulous, spot-on implementation of the Inductor 914 Fixed Filter Bank.
- Features fourteen vintage style fixed frequency, inductor based filters.
- There is a LP and a HP shelf filter
- Twelve Band Pass filters are set at half octave interval spacings, which range from 125 Hz through to 5.8kHz.
- Option to split into two six band filters (175Hz, 350Hz, 700Hz, 1.4kHz, 2.8Khz and 5.6 kHz plus Low Pass) for the Left Channel, and the alternate six bands (125 Hz, 250 Hz, 500 Hz, 1kHz, 2 kHz, 4kHz plus High Pass) for the Right channel. This is a very musical split, as it can perform as two separate Fixed Filter Banks with Octave spacing between filters, and the Right channel is offset against the Left channel by a half octave.
- Wet-Dry cross fader mixes between the treated signal and the dry or external signal , again with manual and Voltage Controlled panning between banks.
- Zero latency
- macOS: AU, AAX and VST3 formats.
- Windows: VST3 and AAX formats.
Supported Plugin Formats
AU, VST3, AAX
Supported Operating Systems
Apple Silicon M1 Native and Intel CPU (Universal 2 Binary)
Display resolution: 1440 × 900px or 1280 × 960px or higher
Memory: 2 GB RAM
A one-time challenge & response over the internet. License works on up two separate machines.
Latest User Guide
For previously authorized computers
40-Day Free Trial
To start your 40-day fully functional trial for 2 computers, Press the "add to cart" Trial button and complete the checkout. Follow the instructions you will get by email. No dongle required.
With every full version purchase, a gift of custom handmade real calf hide wallet (lighter, softer and finer grain than cowhide) made here in Türkiye by a local artisan shop.
I absolutely love this plugin,
it sounds great …real…highly recommended
P914 FFB builds on the classic Moog Fixed Filter Bank and pushes beyond its limitations to provide familiar classic filtered tones as well as some new creative ones.
In addition to the inductor based filters, P914 adds a few features that allow for greater usability including a Mix control, preset Morphing (allows for moving filters), and my personal favorite, the Stereo filters and delay offsets per side.
Having the latter two allow for spacial spreads (without using modulation effects like chorus). My favorite use for P914 is on acoustic guitars. Dial down the unwanted resonances, boost the sparkle and body, then separate it into a wide, lush sound. Offset the delay time in one channel to go even wider.
Of course it works well on synths as the original was intended. You can dial in acoustic resonances for electric instruments quite well as a sound design tool. Does fun and creative work on drums as well.
I think that it might not be seen as exciting of an effect these days, but I’ve found it to be a useful part of my collection. Also note that Pulsar Modular regularly update and bring new features to their existing plugins.
What a great and beautifully sounding filterset!
Note that in the current version v1.5.3, the plugin does not remember the plugin window size if it is changed – after closing the plugin, it always opens in the same default size (at least with the 64 bit VST3 version on Win10), which is a bit annoying. Also, the GUI design appears to be a lot less streamlined/polished compared to the newer Pulsar Modular plugins. Fortunately, there seems to be an update in the works with a GUI upgrade (and additional features as well). This is a great thing with Pulsar Modular actually – even older releases don’t get abandoned but are still improved and maintained, and updates are usually free.
I own all of the Pulsar Modular plugins and I am so excited. It sounds so good and expensive!!
Does what it says on the box – great filterset with analog hardware mojo. I’ve never had access to the real deal but don’t feel like I’m missing out.