#Moog little phatty editor Patch
#Moog little phatty editor full

If you are new to synthesis and these options don't set off lightbulbs of recognition over your head, they are all explained in detail within the Sub Phatty's manual.

These include Glide Type, Keyboard Transpose, Waveform Modulation Destination and Amplifier Envelope Gate, amongst many others. By pressing the Bank 4 and Activate Panel buttons simultaneously, users suddenly have access to 51 additional controls that include physical control reassignments and other parameter adjustments. Therefore there should be no worry about bringing this analogue accomplice seamlessly into the world of your 21st century productions.Īs it was birthed without a digital screen to help you navigate its innards, the Sub Phatty uses something called Shift mode to access the functions you can't get to via the front panel. From the screenshots Moog supplied, however, it's sure to resemble the one bundled with the Moog Minitaur in terms of design and integration. Unfortunately, when we had a look at the Sub Phatty, the editor was still in development.

#Moog little phatty editor Patch

'Sub Phatty's software editor/library software will enable users to create, store and retrieve their own patch creations whenever they like'īut lest you cry foul, be aware that the Sub Phatty's software editor/library software (which will be available in RTAS, Audio Unit and VST as well as standalone versions), will enable users to create, store and retrieve their own creations whenever they like. These form a bank of four panel switches, each allowing for the storage of four performance patches. Like the Voyager Old School, the Sub Phatty lacks a digital display and can only accommodate 16 onboard presets. The aforementioned filter cutoff still retains that sought-after Moog sound, but you can also inject an bit of edgy resonance to it, as well, to fashion more modern flavours.

#Moog little phatty editor full

Other sound sources include Sub OSC (using a square wave, which sits a full octave below OSC 1), a pink noise generator, and a traditional external input jack for processing sounds through the Sub Phatty. Even in a cluttered home studio where the air conditioning tends to fluctuate throughout the day, the Sub Phatty's tuning is rock-solid, whether measured digitally or by a trusty tuning fork. We'd be remiss here not to mention how quickly and accurately the VCOs come up to playing temperature. Both oscillators employ variable waveshapes, allowing for the added character found between the borders of distinct setting. The Sub Phatty is anchored by two free-running VCOs, which feature pitch ranges of 16', 8', 4' and 2'. Apart from being one of the controls you're most likely to reach for sound-wise, Moog has enhanced the size of that particular control to drive home the notion of the panel as a performance gateway as well as a sound-shaping interface. Your eye, however, goes straight to the oversized Cutoff knob that sits atop the Filter section. Just 25 keys strong (semi-weighted but lacking aftertouch), the Sub Phatty's compact design might not be ideal for soloists of the Rick Wakeman ilk, but the reduced footprint is offset by an easily accessible switch that gives you an additional plus- or minus-two octaves of range to play with. 'An easily accessible switch that gives you an additional plus- or minus-two octaves of range to play with' The patch points, including power, audio in/out, CV inputs, MIDI, and USB, are located on the left panel towards the rear of the instrument.Īlthough the Sub Phatty doesn't have a titling front panel like the Voyagers do, the default angle is extremely comfortable to work with and the entire unit carries on the solid, ergonomically pleasing Moog tradition. The Sub Phatty emerges from its packaging as a 7.2kg piece of analogue ordnance that screams 'tweak me' thanks to all the knobs you'll find waiting for you.