Okay, it's a monosynth, so that provides its own limitations, but if you're into techy music of any sort, there's plenty here for you. It's not until you've got a real Moog sitting in front of you that you see just how great these boxes really are.ĭespite the simple architecture, this unit can produce sumptuous warm bass, bouncy synth sequences, resonant drones and ear-splitting leads in equal measure, plus everything in between. As so many hard and soft synths offer factory patches with Moog references in the title, its easy to wonder what all the fuss is about. The master section features octave up and down buttons, the glide on/off switch, master tune and an encoder for scrolling through the presets.Īll of which brings us neatly on to the sounds themselves. One nice touch is that the LFO source LED flashes at the selected rate - rotary encoders are good for most things, but not for showing LFO speeds! One switch for LFO source shape (with six choices), a rate dial with rotary encoder, a switch for the destination of the LFO and an amount switch, which also uses the encoder as its graphic. The LFO Modulation section is also simplicity itself. This glows a satisfying pink colour when selected. The output section is simple, with a volume control, an always-on headphone port and a switch to route sound to the physical mono line-out on the side panel. So even though the Envelope Generator encoder can display any one of eight parameters, it's obvious which one you're looking at. The soft blue light that exists in the centre of every button allows you to keep tabs on exactly where you are.
![moog little phatty editor free moog little phatty editor free](https://medias.audiofanzine.com/images/normal/moog-music-little-phatty-2849595.jpg)
If you want to modify the amplifier attack time, for example, simply press the appropriate button and its value will be displayed on the rotary encoder above it. The envelopes are governed by traditional Attack, Decay, Sustain and Release sections and editing these is very straightforward. The sound is then shaped by envelope settings for the amplifier and filter sections. The EG amount selects how the filter envelope will shape the brightness of the sound over time, while the Overload sets an amount of signal clipping, adding anything from a little bite to full on speaker-busting distortion.
![moog little phatty editor free moog little phatty editor free](https://i.ytimg.com/vi/BTSGvxoEQXE/maxresdefault.jpg)
It's a 24dB/octave, resonant affair with dials for Cutoff, Resonance, Keyboard amount, Envelope Generator amount and Overload.įor those unfamiliar with these latter terms, a positive Keyboard amount setting forces the filter to open as you play higher up the keyboard. The waveforms can be sync'd for a potentially monstrous sound, while glide can also be applied with variable rate.
![moog little phatty editor free moog little phatty editor free](https://www.soundtower.com/moog/littlephatty/wpimages/wp33f3dfb0_06.png)
Oscillator Two is tuned relative to Oscillator One with an offset of up to seven semitones achievable up or down. That means that if the rotary encoder that selects your waveform lies between two waves, you'll get a blend of both, which in turn allows for the possibility of pulse width modulation between the Square and Rectangle waves. The two VCOs can draw from a pool of four waveforms, which are continuously variable from Triangle, to Sawtooth, to Square to Rectangular waves. We're delighted to report that the Little Phatty could happily pick a fight with any of its synth contemporaries right now and be assured of bloodying its collective nose.
![moog little phatty editor free moog little phatty editor free](https://guitars.gbase.com/aza/user/gear/moog-little-phatty-monoph-4.jpg)
Throw in all the arpeggiators, real-time performance controllers and effects sections you want, if the core sound doesn't cut it then you may as well forget about it.