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Moog | Sub Phatty |
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Description | Moog Music’s engineers have crafted the Sub Phatty’s oscillators to perform with extreme accuracy and require almost no warm-up time. Just power up, dial in your settings, and put your fingers to work on the keys to summon crisp and detailed waveforms, a vibrant and articulate sound that more than honors the rich sonic density synonymous with Moog creations. The Sub Phatty is the first analog synth to feature Moog’s transformative new Multidrive section; at low settings Multidrive adds warmth and girth, but when pushed, it delivers a screaming snarl that is highly reactive to resonance, waveshape, and oscillator level. Experiment with this new circuit and unlock an undiscovered world of vivid analog tonalities. The mixer section offers innovations of its own, including a sub oscillator that outputs a square wave one octave below Oscillator 1. Use this powerful tool as a third oscillator for added depth, or to craft your own customized incarnation of monstrous Moog bass. Also in the mixer section is a noise generator voiced to deliver low-frequency content, rich with body and punch. If your goal is to sculpt analog percussion and sound effects, look no further. The Sub Phatty features a wide range of parameters just below the surface, and all features are easily accessible from the instrument’s front panel, or via the free standalone/plugin editor. Select filter poles, assign wave mod destinations, or specify pitch bend amounts — it’s all there. The Sub Phatty brings a fearless new voice to the Moog family of synthesizers. With its streamlined interface and dynamic sound design flexibility, this new synth fuses an unparalleled connection between human & machine, opening the door to unprecedented sonic exploration. |
| Brand | Moog |
| Model | Sub Phatty |
| Device | Synth |
| Type | Keys |
| Engine Type | Analog |
| Engine | VCO |
| Voices (max) | 1 |
| Oscillators | 2 |
| Sub | 1 |
| LFO | 1 Sample & Hold, Saw Up, Saw Down, Sine, Square, Triangle, Clocked, Freerun, Key Sync |
| Noise | Y |
| Engine Detailed | 2 VCO, Pink Noise, Pulse, Pulse Variable, Saw Down, Saw Up, Square, Sub Oscillator, Triangle, White Noise |
| Filter (VCF) | 1 6dB Slope, 12dB Slope (2-pole), 18dB Slope, 24dB Slope (4-pole), High Pass, Low Pass, Resonance |
| Envelope (VCA) | 1 DAHDSR |
| Memory | 16 patches |
| Keys | 25 |
| Key type | Keys |
| Velocity | Y |
| Aftertouch | Channel |
| Midi | I-O, USB |
| CV-gate | CV/GATE |
| Produced: | 2013 |
| Legend: | Obvious | Y: Yes, N: No, N/A: Not Applicable | |
| VCO | Voltage Controlled Oscillator | DCO | Digital Controlled Oscillator |
| LFO | Low Frequency Oscillator | Sub | Sub Oscillator |
| VCF | Voltage Controlled Filter | VCA | Voltage Controlled Amplifier |
| Velocity | As with a piano, the harder you hit a key, the louder the sound, unlike most organs which always produce the same loudness no matter how hard you hit a key. | Aftertouch | Pressing a key after you activated it. Channel Aftertouch, no matter which key, it will send a Channel message. Poly Aftertouch, sends the pressure per key instead of the whole channel. |
| Values for OSC, LFO, Filter, Envelope are per voice unless stated otherwise. | |||
