Moog continues to innovate and fuse uncompromising sound quality and craftsmanship with new technology.
The Little Phatty
Stage II puts the performer in control of a 100% analog signal path
with Real Analog Control (RACTM), two ultra stable Voltage Controlled
Oscillators and one Voltage Controlled Filter among other versatile
features like CV inputs, KB gate and a full MIDI controller.
The addition of
MIDI over USB makes this sound sculpting
tool even more powerful. Combined with its warm analog sound, ability
to process external audio and its intuitive performance, sound design
and control features, the Stage II makes a great addition to any rig...
from full-on analog, to the perfect companion to your favorite
laptop/softsynth setup. You can also connect it directly to a computer
running the Little Phatty Editor/Librarian.
MIDI Clock Sync allows you to synchronize the LFO and
arpeggiator rate to your MIDI sequencer, drum machine or software.
Sample and hold, triangle, square, sawtooth and ramp wave modulations
can now be perfectly timed with your rhythm track.
The
Arpeggiator is a great new performance feature with
applications for musicians in all genres. Its wide variety of uses is
sure to find a place in your style. Of course, it also syncs to MIDI
clock.
Tap Tempo brings LFO and Arpeggiator tempo sync functionality to situations in which there is no MIDI clock.
The distinctive
New Black Finish is a real eye-catcher that emphasizes the unique new nature of the Little Phatty Stage II.
The Little Phatty Stage Edition, is an analog synth with
its sound engine designed by Bob Moog in one of the coolest-looking
packages ever. Little Phatty is the realization of Bob's dream to
combine the Moog's great analog sound with an instrument that is not
only accessible to most musicians in terms of price, and equally
important, designed with live performance in mind. The Little Phatty
Stage Edition is the normal production run of the Phatties, as the
Tribute Edition is now sold out.
Real Analog Control
Little
Phatty is a 100 percent analog signal path, 100 user-editable presets
and a 37-note keyboard with +/-2 octave transpose. The Little Phatty is
not just the dream of Bob Moog, it's a performer's dream as well, with
features like Real Analog Control (RACTM) a proprietary technology that
lets you directly interface with the analog circuitry via the knobs on
the control panel, and without any digital processing. In performance,
this means that RAC grants you access to two ultra-stable voltage
controlled oscillators and one voltage controlled filter. For
additional auditory acrobatics, you can also crank up the overload
control for pre- and post-filter distortion - and all of these controls
grant you absolute power over the sound engine with no digital
middlemen (latency) to go through.
Multiple Interfacing
Little
Phatty also offers a world of interfacing capabilities with MIDI in/out
jacks, three external CV inputs, and an external audio input. And,
speaking of the world, the universal power supply accepts any line
voltage from 90-250V AC 50-60 Hz, meaning performers are ready to go
whether their gig is in Dallas or Dublin.
Features:
- True Analog synthesis engine designed by Bob Moog
- 100 percent true analog signal path
- 37-note keyboard with +/-2 octave transpose
- New batch of presets
- 100 user-editable presets
- Directly interface with the analog circuitry via the knobs on the control panel with no digital latency
- Two ultra-stable voltage controlled oscillators and one voltage controlled filter
- overload control for pre- and post-filter distortion
- MIDI in/out jacks
- Three external CV inputs
- external audio input
- universal power supply accepts any line voltage from 90-250V AC 50-60Hz
Synth Engine:
Sound Sources are two ultra-stable analog VCOs. Parameters for the VCOs are:
- Osc. 1 Octave: 16, 8, 4, 2
- Osc. 1 Wave: Continuously variable from triangle through saw and square to skinny pulse.
- Osc. 1 Level
- Glide Rate
- Osc. 1 2 Sync On/Off
- Osc. 2 Frequency
- Osc. 2 Octave: 16, 8, 4, 2
- Osc. 2 Wave: Continuously variable from triangle through saw and square to skinny pulse.
- Osc. 2 Level
- Fine Tune (for both Oscillators, located at the bottom left of the panel)
Sound Modifiers include a single VCLPF: 24 dB /Oct Moog Ladder filter, with filter Overload control and a single Output VCA. Filter parameters are:
Cutoff
Resonance
Kb. Control Amount (how much the Key CV modulates the Filter)
Filter Env. Amount (how much +/- the filter envelope modulates the filter)
Overload
An Envelope Generator section provides two ADSR EGRs: one to
modulate the Filter (Filter EGR) and one to modulate the VCA (Volume
EGR). For each EGR, the parameters are:
Attack
Decay
Sustain
Release
The Modulation section contains a 4-waveform LFO, and a 1x1 Mod Buss with 6 possible mod sources and 4 possible destinations. Its parameters are:
LFO Rate
Mod Source: (LFO triangle, LFO square, LFO sawtooth, LFO ramp, Filt. EGR, and Osc. 2
Mod Amount (the amount of modulation w/ the mod wheel all the way forward)
Mod Destination (Pitch, Osc. 2, Filter, Wave)
The User Iinterface (UI) section is described in the UI spec, below the LCD and UI controls are the following:
Performance controls:
37-note keyboard
Spring-loaded pitch wheel
Mod Wheel
Glide On/Off
Octave Down
Octave Up
To the right of the front panel is the Output section. There is a
Master Volume control, an Output On/Off switch, a Headphone Volume
control, and a headphone output jack (1/4 TRS)
The side of the instrument houses the I/O of the instrument.
AC In (100-250VAC, 50-60 Hz
Power On/Off
Audio Out
Ext. Audio In (accepts +4dBu line level signal)
Pitch CV In (1 V/Oct)
Filter CV In
Volume CV In
Keyboard Gate In
MIDI In
MIDI Out
Dimensions and Weight
26.75" X 14.75" X 6.75"
22lb
Basic Editing of sounds
Sound editing of continuous parameters (like Filter Cutoff) is done
from the front panel by enabling a parameter with its switch (its LED
becomes illuminated), and then adjusting its value control. There are 4
value controls, one for each section: Modulation, Oscillators, Filter,
and Envelopes. Each is surrounded by a ring of 15 LEDs that show
approximately the stored or edited value of the current parameter. The
value controls are analog, and when a parameter is activated, the
analog control signal is switched to directly control that parameter
(RAC or Real Analog Control). For each section, only one continuous
parameter can be activated at a time for editing. For parameters that
have multiple possibilities (such as Mod Source) pressing that switch
advances through the possible Mod sources. For On/Off type switches
like Osc. Sync, the LEDs are On when that parameter is on or Off when
the parameter is off.
