Moog Announces Sub Phatty Analog Synth – Aggressive Sound Design Tool

No more Mr. Nice Moog.

The latest anlog synthesizer from Moog Music, the Sub Phatty, takes the gloves off, as the iconic company commits to a synth with teeth. In creating the Sub Phatty, the disciples of Bob Moog were determined to make a standout music production and sound design tool that would cut through any mix that producers can throw at it.

The Moog Sub Phatty will rip you a new one — a new song, that is.

The Sub Phatty will be available in March for an MSRP of $1099. Put your eye goggles on, and stand back as Moog explains their new creation:   

“A 25 full-size key, 31 knob production instrument, the Sub Phatty analog synthesizer, melds the soul and functionality of vintage analog synthesizers with new and unique sound design tools. Building on the tradition of Moog’s highly successful Phatty family, the Sub Phatty grinds and screams with a uniquely aggressive voice — making it the new standard for synth bass, analog percussion, and a wide range of sound design applica-tions.

The engineers at Moog Music have reimagined the Sub Phatty’s sound engine. The in-strument features two variable waveshape oscillators that perform with extreme clarity and accuracy while requiring almost no warm-up time. Users can simply power up, dial in settings, and put their fingers to work on the keys to summon crisp and detailed wave-forms with vibrant sound that brims with high-frequency harmonic content, yet stays true to the rich sonic density that has become synonymous with Moog synthesizers.

‘We set out to design the grittiest Moog synth ever, one that still offers all of the great sound and flexibility that Moog synthesizers are known for, but that also really has teeth,’ said Mike Adams, President of Moog Music.  ‘One of the great advantages of the Sub Phatty is its ability to conjure aggressive sounds that cut through a dance mix, stand out on-stage, or burn up the studio. We think that everyone from producers and sound de-signers to DJs and synthesists will have a blast using it.’

The Sub Phatty’s filter includes the transformative new Multidrive circuit, a unique combi-nation of OTA distortion and FET drive, which serves as the sparkplug in the instrument’s powerful sound. At low settings, Multidrive adds warmth and width; when pushed, it de-livers a screaming snarl that is highly reactive to resonance, waveshape, and oscillator level.

Users can access a total of 16 definable presets via the 4×4 preset matrix on the Sub Phatty’s front panel. This matrix also doubles as a control panel for the instrument’s sub-cutaneous nerve center — users can select filter poles, set pitch bend amounts, toggle between legato glide modes, and more. These functions can also be accessed via the included Sub Phatty standalone/plugin editor.

The configuration of the Sub Phatty’s mixer section allows users to easily determine, at any given moment, which sources overdrive the filter and which simply pass through it. The mixer section further hosts controls for a square wave sub oscillator; those operating the Sub Phatty can utilize this tool as a third oscillator for added depth, or to craft their own customized incarnations of monstrous Moog bass. Also in the mixer section is a noise generator voiced to deliver rich, punchy low-frequency content, designed for ana-log percussion and sound effects.

In honor of the Sub Phatty’s release, experimental multi-genre music producer, Flying Lotus, and Adult Swim veteran, Adam Fuchs collaborated on a psychedelic short anima-tion called Moog Sub Phatty: New Machine For Living. Flying Lotus’s original score was made primarily with the Sub Phatty synthesizer and dynamically shows off its bold sound. This unique animation can be viewed below.

The Sub Phatty brings a fearless new voice to the Moog family of synthesizers. With its streamlined interface and dynamic sound design flexibility, this new synth fuses an un-paralleled connection between human & machine, opening the door to unprecedented sonic exploration.”

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