A new Moog monosynth is exciting enough in itself, but the Sub Phatty has hidden depths that its vintage predecessors could only dream of. When Moog Music announce a new synthesizer, the Internet buckles under the weight of lust, rumour, speculation and the wish-lists of those for whom the Moog name will never evoke anything other than unquestioning loyalty. I am more pragmatic than that. Nobody can question the importance of the Minimoog and Taurus pedals, and the likes of the Prodigy and Source deserve more than passing respect. But for every classic Moog, there was another that didn't quite earn its right to the name. The same is true today. The Voyager XL is an object of such beauty that it's sometimes hard to play it rather than just gaze, adoringly. ![]() Then there's the Slim Phatty; it's fair to say that we'll never be bosom buddies. So what of today's offering? Will the Sub Phatty add to the Moog legend, or will it join the list of 'nearly but not quite” synths that bespeckle the company's history? At first sight, the Sub Phatty is a traditional analogue synth boasting a knobby control panel, a 25-note keyboard, and standard pitch-bend and modulation wheels. All the things that you need for monophonic synthesis — oscillators, noise, a filter, dual contour generators and an LFO — are visible and, if you compare it with a vintage synth of similar form and function (say, a Prodigy) you'll find that it has significantly more facilities on its front panel. But, in addition to these, it offers no fewer than 51 hidden parameters, many of which are intimately bound up with the sound it produces. You'll soon be able to control these using the forthcoming editor/librarian software, but if this isn't to hand, you can access them using a Shift Mode in which some buttons and switches offer what, in the past, would have been called Page 2 functions, while other parameters can be accessed by pressing combinations of the Bank and Patch buttons, followed by keys on the keyboard itself. Moog Sub Phatty User Manual. Moog little phatty analog synthesizer user's manual (46 pages). Connect one end of a USB cable to the Sub Phatty’s USB port and the other end to an available USB port on your computer. The Sub Phatty supports MIDI I/O over USB, but not audio data. Features of the Little Phatty Editor/Librarian include. (Pro-Tools, Logic Cubase and etc.) through the editor to Moog Little Phatty keyboard synthesizer. In this short discussion we will be dealing with LOGIC as the basis of our examples. Moog LP SE V-Output Port and Moog LP SE V-Input Port. In the editor's setup. Little Phatty Editor. So, for example, if you want to change the filter slope, you have to press Bank 4 and Activate to enter Shift Mode, followed by Bank 2 and Patch 1 to access the appropriate parameter, and then the lowest C, C#, D or D# keys to choose one of the four options. It's not a particularly elegant system, but one of Moog's engineers explained it to me as follows: 'People may wonder about the relative profusion of page 2 functions, versus the absence of panel labels for them. This was a conscious decision to keep the panel as clean and uncluttered as possible, so as to be minimally off-putting for newcomers to knob-per-function analogue panel design. If you approach the instrument as though the panel functions are all it has, it remains a complete and very playable instrument. If you're curious enough to delve deeper, you can consult the documentation when necessary, until you've internalised the whole layout. Hd punjabi movies free download. My own experience has been that of genuine surprise at how quickly I memorised the more commonly used shift functions. I hope others find it similarly convenient once they've gotten used to it.” I'm not sure that I fully accept this. ![]() With any conventional design, these functions would be accessed and programmed using a screen and a simple menu system. Nevertheless, it's a novel approach, and it could work. So let's find out if it does. Over the years, Moog's oscillators have been described as warm, lush and organic, but I'm more inclined to describe the Sub Phatty's as 'precise', because they do exactly what I ask of them. That's not a veiled criticism, and it certainly isn't a euphemism for 'thin'; a single Sub Phatty oscillator with a touch of PWM is a powerful beastie, especially in the lower octaves. Neither are the oscillators lacking in facilities. The initial waveform for each can be selected within a continuous spectrum from triangle to sawtooth to square to pulse and, in a manner analogous to PWM, you can modulate the waveshapes of Osc 1, Osc 2 or both, as selected in the Hidden Functions.
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