MOOG Little Phatty Stage II Synthesizer Driver
The Little Phatty® Stage II puts the performer in control of a % analog signal path. Click to Buy New Moog Little Phatty Stage II at You won't find many synths like it in the price range, and any that are in the price range just don't compare. The 'Master' section of the keyboard has controls for Tuning, +/-2 Octave Transpose, Glide, The Little Phatty is designed to offer a 21st century analog Moog synthesizer in a compact The standard edition is the Stage model (pictured top).
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MOOG Little Phatty Stage II Synthesizer Driver
At low resonance settings, four poles will kill the sound sharply for precise, warm bass tones. Use the same settings on one pole and you get fuzzy, raspy sounds.
Moog Little Phatty Stage II with CV Out
At the other end of the scale, crank the resonance up full and the four-pole will remain supremely MOOG Little Phatty Stage II Synthesizer, while the one-pole will scream and ring out like a mad man. Don't miss out on this trick as it's a real winner for maximising the Phatty's potential. The Overload dial adds to the LP's reputation as the wild and dirty monosynth.
Some hard-nose purists have griped about the Voyager's lack of 'bite' when compared to a vintage Minimoog, but there have been no such criticisms of the LP as you can dial in all the 'balls' you like. The Overload cranks up the gain both pre- and post-filter, from gentle saturation to out and out distortion. It can pound a triangle wave into a harmonically rich squared-off waveform MOOG Little Phatty Stage II Synthesizer adds several dBs of gain to the output volume.
It adds a lovely dimension of overtones when combined with the oscillators, and can be played like an oscillator in its own right. The EG amount swings both ways, positive and negative zero-ing in the centre, and it can also respond to KB velocity for maximum expression and MIDI programmability. The envelopes are simple four-stage ADSR jobbies and sound quite linear to our ears.
Moog Little Phatty Stage II Analog Mono Synthesizer LPT B&H
There are no on-board sequencers or effects, however. Beautiful, hand-built, simple, effective, powerful - classic Moog design. The Little Phatty is designed to offer a 21st century analog Moog synthesizer in a compact portable package and at a price every musician can afford.
The standard edition is the Stage model pictured top. Moog initially released a special, limited edition run of 1, individually numbered Bob Moog Tribute Edition synths.
Moog Little Phatty Stage II review MusicRadar
OK so they aren't that cheap. Both of the oscillators feature a continuously variable waveform, from triangle, to sawtooth, to square to rectangular.
In the center of the oscillator panel, there's also a Sync button, which forces MOOG Little Phatty Stage II Synthesizer 2 to restart its waveform every time Oscillator 1 starts a new cycle. This effect is especially noticeable if the synced Oscillator is set to a higher frequency than the Reset oscillator. You'll also find a switch called Glide Rate, which can be used to set the portamento between notes, and adjust the time the LP takes to transition from one note to the next.
The main source of the frequencies of the oscillators is the keyboard, but you can access additional CV control through the Pitch jack on the side panel, and control the frequencies of the oscillators MOOG Little Phatty Stage II Synthesizer CV. It's a very rich and warm sounding filter, and you can adjust the filter's cutoff frequency by turning the analog edit dial.
The cutoff frequency is adjustable from 20 Hz to 16 kHz.
Moog Little Phatty Analog Synthesizer Stage II Edition - MOOG - Encyclotronic
The filter section also features Resonance, which adds a resonant peak to the cutoff frequency. You can add resonance to create tones that sound buzzy, or zappy depending on how you use it. I found the Overload section to be a particularly useful; it can be used to warm up sounds to give them a distinct tonal edge or create 'growls' provided by hard clipping.
Envelope Generators The LP features two identical Envelope Generator EG circuits; one is dedicated to the filter to control the cutoff frequency and the other EG is dedicated to the amplifier to control the volume. The filter EG can be used as a modulation source through the Modulation Matrix.
Modulation Section The sound of the LP will start to get really interesting when you apply modulation. The modulation section allows you to select from six modulation sources, four destinations, and set the modulation amount. You control the output of the Modulation section using the Mod wheel. Mastering the use of modulation is one of the keys to unlocking the power of the LP; new synthesists will want to spend some time on this section.