''We wanted to offer musicians a true analog synth with a simple - clean front panel - in a visually stunning package - at a reasonable price point. I feel we accomplished all four objectives.'' - Mike Adams - President
Small but stout - that's what the Little Phatty is all about! We are so proud of this product we can't help but shout exultations. We hope you will feel the same.
Introducing the Little Phatty Analog Synthesizer
Hand-built quality and that unmatched Moog sound - at a price every musician can afford - Little Phatty was designed with portability - expressive and intuitive playability - and the timeless quality only found in a Moog.
The Little Phatty boasts a 100 percent analog signal path - 100 user editable presets and a 37-note keyboard with +/-2 Octave Transpose.
Additional features include:
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2 Ultra-stable Oscillators
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1 Low Pass Filter (Classic Moog Ladder Filter)
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4-Stage Analog Envelope Generators
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RAC: Real Analog Control is a proprietary technology enabling the performer to directly interface with the analog circuitry via the knobs on the control panel - without any digital processing.
From studio to stage - the Little Phatty is a musician's dream. Moog's innovative engineering and tried-and-true manufacturing mean you can have the sound you want at a price that's well within reach
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100% All Analog Signal Path
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Sound Engine From Bob Moog
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Low Price
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Designed for Performance
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Looks Cool
Like the Stage and Tribute Edition before it, the Little Phatty Stage II puts the performer in control of a 100% analog signal path, two ultra stable Voltage Controlled Oscillators, a Voltage Controlled Filter and other versatile features like an external audio input, CV and KB gate inputs and a full MIDI controller.
“The Little Phatty not only has it’s own signature killer sounds, but the ability to use it’s innovative interface as a versatile general MIDI controller make it an incredible tool for both performance and the studio.”
-Cyril Lance, Engineering Manager
Additionally, the Stage II boasts great new features including; MIDI over USB, MIDI Clock Sync, an Arpeggiator, Tap Tempo and a stylish New Black Finish.
The addition of MIDI over USB makes this performance and 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 a 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 the tempo of 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 tracks and the arpeggiator.
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 any style, and 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 new features in the Little Phatty Stage II bring true analog synthesis to contemporary performance and production.” says Cyril Lance, “USB, MIDI Clock Sync, Tap Tempo and the Arpegiator make it a modern music powerhouse.”
The Little Phatty Stage II is a monophonic analog synthesizer, with 100 user editable presets
New features include:
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MIDI over USB
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MIDI Clock Sync
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Arpeggiator
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Tap Tempo
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Black finish
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Cutting edge new sound bank
Synth Engine:
Sound Sources are two ultra-stable analog VCOs. Parameters for the VCOs are:
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Osc. 1 Octave: 16', 8', 4', 2'
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Osc. 1 Wave: Continuously variable from triangle through saw and square to skinny pulse.
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Osc. 1 Level
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Glide Rate
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Osc. 1 to 2 Sync On/Off
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Osc. 2 Frequency
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Osc. 2 Octave: 16', 8', 4', 2'
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Osc. 2 Wave: Continuously variable from triangle through saw and square to skinny pulse.
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Osc. 2 Level
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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:
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Cutoff
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Resonance
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Kb. Control Amount (how much the Key CV modulates the Filter)
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Filter Env. Amount (how much +/- the filter envelope modulates the filter)
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Overload
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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:
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Attack
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Decay
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Sustain
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Release
The Modulation section contains a 4-waveform LFO, and a 1x2 Mod Buss with 8 possible mod sources and 4 possible destinations. Its parameters are:
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LFO Rate
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Mod Source: (LFO triangle, LFO square, LFO sawtooth, LFO ramp, Filt. EGR or Sample and Hold, and Osc. 2 or Noise)
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Mod Amount (the amount of modulation w/ the mod wheel all the way forward)
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Mod Destination (Pitch, Osc. 2, Filter, Wave)
The User Interface (UI) section is described in the UI spec, below the LCD and UI controls are the following:
Performance controls:
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37-note keyboard
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Spring-loaded pitch wheel
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Mod Wheel
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Glide On/Off
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Octave Down
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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.
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Power In (100-250VAC, 50-60 Hz)
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Power On/Off
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Audio Out
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Ext. Audio In (accepts +4dBu line level signal)
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Pitch CV In (1 V/Oct)
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Filter CV In
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Volume CV In
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Keyboard Gate In
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MIDI In
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MIDI Out
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USB
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