Moog’s latest synth represents a new era for the iconic brand. Greg Scarth puts it to the test.

The new Moog Messenger is classic Moog in many ways. This iconic synth brand has its roots way back in the 1950s and has been at the forefront of electronic music tech ever since. You’ll struggle to find an electronic musician who hasn’t used a Moog synth – or at least something inspired by one – in their productions at some point.
Moog instruments have helped to define electronic music, from the monstrous modular synths of the 1960s through to the legendary Minimoog and on to more recent offerings like the DFAM and Grandmother. But the Messenger also represents a new era for Moog, under new ownership since 2023 and arguably more accessible and affordable than ever before.
Almost exactly two years ago to this week, Moog was acquired by the audio electronics super-company inMusic Brands, home to the likes of Akai, Denon DJ and M-Audio. There are sometimes justified concerns when an independent brand is bought out by a conglomerate, but there are also benefits in terms of production economies of scale and efficiency.
The stark reality is that Moog is a brand which historically has struggled with production at times, going out of business and reemerging under subtly different names. Even in its most recent incarnation as the worker-owned, Asheville, North Carolina operation Moog Music Inc, Moog instruments were undeniably more expensive than their more mass-produced equivalents from similarly iconic music tech brands such as Korg and Roland.

Onto the Messenger, then, and this synth represents a new era but remains true to Moog’s proud history. The overall concept is familiar from Moog synths of the past: it’s a monophonic design (meaning it can only play one note at a time), featuring the legendary Moog ladder filter and oscillators which offer more versatility than the classic Moog designs without sacrificing any fatness or character. Elsewhere, there are modern updates and features which help to update the classic concepts, from simple things like MIDI control through to patch storage.
Cutting to the chase, the Messenger feels and sound superb. The plastic enclosure may not be quite as weighty as some Moogs of the past (although fit and finish is infinitely better than most vintage models), but this is still a very solidly built, professional-feeling instrument. The excellent two-and-a-half octave keyboard offers precise control and solid feedback which original Minimoog owners could only dream of, while all the controls have an accurate and smooth feel.
What it all boils down to is, of course, sound, and the Messenger delivers in spades. From the simplest patches through to exploring some of the more advanced modulation features, the sound is unmistakably Moog (thanks in large part to the distinctive and much-imitated ladder-circuit low-pass filter). Moog is the watchword for fat, funky bass sounds, but the Messenger can do so much more, from wispy lead sounds to more experimental FX and harder-edged techno tones.

The front panel layout is easy to get to grips with thanks to its clear, uncomplicated knob-per-function controls for most key features. he Messenger looks fairly old-school in terms of those front panel controls and the lack of a screen, but there are plenty of user-friendly modern features lurking behind that facade, including preset storage and a powerful sequencer/arpeggiator. Even a complete beginner could understand the Messenger, but once you get the hang of the basics there’s plenty of depth to explore. That’s reflected in the inclusion of more advanced features and options which you’d typically associate with more expensive instruments, such as dedicated CV/gate and clock in and out, plus connections for sustain and expression pedals.
At just under £700, the Messenger is competitively priced, but crucially it ticks all the boxes for classic Moog sound, bringing the legendary brand to a slightly more affordable level without losing any of the magic that made Moog the byword for electronic sound.
Greg Scarth
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