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Device Details Device Overview Name/Version: M4L Moog Phatty Editor 0.953 Author: Description: This is a bi-directional hardware control patch created for and tested with Moog's Slim Phatty, but which should also work with Moog's Little Phatty. I both welcome and appreciate constructive feedback, feature requests, and especially bug reports.
Flying Lotus & Adult Swim's 'Lilfuchs' short animation in honor of the new Moog Sub Phatty. Hear the Sub Phatty analog synthesizer in Flying Lotus' original score called 'Such a Square' and explore it's circuitry in 'Lilfuchs' animated world. A million thanks to FlyLo & Adam for producing this inspiring little gem. Love, Your friends at Moog. Dec 27, 2017 - VST AU Little Phatty Editor for Mac. The VST AU Little Phatty Editor is. Full support of Phatty OS V3.1 features and functions - Manage custom.
DISCLAIMER: No guarantee regarding functionality or stability is expressed or implied, and by using this device, you consent to waive any liability on my part for whatever harm it may cause you. I should also probably mention I am in no way affiliated with Moog other than that I own a Slim Phatty. REQUIREMENTS: - Moog Slim Phatty (Won't get far without this!) - Slim Phatty OS 3.1.674.31 (This is what was used during development anyway) KNOWN ISSUES: (No one's perfect!) 1) Arp clock source must be set via the hardware LCD, as the SP doesn't currently respond to MIDI requests on this CC, nor does it generate a message for this when changed via hardware. I have a post up about this in the Moog forum that has been quiet for some time. If Moog fixes this issue according to their documented spec, my UI should start working accordingly. 2) There is not currently a way to pull a patch from the hardware into the software without touching/refreshing every knob/parameter. Moog would have to implement a function to push the patch via MIDI based on a LCD menu option or a MIDI trigger.
If they do this, I'll happily implement a 'receive patch' button. USAGE: 1) CRITICAL - You must set the following options on your Slim Phatty hardware/LCD for this patch to work correctly.
Local Control: OFF Send 14bit MIDI: OFF Program Change: SND: ON, RCV: ON 2) Though optional, you probably want to send MIDI clock out to your SP (in Ableton MIDI settings) if you intend on using your set tempo to drive your Moog Arp and/or Modulation clocks. 3) Also, in case it wasn't obvious, this device needs to be loaded into a MIDI track that takes input from your Slim Phatty.
You probably want to stick an Ableton 'External Instrument' device after this patch, and route the MIDI data back out to the Slim Phatty. Personally, I choose not to take audio back in from this particular External Instrument device, and instead create a second (audio) track with another External Instrument device that /does/ return the audio. I then group these two tracks, and use the MIDI track to keep automation and note data, and the audio track to hold my bounced clips. TO-DO: (In approximate order of completion) - Figure out hi-res/LSB MIDI control for the couple of parameters which support it (Mod Wheel, Filter Cutoff, and Arp Clock Rate) - Look into possible usability issues regarding parameter automation lanes and Ableton 'Hot Swap' feature - Improve the aesthetic appeal of the UI - Investigate possible patch retrieval & storage, with or without SysEx.
Probably relies on Moog helping with a few things on the firmware end. Device Details Downloads: 1575 Tags hardware Live Version Used: 9.0.2 Max Version Used: 6.1.1 Date Added: Jan 06 2012 21:39:07 Date Last Updated: Jan 11 2017 17:15:03 Average Rating (3) 5 Rate this device: (must be logged in to rate devices ) Device Type: mididevice URL (optional): License : AttributionNonCommercialNoDerivatives Device Files Device File: Moog Slim Phatty v0.953.amxd Comments. Yep, same here. I would approach this again if someone figures out or can link to a known-good setup for getting SysEx in and out of Ableton, otherwise I suspect there are others better suited to the job than myself.
We'd need some collaboration also from the Moog team as far as I can tell, at least in getting a firmware feature that initiates SysEx preset/bank dumps based on MIDI or SysEx triggers. Storing patch data would be much better without having to manually trigger it via the hardware console/LCD. I never got any replies to my post asking about some of the non-functioning CC's: http://dev.moogmusic.com/forum/viewtopic.php?f=7&t=12654. @JuanSOLO Gotcha, i dont know why i thought you'd tried it. Anyways, i looked into sysex.
It looks like you can hack in sysex (not natively supported), but the real trouble is the manual doesnt contain a lick of sysex data for interpreting it (which is real problem). So if you want to impliment it, you'd have to figure out which numbers are assigned, and how the output is configured. Aka take for ever. So i too have come up with the same conclusion, it doesn't look doable (unless one wants to spend hours upon hours decoding the messages.). Thanks for the patch, it's great. I've encountered this weird problem where the front panel has locked up and only shows the last accessed preset - I can use the value knob to change it, but the same one shows up from 1-99.
I can also access the master menu without a problem. But there's no problem changing presets and paramaters over usb through M4L. It's very strange. I'm reluctant to do a factory reset and lose my patches, don't suppose anything like this has happened to anyone else? Hi benway; thanks for checking out the device. Unfortunately, I believe the behavior you are describing is noted in known issue #2 of the device description: 'There is not currently a way to pull a patch from the hardware into the software without touching/refreshing every knob/parameter.
Moog would have to implement a function to push the patch via MIDI based on a LCD menu option or a MIDI trigger. If they do this, I'll happily implement a 'receive patch' button.' There is no way I'm aware of that I can support this feature without work on Moog's end of the MIDI interface, and that seems all the more unlikely now that the Slim has been discontinued.
Maybe some day I'll buff up my skills or some NPRN/SysEx magic will happen in Max that allows this. As always, if anyone has any ideas on this, feel free to post a comment here. I'm no longer on Facebook but you can find me at @fracturetrey on Twitter. Hey, thanks for getting back to me and for all your work on this. I wasn't very clear in my post, though - my patty's front panel isn't working properly even when I amn't connected via usb/midi.
The only things that work are the buttons to change the knobs to a particular parameter, which displays ok, but the knobs don't control it - I can't change the oscillators' octaves either. The master menu works as normal and I am able to change the number of the preset, although the preset itself doesn't change. So it's like: 01.patch name. 02.same patch name and parameters. But everything works fine in M4L, I can change paramaters and patches no problem. I just tried uploading the firmware 3.21.690 again, but the problem persists.
Any input would be much appreciated. Thanks again.
The patch points, including power, audio in/out, CV inputs, MIDI, and USB, are located on the left panel towards the rear of the instrument Connections By now there's little chance you've not heard about the Sub Phatty, Moog's latest addition to its steadily growing family of instruments. Since its unveiling at Winter NAMM right alongside the Korg MS-20 Mini and a whole host of boutique modular gear, it's been clear that many manufacturers are keen on bringing affordable analogue synthesis to as many people as possible. 'The affordability and top-shelf build of the Sub Phatty make it hard not to be curious about this item' Moog's offering, a monophonic 25-key unit featuring two variable waveshape oscillators that is littered with plenty of knobs, generated the expected amount of enthusiasm - and then some. With its flagship Minimoog Voyagers still doing the business and two other Phattys in the series still available, you might not have expected another monophonic performance synth to be added to the line (a polyphonic keyboard is nowhere in sight). But according to the engineering heads inside Moog, the discreet design efforts behind this synth and their other gear create a varied and broadened-enough user experience from product to product to warrant this development. That said, the affordability and top-shelf build of the Sub Phatty alone make it hard not to be curious about this item. Boxing clever The Sub Phatty emerges from its packaging as a 7.2kg piece of analogue ordnance that screams 'tweak me' thanks to all the knobs you'll find waiting for you.
The patch points, including power, audio in/out, CV inputs, MIDI, and USB, are located on the left panel towards the rear of the instrument. Although the Sub Phatty doesn't have a titling front panel like the Voyagers do, the default angle is extremely comfortable to work with and the entire unit carries on the solid, ergonomically pleasing Moog tradition. 'An easily accessible switch that gives you an additional plus- or minus-two octaves of range to play with' Just 25 keys strong (semi-weighted but lacking aftertouch), the Sub Phatty's compact design might not be ideal for soloists of the Rick Wakeman ilk, but the reduced footprint is offset by an easily accessible switch that gives you an additional plus- or minus-two octaves of range to play with. Your eye, however, goes straight to the oversized Cutoff knob that sits atop the Filter section. Apart from being one of the controls you're most likely to reach for sound-wise, Moog has enhanced the size of that particular control to drive home the notion of the panel as a performance gateway as well as a sound-shaping interface. The Sub Phatty is anchored by two free-running VCOs, which feature pitch ranges of 16', 8', 4' and 2'. Both oscillators employ variable waveshapes, allowing for the added character found between the borders of distinct setting.
We'd be remiss here not to mention how quickly and accurately the VCOs come up to playing temperature. Even in a cluttered home studio where the air conditioning tends to fluctuate throughout the day, the Sub Phatty's tuning is rock-solid, whether measured digitally or by a trusty tuning fork. Other sound sources include Sub OSC (using a square wave, which sits a full octave below OSC 1), a pink noise generator, and a traditional external input jack for processing sounds through the Sub Phatty. The aforementioned filter cutoff still retains that sought-after Moog sound, but you can also inject an bit of edgy resonance to it, as well, to fashion more modern flavours. Sweet 16 Like the Voyager Old School, the Sub Phatty lacks a digital display and can only accommodate 16 onboard presets. These form a bank of four panel switches, each allowing for the storage of four performance patches. 'Sub Phatty's software editor/library software will enable users to create, store and retrieve their own patch creations whenever they like' But lest you cry foul, be aware that the Sub Phatty's software editor/library software (which will be available in RTAS, Audio Unit and VST as well as standalone versions), will enable users to create, store and retrieve their own creations whenever they like.
Unfortunately, when we had a look at the Sub Phatty, the editor was still in development. From the screenshots Moog supplied, however, it's sure to resemble the one bundled with the Moog Minitaur in terms of design and integration. Therefore there should be no worry about bringing this analogue accomplice seamlessly into the world of your 21st century productions.
As it was birthed without a digital screen to help you navigate its innards, the Sub Phatty uses something called Shift mode to access the functions you can't get to via the front panel. By pressing the Bank 4 and Activate Panel buttons simultaneously, users suddenly have access to 51 additional controls that include physical control reassignments and other parameter adjustments.
These include Glide Type, Keyboard Transpose, Waveform Modulation Destination and Amplifier Envelope Gate, amongst many others. If you are new to synthesis and these options don't set off lightbulbs of recognition over your head, they are all explained in detail within the Sub Phatty's manual. Shifting the phat To give you an idea of the finger gymnastics that are needed to move between these options, we'll take a look at something useful: switching the Sub Phatty's filter rolloff between the standard 4-pole/24dB-per-octave, and the 1-pole/6dB-per-octave, 2-pole/12dB-per-octave, and 3-pole/18dB-per-octave options. To do this, you first press the Bank 4 and Activate Panel buttons simultaneously to enter Shift mode.
Following that, you press the Bank 2 and Patch 1 buttons (they remain lit during the operation). You then switch the filter settings by pressing either the lower C, C-sharp, D, or D-sharp keys. Sounds simple, no?
Some of the cooler bits of functionality, including things like the ability to precisely control the linear detuning of the oscillators, will probably be brought into play more often than others. 'Another not-to-be-missed technique is the ability to use either the Filter or Amplifier envelope to loop' Moog refers to this classic analogue vibe as Beat Frequency, and it's a treat to now be able to maintain this offset no matter where you are on the keyboard - a feat older analogue synthesizers couldn't really manage. Another not-to-be-missed technique is the ability to use either the Filter or Amplifier envelope to loop, creating the effect of an added multi-stage LFO for controlling the individual elements of those filters. This ultra-pleasing enhancement comes to the Sub Phatty from some of the work realised in the Moog MP-201 Multi-Pedal. As well as those who are mildly confused by its implementation, Shift mode has its proponents.
A casual troll through online forums would seem to indicate that most users who are excited about digging into these parameters have come to terms with it without too much hassle. It's also less worrisome when you consider that these options will also be accessible via the Sub Phatty Editor, once released. This one goes to 12 The Sub Phatty comes with the overdriven sound known to Minimoog Model D users. It's already baked into the mixer section where the knobs dial up to 12 (sorry Nigel.).
To further distinguish it from the other Phattys in the line, which already feature an Overload control, Moog has now tacked on what it's calling a Multidrive circuit. Simply put, this outpaces the previous models by adding pre- and post-filter saturation to the mix. Moog describes it as an effect similar to the non-linear overdrive heard in some guitar pedals, combined with the warmth of a saturated VCA circuit. Add the Multidrive to both oscillators cranked at full bore, along with a splash of output from the noise generator, and the sound can get quite woolly.
'Fat bottomed basses, quavering Geddy Lee-ish lead lines or Moogy flutes are all there for the twiddling' Even if unsettling, distorted tones aren't your bag, the Sub Phatty's true brief is to be all synths to all people. Fat bottomed basses, quavering Geddy Lee-ish lead lines or Moogy flutes are all there for the twiddling once you find your way around the instrument. Thanks to its uncluttered and approachable interface, novice players can quickly come to grips with a wide range of familiar or individualised synth tones.
This synth is clearly about hands-on discovery, and the incomparable joy of building up your own patch from scratch. Of the keyboard-based Moogs, the price is quite reasonable. And while there may be cheaper alternatives out there from competitors, this is a fair amount of quality analogue firepower for the money. Compact and bijou 'The Sub Phatty has a compact footprint and solid build that gigging musicians will appreciate' Apart from the undeniably attractive price, the Sub Phatty has a compact footprint and solid build that gigging musicians will appreciate. And that compressed form will also be a welcome thing in a small project studio where space is always a premium. You could argue - and some will - against Shift mode, especially when you take note of the amount of dead space around the Pitch and Mod wheels. But a digital display to manage those functions would have certainly driven up the cost of the synthesizer.
By how much is hard to say, but once you've taken the time to delve further into the many parameters that are waiting to be unlocked under the hood, the trade off appears reasonable. It would have been nice, however, if Moog had used the flipside of the large annotated cardboard diagram of the Sub Phatty's front panel to replicate the Shift mode illustrations found in the Sub Phatty's manual. That way, anyone looking to get up-to-speed quickly with the unseen aspects of the instrument could paste it up on the wall for a while as a handy visual reference point. The original Minimoog Model D was a revolutionary instrument that put synthesis into the hands of generations of keyboard players. It promoted exploration and found a niche in almost every genre of popular music. While the Sub Phatty may not be in a position to do the same, it has an organic and patently clear connection to those halcyon days of innovation. Flexible sound shaping, playability, with an everyman price bolted on for good measure, might make the Sub Phatty a real goer for Moog in the near term.