Overview
The Koogo MOD-1 is a mini modulation multi-type effect pedal, available under various manufacturer names, is an extremely economical, Chinese made off course. Dependent on where you buy it, you can find this starting from about $20, however note that it is sold under various names but all the same effects. Equally useful on guitars and keyboards, including synthesizers. Please note however, that I tested this guitar effect pedal on a keyboard. If you try this out with an electric guitar, your sound impressions and usability will most likely be different from mine.
Main Features
- 11 Effect Types (Sine Wave Chorus, Triangle Wave Chorus, Positive Flanger, Negative Flanger, Jet Flanger, Vibrato, Uni-Vibe (Rotary), Vintage Phaser, Opto Tremolo, Bias Tremolo, and Auto Filter)
- Level, Speed, and Depth control knobs.
- True bypass footswitch.
- Preset Storage – The three parameters can be stored and recalled using the footswitch. Multi-colored LED representing bypass, normal, and preset modes.
- AD/DA – Analog to digital conversion, and back, is used at 44.1kHz sampling rate, using 24-bit.
- DSP Processing – 32-bit floating point.
Knob Adjustment Details
As you can see in the picture, the pedal has four knobs and one push foot switches. Knobs are;
- Level – This is a dry/wet control mix adjustment knob.
- Speed – This adjustment knob controls the speed of the modulation.
- Depth – This adjustment knob controls the depth, or range of the modulation.
- Effect Type – This knob switch allows you to select any of the 11 modulation types.
Testing
Note even though I own more than 40 synthesizers, I tested this with a simple Yamaha PSR-36 keyboard that does not have any internal effect processing. Furthermore, I did not add any external effects or processing. For simplicity and to prevent the review video from being too long, I only tested the following sounds; Brass, Electric Piano, Strings, Organ, and Bells.
Video
To hear how this Koggo modulation multi-type effect pedal sounds, check out my YouTube video here; https://youtu.be/lGY0iCJ71XQ
Effect type details
- Sine Wave Chorus – Creates a rich, watery sound by mixing an original signal with delayed, pitch-shifted copies, where the pitch modulation of those copies follows a smooth, cyclical sine wave, resulting in a classic, deep “swooping” or shimmering texture, distinct from the more angular sounds of triangle wave choruses, often used in music to thicken sounds like guitars, keyboards, or vocals. Note there is not much difference between this chorus, and the one below using a triangle waveform to modulate. You may consider a sine wave to be a modulated triangle wave. Difference is perhaps more noticeable with slower modulation speeds.
- Triangle Wave Chorus – Much like the effect described above, but using a triangle wave LFO producing a more abrupt, stepped pitch change, leading to a more noticeable, “jangly” sound.
- Positive Flanger – A flanger is an audio effect created by mixing two copies of the same signal, with one copy slightly delayed and its delay time continuously modulated to create a sweeping, “jet-like” sound. This process causes frequencies to be cancelled and reinforced, resulting in a characteristic “comb filter” effect with peaks and notches. Flangers are used to add depth and movement to music and have controls for speed, depth, and feedback to adjust the effect’s intensity. A positive flanger refers to the modulated signal being added to the original signal.
- Negative Flanger – Much like the effect described above, instead here the modulated signal is inverted before it is added to the original signal.
- Jet Flanger – Much like the two previous effects, except here feedback is introduced making for a more prominent jet “whoosh” or “swoosh” sound.
- Vibrato – Creates a richer, shimmering sound by duplicating the original audio signal, slightly delaying the copies, and modulating their pitch before blending them with the original. This process simulates the sound of multiple voices or instruments playing in unison, adding depth, thickness, and width to sounds like guitars, vocals, and synthesizers.
- Uni-Vibe (Rotary) – A speaker effect that creates a swirling, modulated sound by physically spinning the sound source, and is also used to describe both the underlying physics and digital emulations of this sound. The effect is achieved in the original Leslie speaker cabinet by having one speaker point into a spinning horn for high frequencies and another pointed into a spinning drum for low frequencies. The physical rotation causes a Doppler effect, which alters the sound’s pitch and intensity as it moves towards and away from the listener.
- Vintage Phaser – Audio effect that creates a swirling or “whooshing” sound by splitting a signal, delaying one copy, and then feeding it back to sweep peaks and notches across the frequency spectrum. It is controlled by an LFO frequency, or rate, and can be adjusted with depth and feedback to alter the intensity and character of the effect, used commonly on guitars and other instruments to add movement, thickness, and character.
- Opto Tremolo – A vintage-style volume modulation created by using a light source (like an LED or bulb) and a light-dependent resistor (LDR) in an optocoupler, making a smooth, pulsating sound common in classic Fender amps, contrasting with choppier tube-bias tremolos, perfect for surf, rock, or subtle throbbing textures by altering signal resistance with light intensity.
- Bias Tremolo – a rich, dynamic volume effect in vintage tube amps that works by modulating the power tube’s bias voltage, unlike other tremolos that cut the signal. This creates a uniquely smooth, deep sound that responds to playing dynamics, letting louder notes “play over” the effect, with some designs also offering a harmonic or phaser-like quality, common in Fender “brownface” amps.
- Auto Filter – A dynamic audio effect, common in music production (like Ableton, Logic Pro), that automatically sweeps a filter’s cutoff frequency, creating movement and tonal shifts, unlike static EQs. It uses a Low-Frequency Oscillator (LFO) or envelope follower to rhythmically modulate frequencies, adding effects like swooshing, pulsing, or classic synth “wah” sounds to instruments, drums, or vocals, often synced to the beat.
Connectors
- Power: There’s only option to power this effect pedal, and that is with a standard negative center pole 9V female socket. Power requirements are 100mA.
- Input: One ¼” (6.5mm) unbalanced female mono TS jack socket
- Output: One ¼” (6.5mm) unbalanced female mono TS socket
Build Quality: Case, Knobs, and Switches
The metal case seems very sturdy. Knobs too are fairly sturdy. The adjustment knobs are tiny, with not quite enough distance between them, making it a bit difficult to turn and adjust. The foot switches seem very solid and of good quality. The pedal has a large rubber grip mat glued to underside, preventing it from sliding much, if any.
Accessories
- None
Documentation
- One small 6.5” x 4.5” single sided letter paper.
- Provides decent information
- What is missing are not only the full name of the abbreviated modulation types, but also information on the workings of each type, which would have been very informative!
Size
- Dimensions: 45mm wide x 95mm deep x 48mm tall
- Weight: 237 grams with box
Pros:
- Extremely affordable.
- Storing and recalling of the knob parameters.
- Solid metal case.
- Sturdy knobs.
- No audible noise that I was able to notice.
Cons:
- Parameters Adjustment Knobs: It’s not really a problem these knobs are tiny, but the small spacing between them makes it a bit cumbersome to tweak.
- No non-abbreviated modulation type names, or how exactly they are processed, are revealed in the documentation!
Advanced Usage
- At about $20 (at time of purchase) per pedal the most obvious is to use two of these, parameters tweaked slightly different for a nice stereo effect!
- Secondly since this pedal do not include any tone controls, one can split the signal coming from your instrument into two. One goes to a channel on your mixer (assuming it has individual channel tone controls), and the other goes to the input of this pedal, and from the output to another channel on your mixer. You will then have individual tone controls on both dry and wet signals!
Conclusion
11 Modulation variations effects that are all quite useful, for about $20 (at time of purchase) is a no-brainer! I actually bought two, and tweak the parameters slightly different for a nice stereo effect! Note off course here usability varies dependent on what music type of instrument you are using it with. Build is solid, and the signal quality is noise-free.