Re: New Moog
Posted: Mon Jan 21, 2013 5:06 pm
Synthesizer Discussion Forums
I DON'T BELIEVE IT. AN OFFICIAL PRODUCT DEMO THAT DOESN'T SOUND f**k AWF-kpliver wrote:
Thanks for saving me that one mouse click?griffin avid wrote:http://www.moogmusic.com/news/introducing-sub-phatty
MSRP: $1099 USD
Availability: Shipping March 2013
MOOG SUB PHATTY SYNTHESIZER SETS
NEW STANDARD FOR ANALOG SOUND DESIGN
Moog Music is proud to introduce the SUB PHATTY analog synthesizer, a 25 full-size key, 31 knob production instrument that melds the soul and functionality of vintage analog synthesizers with new and unique sound design tools. Building on the tradition of Moog’s highly successful Phatty family, the Sub Phatty grinds and screams with a uniquely aggressive voice — making it the new standard for synth bass, analog percussion, and a wide range of sound design applications. The Sub Phatty, "is the grittiest Moog Synth ever" said Mike Adams, Moog Music CEO & President.
FIND OUT MORE HERE.
In honor of the Sub Phatty’s release, experimental multi-genre music producer, Flying Lotus, and Adult Swim veteran, Adam Fuchs collaborated on a psychedelic short animation called Moog Sub Phatty: New Machine For Living. Flying Lotus’s original score was made primarily with the Sub Phatty synthesizer and dynamically shows off its bold sound.
The engineers at Moog Music have reimagined the Sub Phatty’s sound engine. The instrument features two variable waveshape oscillators that perform with extreme clarity and accuracy while requiring almost no warm-up time. Users can simply power up, dial in settings, and put their fingers to work on the keys to summon crisp and detailed waveforms with vibrant sound that brims with high-frequency harmonic content, yet stays true to the rich sonic density that has become synonymous with Moog synthesizers.
“We set out to design the grittiest Moog synth ever, one that still offers all of the great sound and flexibility that Moog synthesizers are known for, but that also really has teeth,” said Mike Adams, President of Moog Music. “One of the great advantages of the Sub Phatty is its ability to conjure aggressive sounds that cut through a dance mix, stand out on-stage, or burn up the studio. We think that everyone from producers and sound designers to DJs and synthesists will have a blast using it.”
The Sub Phatty’s filter includes the transformative new Multidrive circuit, a unique combination of OTA distortion and FET drive, which serves as the sparkplug in the instrument’s powerful sound. At low settings, Multidrive adds warmth and width; when pushed, it delivers a screaming snarl that is highly reactive to resonance, waveshape, and oscillator level.
Users can access a total of 16 definable presets via the 4x4 preset matrix on the Sub Phatty’s front panel. This matrix also doubles as a control panel for the instrument’s subcutaneous nerve center — users can select filter poles, set pitch bend amounts, toggle between legato glide modes, and more. These functions can also be accessed via the included Sub Phatty standalone/plugin editor.
The configuration of the Sub Phatty’s mixer section allows users to easily determine, at any given moment, which sources overdrive the filter and which simply pass through it. The mixer section further hosts controls for a square wave sub oscillator; those operating the Sub Phatty can utilize this tool as a third oscillator for added depth, or to craft their own customized incarnations of monstrous Moog bass. Also in the mixer section is a noise generator voiced to deliver rich, punchy low-frequency content, designed for analog percussion and sound effects.
In honor of the Sub Phatty’s release experimental multi-genre music producer, Flying Lotus, and Adult Swim veteran, Adam Fuchs collaborated on a psychedelic short animation called Moog Sub Phatty: New Machine For Living. Flying Lotus’s original score was made primarily with the Sub Phatty synthesizer and dynamically shows off its bold sound.
· Sound Engine: Analog
· Number of Keys: 25
· Type of Keys: Semi-Weighted
· Other Controllers: Pitch Bend, Mod Wheel
· Polyphony: Monophonic
· Sound Sources: 2 Variable Waveshape Oscillators, 1 Square Wave Sub Oscillator, 1 Noise Generator
· Oscillator Calibration Range: 22Hz-6.8KHz.Guaranteed note range at 8’ of Note 18 to 116
· Mod Sources: Triangle, Square, Saw, Ramp, SH, Filter Envelope
· Mod Destinations: Pitch, Osc 2 Pitch Only, Filter, Waveshape
· Filter: Moog Ladder Filter 20Hz-20Khz
· Audio Input: 1xTS
· Audio Output: 1xTS, 1xTRS Headphone
· Presets: 4 Banks, 4 Patches Per Bank
· MIDI I/O: DIN In, Out, and MIDI over USB
· CV/Gate Inputs: Filter CV, Pitch CV, Volume CV, KB Gate
· Transposition: +/- 2 Octaves
· LFO: 0.1Hz-100Hz
UNDER THE HOOD FEATURES:
· Filter Velocity Sensitivity
· Volume Velocity Sensitivity
· Ext. Audio Level
· Osc2 Beat Frequency
· VCO Gate Reset
· LFO Gate Reset
· Pitch Bend Up Amount
· Pitch Bend Down Amount
· Glide Legato
· Glide Type
· Filter Poles
· Wave Mod. Destination
· LFO KB Tracking
· LFO Range
· Filter EG Reset
· Amp EG Reset
· Gate On/Ext.
· MIDI Ch. In
· MIDI Ch. Out
· Local Control
· 14-Bit MIDI Output
· MIDI Path In
· MIDI Path Out
· MIDI Merge DIN
· MIDI Merge USB
yeah, this osc. reset is interesting. But I guess that makes sense that it is derived from the Taurus, maybe?Sir Nose wrote:So, you are still going to need a midi knob job controller to get at it.
Big, Big, Big!!!!!! For some folks:
VCO Gate Reset
Seems more like a Bull Phatty. Someone wasn't looking after them and the LP and taurus got it on together and popped out a kid.
Agreed. Everything else seems awesome, and the KBD is gonna be the one thing that stops me in my tracks. Had it been at least 3 octaves, I would have pre ordered one.jeffrey1121 wrote:gotta say the two octave KB is an octave too small IMHO.