Moog Sub Phatty User Manual
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Moog Sub Phatty User Manual

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  • Page 1 SUB PHATT Y...

  • Page 4: Important Safety Instructions

    IMPORTANT SAFETY INSTRUCTIONS WARNING - WHEN USING ELECTRIC PRODUCTS, THESE BASIC PRECAUTIONS SHOULD ALWAYS BE FOLLOWED. 1. Read all the instructions before using the product. 2. Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool or the like.

  • Page 5: Table Of Contents

    TABLE OF CONTENTS UNPACKING & INSPECTION SETUP & CONNECTIONS POWER EXTERNAL AUDIO IN MIDI CONTROL VOLTAGE IN OVERVIEW & FEATURES PRESET PANEL BANK & PATCH BUTTONS SAVING PRESETS ACTIVATE PANEL BASICS OF SOUND SIGNAL FLOW OSCILLATORS OVERVIEW CONTROLS OCTAVE WAVE FREQUENCY HARD SYNC OSC 2 TRY THIS...

  • Page 6: Specifications

    ENVELOPES OVERVIEW CONTROLS FILTER ATTACK FILTER DECAY FILTER SUSTAIN FILTER RELEASE AMPLIFIER ATTACK AMPLIFIER DECAY AMPLIFIER SUSTAIN AMPLIFIER RELEASE TRY THIS NOTE ARTICULATION CLASSIC ELECTRONIC KICK DRUM MODULATION OVERVIEW CONTROLS LFO RATE SOURCE PITCH AMT PITCH AMT OSC 2 ONLY FILTER AMT WAVE AMT TRY THIS...

  • Page 7: Unpacking & Inspection

    2. Either a 1/4 inch instrument cable and amplified speakers or headphones with a 1/4” inch plug 3. A properly wired AC outlet SETUP AND CONNECTIONS Place the Sub Phatty on a stable surface such as a table or keyboard stand at a height suitable for playing comfortably. EXT IN...

  • Page 8: Power

    FS-1 footswitch, or any 1/4” cable to open the gate. Simply connect to the 1/4” Gate jack. To use the Sub Phatty with a computer, 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.

  • Page 9: Overview & Features

    OVERVIEW AND FEATURES The Sub Phatty is a monophonic analog synthesizer, very much in the tradition of other classic Moog synthesizers. It is housed in a sturdy case containing a 25-note, velocity-sensitive keyboard, with a front panel that delivers plenty of hands-on controls for designing, saving, and retrieving your own sounds.

  • Page 10: Saving Presets

    The current position of each knob and the status of four buttons determine the sound coming out of the Sub Phatty. Dialing up sounds in Panel mode is exactly like dialing up sounds in a classic synth without patch memory, but when you’re finished sculpting your sound, you can save your work.
  • Page 11 Rather than building up waveforms one harmonic at a time, the way a Hammond organ does, analog synthesizers like the Sub Phatty provide the means to shape and filter complex, harmonically rich waveforms to selectively remove, reduce, or emphasize specific harmonics—a technique called subtractive synthesis.
  • Page 12 DAW, as well as for controlling external devices using the Sub Phatty’s front-panel controls. All the settings that make up a patch are called its parameters, which is simply another name for settings.

  • Page 13: Oscillators

    Unlike most synths, which simply switch between basic waveforms, the Sub Phatty allows you to gradually change the oscillator’s output from one waveform to another, so it can generate something partway between a sawtooth and a square wave, for example.

  • Page 14: Frequency

    When you play the keyboard with these settings, you shouldn’t hear anything. This procedure initializes the front panel and gives you a starting place for creating your own patches and exploring the Sub Phatty’s capabilities. EXPLORE THE OSCILLATORS After patch initialization, turn up the OSC 1 knob in the MIXER section. Listen carefully as you play the keys while slowly turning oscillator 1’s WAVE knob to the triangle, sawtooth, square, and pulse...

  • Page 15: Mixer

    Phatty’s sound. It is especially useful for crafting monstrous Moog bass patches. NOISE: Use this knob to control the Sub Phatty’s noise generator level. Settings higher than 6 push the level beyond unity, imparting gentle filter distortion. Noise is useful for programming punchy percus- sion and other unpitched sounds.

  • Page 16: Filter

    CUTOFF knob’s setting, is the filter’s primary control source. Another characteristic of the Sub Phatty’s filter is resonance. Resonance increases the level of audio frequencies closest to the cutoff frequency by making the filter roll off frequencies less gradually. It regenerates those frequencies by feeding them back to the filter.
  • Page 17 When you press a key on the keyboard, it sends a signal that tells the envelope generator to begin the attack. In voltage-controlled synthesizers like the Sub Phatty, this signal is called a gate. The gate ends when you release the key, telling the envelope generator to begin the release.
  • Page 18 ADSR t i m e When you play the Sub Phatty, your keyboard technique determines how the envelope generators respond, which impacts your musical expression and articulation. If you release the key before the envelope reaches either its maximum or sustain level, the release stage immediately takes effect. When you play staccato (very short notes), the envelope may never reach its decay stage, depending on its attack setting.
  • Page 19 808. It uses a sine wave and a 2-stage envelope generator to create the sound. The Sub Phatty lets you re-create this vintage sound with just a bit more thump. Although synthesizing most percussion begins with the noise generator, the kick drum is an exception.
  • Page 20 MOD wheel immediately to the left of the keyboard. All LFOs generate repeating waveforms in the sub-audio range. The Sub Phatty’s LFO has an extended range capable of generating audio frequencies as well. At sub-audio rates, the LFO is useful for generating repeating effects. At audio rates, the LFO adds harmonic complexity to its destination.
  • Page 21 By routing LFO or envelope modulation to an oscillator’s wave amount, you give the waveform motion by changing its harmonic content dynamically. As the control signal changes, so does the waveform. Although the Sub Phatty’s continuously variable oscillators let you apply modulation to any waveform, it’s most traditional to modulate a pulse wave.
  • Page 22 OCTAVE buttons at the right moment. In fact, using the OCTAVE buttons gives the Sub Phatty’s keyboard a seven-octave range. KEYBOARD: The Sub Phatty’s 25-note keyboard is velocity-sensitive, so that it transmits MIDI Velocity data in response to how fast you press the keys.
  • Page 23 SHIFT MODE Although you can control all of the Sub Phatty’s functions directly from the front panel, you’ll need to dig a little deeper to reach some of them. Shift mode reassigns several front-panel controls so you can use them to edit hidden parameters. Like all parameters, changes you make in Shift mode are memorized when you save your preset.
  • Page 24 KNOB & BUTTON REASSIGNMENTS CONT. PARAMETER: VELOCITY TO FILTER ENVELOPE DECAY/RELEASE KNOB: FILTER ENVELOPE RELEASE Changing this setting lets you specify how much velocity affects the filter envelope’s decay and release times. To lengthen the decay and release in response to how hard you play on the keyboard, engage Shift mode and turn up the filter envelope’s RELEASE knob.
  • Page 25 KNOB & BUTTON REASSIGNMENTS CONT. PARAMETER: EXTERNAL INPUT LEVEL KNOB: NOISE To manually control the level of signals coming from the Sub Phatty’s EXT IN jack, engage Shift mode and turn the NOISE knob. PARAMETER: OSCILLATOR 2 BEAT FREQUENCY KNOB: OSCILLATOR 2 FREQUENCY Engage Shift mode and turn oscillator 2’s FREQUENCY knob to set the “beat...
  • Page 26 12 semitones. NOTE: Middle C refers to the C key at the center of the Sub Phatty’s keyboard, not to the pitch usually referred to as middle C, which is actually one octave higher.
  • Page 27 When Gated Glide is off, the pitch CV will continue gliding to the target pitch at the current Glide Rate, regardless of whether or not the Sub Phatty is playing a note. When Gated Glide is on, the pitch CV only glides while a note is playing, and is held constant in between notes.

  • Page 28: Modulation Parameters

    FILTER SLOPE By default, the Sub Phatty’s filter rolloff is set to the classic Moog 24dB-per-octave slope. You can change this setting in real time as you play, making the change in slope part of your performance. To change the filter slope, engage Shift mode and press the BANK 2 and PATCH 1 buttons.
  • Page 29 LFO rate will change by four times for every octave of pitch change. LFO MIDI SYNC This function lets you synchronize the Sub Phatty’s LFO with an external MIDI clock signal, typically from another synth, a sequencer, or a digital audio workstation. When synced, the LFO rate locks to tempo, oscillating in rhythm with its clock source.
  • Page 30 FILTER ENVELOPE RESET When Filter Envelope Reset is turned on, each new note triggers the filter envelope to reset from zero, so its output sweeps fully from zero to maximum with each attack. By default, with envelope reset turned off, an envelope Attack sweeps the envelope output only from its current level to maximum.
  • Page 31 AMPLIFIER ENVELOPE TRIGGER MODE As mentioned in the Envelopes Overview, by default, playing legato on the Sub Phatty prevents envelopes from retriggering on subsequent notes. With single triggering, the Sub Phatty prevents envelopes from retriggering on subsequent notes unless you’ve released the previous key.

  • Page 32: Midi Parameters

    (default). MIDI PARAMETERS Shift mode lets you modify the Sub Phatty’s default MIDI settings. You can change the MIDI transmit and receive channels, turn local control on and off, filter MIDI data, enable and disable fine-resolution data recognition, and enable and disable the DIN or USB ports to send, receive, and merge MIDI data.
  • Page 33 Channel 2, and so on, all the way up to D# above middle C, which selects Channel 16. MIDI INPUT SELECT The Sub Phatty can send and receive MIDI data through the DIN jacks labeled MIDI IN and MIDI OUT or through its USB port, depending on your preferences.
  • Page 34 MIDI MERGE DIN The Sub Phatty can merge MIDI data it receives with the MIDI data it transmits. You can specify the path of the merged data so that data received at either the MIDI IN jack or the USB port is passed through to the MIDI OUT jack or the USB port.

  • Page 35: Global Parameters

    MIDI OUTPUT FILTER It is possible to filter the MIDI data that the Sub Phatty sends so that certain data isn’t received by external MIDI devices. To turn on the MIDI output filter, engage Shift mode and press the BANK 2, BANK 4, and PATCH 2 buttons.
  • Page 36 GLOBAL NOTE PRIORITY Because the Sub Phatty is monophonic, it will play only one note at a time. What happens when you press two keys at the same time? By default, it plays a note in response to the most recent key you pressed, regardless of its position.
  • Page 37 MIDI system exclusive data. If you record this data on your computer and then send it back to the Sub Phatty, it will replace the patch that’s currently loaded into the panel buffer. Once it’s in the buffer, you must manually save the...

  • Page 38: Midi Operations

    For additional hidden parameters and updates visit www.moogmusic.com/subphatty. MIDI OPERATIONS MIDI CHANNEL By default, the Sub Phatty is set to receive and send MIDI on Channel 1, but it can be configured to send and receive to MIDI Channel (1-16). MIDI CONTROL CHANGE (CC) MESSAGES The tables on the following pages list all MIDI CC messages for the Sub Phatty.
  • Page 39 CONTROL/ CC VALUE RANGE 14 BIT MSB / LSB PARAMETER AMPLIFIER EG ATTACK 0-16383 14 BIT: CC 28 / CC 60 AMPLIFIER EG DECAY 0-16383 14 BIT: CC 29 / CC 61 AMPLIFIER EG SUSTAIN 0-16383 14 BIT: CC 30 / CC 62 AMPLIFIER EG RELEASE 0-16383 14 BIT: CC 31 / CC 63...
  • Page 40 CONTROL/ CC VALUE RANGE 14 BIT MSB / LSB PARAMETER 0 = Global, 32 = Low Note, 64 = High NOTE PRIORITY Note, 96 = Last Note RELEASE ON / OFF 0 = OFF, 64 = ON 0 = Triangle LFO, 16 = Square LFO, MODULATION SOURCE 32 = Saw LFO, 48 = Ramp LFO, 64 = S&H, 80 = Filter Envelope...
  • Page 41 CONTROL/ CC VALUE RANGE 14 BIT MSB / LSB PARAMETER PITCH MOD. OSC 2 ONLY 0 = OFF, 64 = ON MODULATION WHEEL 0 - 16383 0 = OSC 1 Only, 43 = OSC 2 Only, WAVE MOD DESTINATION 86 = Both OSC 1 & 2 VCO 1 OCTAVE 16 = 16’, 32 = 8’, 48 = 4’, 64 = 2’...
  • Page 42 CARING FOR THE SUB PHATTY Clean the Sub Phatty with a soft, slightly moist cloth only – do not use solvents or abrasive detergents. Heed the safety warnings at the beginning of the manual. Don’t drop the unit. If you are shipping your Sub Phatty to the factory for servicing, we recommend using the original shipping carton, or an ATA approved Road Case.
  • Page 43 CV/GATE INPUTS: Filter CV, Pitch CV, Volume CV, KB Gate TRANSPOSITION: +/- 2 Octaves LFO: 0.01Hz - 1000Hz Specifications Subject To Change Without Notice ©2013 MOOG MUSIC Inc. 160 Broadway St. Asheville, NC 28801 Phone: 828.251.0090 Email: info@moogmusic.com Website: www.moogmusic.com...

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