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Moog | Slim Phatty
For those who were excited to see a new synth engine from Moog in 2011, the Slim Phatty was a bit of a disappointment. But for those who had enough keyboards cluttering the studio and just wanted that big juicy Moog sound, it was most welcome.
The Slim Phatty has the same engine as the much-loved Little Phatty but in a rack-mountable unit (3U) that can also be used as a tabletop unit, made oh-so-retro-chic with the optional wooden end caps. The Little and Slim Phatty share the same firmware so any updates can be made to either one. The Slim Phatty was the first Moog device with USB, which not only makes those updates easier but also makes integration into a modern studio very simple. For those who have dreamed of owning a polyphonic Moog but can't afford a Memorymoog, the Slim Phatty can also be chained with other Phatty devices for multi-voiced Moog richness.
Moog left off the Little Phatty's rather heavy case, the 37-key keyboard, and the mod and pitch wheels, so what remains is a lightweight and even portable version of the Little Phatty's main engine, fully compatible with MIDI, DAW, or CV-based studios. The control panel is a bit smaller than the Little Phatty's but still very comfortable and easy to use. Not quite knob-per-function, but nevertheless very straightforward.
As for the sound, it's exactly the big, thick oscillators and the rich wet filter that players expect from a Moog. Modulation is limited, especially compared to more modern mono-synths, but it was made to be compatible with the Moogerfooger line, the MP-201 and the CP-251 for semi-modular flexibility. Later firmware updates added velocity sensitivity for volume, alternative scales, LFO reset, and other features, making the Slim Phatty a perfect choice for players who want the all-analog Moog sound with the flexibility of modern synths.
In 2013 the Slim Phatty, which had a black faceplate to match the Little Phatty, received an aesthetic makeover to match it to the new metallic-white Sub Phatty.
|LFO||LFO with six waveshapes, four destinations and rate/depth controls|
|Engine Detailed||2 VCO. Waveforms: tri, saw, square, pulse|
|Filter (VCF)||1 Low Pass Filter (Classic Moog Ladder Filter) with ADSR Envelope Generator|
|Envelope (VCA)||4-Stage ADSR Analog Envelope Generator|
|Arpeggiator||Up, down, ordered. MIDI-syncable|
|Produced:||2011 - 2011|
|Legend:||Obvious||Y: Yes, N: No, N/A: Not Applicable|
|VCO||Voltage Controlled Oscillator||DCO||Digital Controlled Oscillator|
|LFO||Low Frequency Oscillator||Sub||Sub Oscillator|
|VCF||Voltage Controlled Filter||VCA||Voltage Controlled Amplifier|
|Velocity||As with a piano, the harder you hit a key, the louder the sound, unlike most organs which always produce the same loudness no matter how hard you hit a key.||Aftertouch||Pressing a key after you activated it. Channel Aftertouch, no matter which key, it will send a Channel message. Poly Aftertouch, sends the pressure per key instead of the whole channel.|
|Values for OSC, LFO, Filter, Envelope are per voice unless stated otherwise.|