The Behringer BM-14M: A $149 Clone of Moog’s Legendary MF-104M Delay
When Behringer first started reimagining Moog’s legendary Moogerfooger pedals, a lot of people wondered if they’d actually go all the way and tackle the MF-104M Analog Delay. That unit, long discontinued, is basically unobtainium now—going for crazy prices on the used market and still one of the most beloved BBD delays ever made. Now we’ve got the answer: the Behringer BM-14M, a full-on analog delay packed with modulation, CV, MIDI, and all the features that made the original such a cult piece of gear. This isn’t just another delay pedal clone—it’s Behringer aiming to bring a studio-grade analog delay into the hands of everyday musicians, at a fraction of the cost. With up to a second of warm bucket-brigade echoes, multiple LFO shapes for modulation, and a surprisingly deep control layout, the BM-14M looks like one of the most ambitious pedals Behringer has put out yet. For anyone who’s been lusting after Moog’s classic delay but couldn’t justify the vintage price tag, this might be the most exciting release of the year.
This site contains affiliate links. If you book or purchase through these links, I may earn a commission at no extra cost to you. This helps support the site and keeps my content free. As an Amazon Associate, I earn from qualifying purchases.
The Classic Inspiration
The Moogerfooger MF-104M Analog Delay has always been one of those mythical pieces of gear. Released in the early 2000s, it built on Moog’s legacy of quirky, hands-on effects, using bucket-brigade chips to create delays with a character you simply can’t fake digitally. Beyond just warm repeats, the MF-104M had that slightly gritty, evolving quality that turned simple echoes into musical textures. For guitarists, synth players, and producers chasing depth and movement, it was less an effect and more an instrument in its own right.
Part of what made the MF-104M so loved was its flexibility. The delay time stretched well beyond what most BBD pedals offered, and the modulation section was unusually powerful for the time, giving players waveforms and controls that went far beyond the typical chorus-like wobble. Add in full CV control for modular heads and the ability to integrate with complex setups, and you had a pedal that lived comfortably in both guitar rigs and studio workflows. It wasn’t just a stompbox — it was a piece of pro-level hardware disguised as one.
The downside, of course, was access. Moog discontinued the MF-104M years ago, and prices on the used market have skyrocketed ever since. Finding one in good condition is rare, and when you do, it’ll cost as much as a high-end synth. That’s where Behringer steps in with the BM-14M: aiming to capture that iconic analog delay sound and control philosophy, but at a price that working musicians can actually stomach. It’s a bold move, but one that makes sense in the larger story of Behringer’s “clone-the-unobtainable” approach.
Features Breakdown
At its core, the Behringer BM-14M is all about that lush bucket-brigade delay sound. You get up to around a second of repeats, which puts it well ahead of most compact analog delays, and a Short/Long switch that changes both the maximum delay time and the overall tonal character. Short mode gives you brighter, snappier echoes perfect for slapback or rhythmic patterns, while Long mode extends the repeats and darkens the tone in that classic analog way. Combined with a Drive control that lets you push the input into subtle grit or rich saturation, the pedal nails the organic, evolving textures that people associate with the original Moog unit.
The Feedback and Mix knobs give you full command over how the echoes sit in your sound. Push the Feedback higher and the BM-14M easily tips into self-oscillation territory, letting you use it as a sound-design tool instead of just a delay. The Mix control blends the wet and dry signal, which is key if you want to treat it like an effect loop or use it in parallel with other gear. These aren’t just basic utility knobs—they’re what make the pedal adaptable, whether you’re dropping in a few repeats behind a guitar riff or turning it into a wall of warbling echoes on a synth pad.
Then there’s the modulation section, which is where the BM-14M really flexes. Instead of just a single triangle wave LFO like you’d find on a typical delay pedal, Behringer gives you six waveforms—sine, triangle, square, saw up, saw down, and random—alongside Rate and Amount controls. That means you can dial in anything from smooth tape-style wobble to jagged pitch jumps or unpredictable chaos. And because you also get a Tap Tempo footswitch, you can keep those modulations perfectly in sync with a track, making this pedal just as usable on stage as it is in the studio.
Control & Connectivity
One of the standout things about the BM-14M is how much control it gives you beyond the front panel. Behringer included CV and expression pedal inputs for the most important parameters: Delay Time, Feedback, LFO Rate, LFO Amount, and Mix. That means you can manipulate the pedal hands-free in a live set, or even patch it directly into a modular rig. For synth players especially, this makes the BM-14M feel more like a piece of outboard gear than a standard pedal.
MIDI is another big deal here. The BM-14M has a MIDI input that lets you control tempo and modulation sync, as well as other parameters, straight from your DAW or a hardware sequencer. That opens up creative workflows where your analog delay isn’t just floating free, but actually locked to your track’s grid. For electronic producers, that kind of integration makes the pedal more than just a fun toy—it’s something you can rely on in a studio session.
The I/O is also flexible in ways that set it apart. Alongside the standard audio in and mix out, you get a dedicated delay out and a feedback insert loop, which means you can run other effects directly into the feedback path for truly experimental textures. Toss a fuzz or a filter in there, and suddenly your repeats become a whole other instrument. Taken together, the connectivity makes the BM-14M much more than a clone—it’s a versatile hub for both traditional delay duties and exploratory sound design.
Alternatives to Consider
If you’re curious how the BM-14M stacks up, the most obvious comparison is still the Moog MF-104M itself. The original pedal remains a dream piece for many, but with prices soaring into the thousands on the used market, it’s hard to justify unless you’re a die-hard collector. The Behringer version won’t carry the same mystique, but for most players, it captures the essence of what made the Moog delay special without the scarcity tax.
There are also other analog delays worth a look. Pedals like the Electro-Harmonix Deluxe Memory Man and the MXR Carbon Copy have their own flavors of BBD warmth, and while they don’t reach quite as deep into modulation or CV territory, they’re classics for a reason. If you want a smaller footprint and a more straightforward feature set, these might make more sense on a traditional pedalboard.
On the software side, there’s even an official Moogerfooger MF-104M emulation from Moog, available as part of the Moogerfooger plugin collection. It nails the character of the original and integrates easily with DAWs, making it a good alternative if you don’t need the physical pedal experience. Other plugins like Soundtoys EchoBoy or H-Delay Hybrid Delay also offer analog-inspired textures with endless tweakability. For some producers, these virtual options might be the smarter move—though none of them deliver the tactile, voltage-driven feel of patching and twisting knobs on a real analog circuit.
Behringer has also been steadily rolling out clones of the other Moogerfooger pedals, so if the BM-14M catches your eye, it’s worth checking out the rest of the lineup. There’s the BM-102 Ring Modulator, the BM-103 Phaser, the BM-107 FreqBox, and the BM-109 Low-Pass Filter, all designed with the same mix of affordability and deep control. Together they form a kind of modular ecosystem that mirrors the original Moog collection, giving you a chance to build that classic Moogerfooger-style workflow without spending boutique-level money.
Pros & Cons
Pros
Affordable way to access Moog-style BBD delay
Up to ~1 second of warm analog repeats with Short/Long modes
Deep modulation with six LFO waveforms and tap tempo
CV, expression, and MIDI integration for flexible setups
Spillover mode keeps repeats smooth when bypassing
Feedback insert loop for creative sound design
Cons
Bulkier than a typical stompbox
Limited maximum delay time compared to digital units
Purists may still prefer the tone and build of the original Moog
No stereo option out of the box
Final Words
The Behringer BM-14M feels like one of the company’s most exciting pedals in years—not just because it recreates a legendary piece of Moog history, but because it does so in a way that’s genuinely accessible. For under $150, you’re getting a full-featured analog delay with modulation, CV, MIDI, and thoughtful extras like spillover and a feedback insert. That combination of vintage warmth and modern flexibility is hard to beat, especially for musicians who’ve only ever dreamed of owning an MF-104M.
That said, it won’t be for everyone. If you’re after pristine, crystal-clear digital delays or a compact pedalboard solution, there are other options out there. But for guitarists, synth heads, and producers who want the tactile, unpredictable magic of a bucket-brigade delay—and the kind of depth usually reserved for boutique or vintage gear—the BM-14M is a no-brainer. It’s Behringer doing what Behringer does best: making the unobtainable suddenly feel within reach.
This site contains affiliate links. If you book or purchase through these links, I may earn a commission at no extra cost to you. This helps support the site and keeps my content free. As an Amazon Associate, I earn from qualifying purchases.