SUB PHATT Y

EDITOR USER’S MANUAL

SUB PHATTY EDITOR MANUAL

OVERVIEW & FEATURES

The Sub Phatty Plugin and Standalone Editor controls preset library management, preset
sharing, real time editing, and host DAW integration. Powerful HIDDEN and SHIFT MODE
features are also easily accessed and controlled from this application.

NOTE: This software is for MIDI control only. It does not make or process sound.

For detailed feature descriptions, please refer to the Sub Phatty Manual:
http://www.moogmusic.com/products/phattys/sub-phatty#downloads-tab

SYSTEM REQUIREMENTS:
Mac: OS X 10.7 or higher
PC: Windows 7 or higher with an Intel or AMD processor.
Available USB Port
Host Digital Audio Workstation (DAW) Compatible with VST, AU, or AAX plugins
Your Sub Phatty requires firmware version 2.2 or newer

VST Compatibility: 2.4+ or VST 3+.

Please refer to your DAW’s software manufacturer for support.

All specifications subject to change without notice.

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SETUP & CONNECTIONS
1) Connect your Sub Phatty synthesizer via USB cable to your computer.

NOTE: Be sure to setup your MIDI I/O settings on your Mac or PC.

For more information about connecting your synthesizer to a computer and audio device please refer
to the Sub Phatty User’s manual Page 7-8.

INSTALLATION:
MAC USERS: Click on the .pkg file, select which versions of the editor you want to install and click
the CONTINUE button.

WINDOWS USERS: Click on the .Exe file, select which versions of the editor you want to install and
click the CONTINUE button.

Both the Plugin and Standalone versions will automatically create a support folder upon launching
the application. See Preset Manager below for more information.

OSX: /Users/username/Library/Application Support/Moog Music Inc./Sub Phatty/Presets Library

Windows 7: C:\Users\USERNAME\AppData\Roaming\Moog Music Inc\Sub Phatty\Presets Library

Windows XP: C:\Documents and Settings\USERNAME\Application Data\Moog Music Inc

NOTE for Windows users only: To allow Sub Phatty MIDI port sharing within DAWs, install the included
Moog Sub Phatty USB Midi Driver v4.35.0

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PREFERENCES (PREFS)
Click the PREFS button to open the preferences window:

PREFERENCES WINDOW:
Set the MIDI input and MIDI
Output in the EDITOR SETTINGS
section to “Moog Sub Phatty”.

 
Once the MIDI Input and Output settings are selected, the editor’s SUB PHATTY GLOBAL
SETTINGS will update with the connected Sub Phatty’s internal global settings.

See pages 17-19 (Editor Manual) for detailed information on the PREFERENCES window.

Note: Changes made to the editor’s global settings are saved to the connected Sub
Phatty’s internal memory.

Your Sub Phatty’s current firmware version is displayed in the lower left corner of the
Preferences window.

STANDALONE OPERATION:
The Standalone Editor is useful for creating sounds on your Sub Phatty, sharing presets
with others, or managing your preset library without running a host DAW.

DAW INTEGRATION:
Launch your DAW application. Create an audio, instrument, or aux track and instantiate
the Sub Phatty Editor. MIDI IN and OUT must be selected from the PREFS tab in the
Sub Phatty plugin. Automation, control change messages, and sysex information for the
Sub Phatty can be fully embedded and recalled within a track. This allows for extremely
expressive sound design that would be impossible with only two hands.

NOTE: Some DAWs allow the editor and MIDI data to exist on the same track, others require
them to be on separate tracks. Please refer to your DAW’s manual for more information.

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PRESET MANAGER
The editor’s currently active preset is shown in the preset window. To select a preset, click on the
window to open a menu of available presets, or use the arrows to scroll through the list. Clicking on the
folder icon opens a window to select “HARDWARE” (the 16 presets currently stored in the Sub Phatty)
or “LOCAL FOLDER” (presets stored in a folder on the computer.)

Presets loaded in the preset manager window are sent to the Sub Phatty for previewing and editing,
but are not permanently stored in any of the preset locations. Right click on a preset to rename it.

SAVE: Opens the “Save preset as” window allowing you to name and save the current Editor settings
as a preset. The default location is the PRESETS LIBRARY folder, which is installed on your computer
when launching the Plugin or Standalone version for the first time:
OSX: /Users/username/Library/Application Support/Moog Music Inc./Sub Phatty/Presets Library
Windows 7: C:\Users\Administrator\AppData\Roaming\Moog Music Inc\Sub Phatty\Presets Library
Windows XP: C:\Documents and Settings\USERNAME\Application Data\Moog

Note: You can also drag and drop a preset to a folder directly from the Sub Phatty preset window.

LOAD: Opens the PRESETS LIBRARY folder. Select the desired preset and click OPEN to load
the file and send it to the Sub Phatty for previewing.

RANDOM: Creates a new preset from a set of randomly generated parameters. This is a great way to
discover new and unpredictable sounds!

LIBRARIAN: Opens the PRESET LIBRARY window. At the left is a list of preset folders, the
center shows the list of presets and their categories within the selected folder, and at right is the list
of presets stored in the connected Sub Phatty. Presets can be dragged and dropped to and from
any location in this window.

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SEARCH FIELD: Use the search field (top left corner) to find an existing preset in a selected
folder by name.

SEARCH FOLDERS: The far left column displays the Sub Phatty preset folders. Click on any
folder to display all presets within that folder.

SEARCH SUB-FOLDERS: Click the + icon next to any preset folder to view its sub-folders.
These are preset folders that live within a root-folder and are ideal for organization and
management of presets.

NEW FOLDER: Click on the New Folder icon located at the bottom left corner of the window
to create a new preset folder, or right-click on a folder to add a sub-folder.

EDIT CATEGORIES: Category labels make it easier to organize or search for sounds by
type. When the Edit Categories button is selected, you can double click or right click on
any category to rename it. To assign a preset to a category, click on a preset and select the
category from the pull down menu.

(Be sure to exit this tab or you will not be able to view your presets)

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SHARE PRESETS: By selecting one or more presets and then clicking SHARE PRESETS, you
are able to easily share your synthesized creations with the world via email. For manually
sharing individual presets or banks directly to other Sub Phatty owners, right-click on a
preset and click REVEAL to reveal its location on your computer. The preset or bank sysex
(*.syx) file can be copied, emailed directly as an attachment or uploaded to a file sharing site.

SUB PHATTY PRESETS:

On the right side of the screen is the Sub Phatty
Presets window. You can drag and drop presets from
the center window to any of the 16 Sub Phatty Preset
locations. Double clicking on any preset loads that
preset’s parameters into the Editor.

EXPORT: Clicking on the export button compiles

the Sub Phatty’s current internal preset bank as a
sysex file (*.syx) and opens a “Save bank as” window.
Choose the location where you wish to save the file.

IMPORT: Opens the “Load Bank” window for loading

a preset bank to the Sub Phatty Presets window. If
AUTO SEND is ON, the bank will automatically be
sent to the Sub Phatty. If AUTO SEND is OFF, click the
send button to transfer the bank to the Sub Phatty.

 
GET: Retrieves all current presets stored on your Sub Note: The currently active preset in
Phatty and places them in the Editor’s Sub Phatty the editor is shown in yellow. Presets
Presets buffer. To save the presets, click on th will be displayed in italics until they are
export button. sent to the Sub Phatty

SEND: Sends all 16 presets in the Sub Phatty Presets window to your connected Sub Phatty.

AUTO SEND: Automatically transfers any presets placed in the Sub Phatty Presets window to the
specified preset slot.

See Pages 9-10 of the Sub Phatty manual for more details on presets.

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SYNTHESIZER FEATURES
For detailed information regarding Sub Phatty features and functions, please refer to the Sub Phatty
User’s manual. For your convenience, each function’s associated manual location has been notated.

SHIFT MODE AND HIDDEN PARAMETERS

Clicking on the arrow at the bottom of the editor
provides access to the HIDDEN (Pages 26-36) and
SHIFT Mode (Pages 23-25) features window, which
significantly expands the Sub Phatty’s sonic capabilities.
 
NOTE: System command features cannot
be controlled by the editor. Pages 36-38

PARAMETER ADJUSTMENTS:

FINE TUNING: To make fine parameter adjustments, press Command OR Control + Click and drag any
knob. (Alt + Click on a Windows PC.)

ZERO OUT A PARAMETER: Option + Click any knob and it will return to its zero position.

GLIDE

GLIDE TYPE: When you select LCR (Linear Constant Rate), the
glide rate between notes will vary; the larger the interval between
pitches, the longer the glide time will be. When you select LCT
(Linear Constant Time), the glide time between notes will stay the
same regardless of the interval. When you select EXP
(Exponential), The glide rate between notes will follow an
exponential curve that begins with a fast rate and slows as it
approaches the target note. Page 27

GLIDE RATE: Specifies how much time it takes to smoothly

transition from one pitch to the next when you play the keyboard.
Page 22

LEGATO GLIDE: When ON, glide is engaged only when you press
a key while holding a previous key. When OFF, glide is active on
all notes. Page 27

GATED GLIDE: Gated Glide causes the gradual change in pitch

between notes to be started and stopped by the keyboard gate.
When Gated Glide is OFF, the pitch CV will continue gliding to
the target pitch at the current Glide Rate, regardless of whether or
not the Sub Phatty is playing a note. When Gated Glide is ON, the
pitch CV only glides while a note is playing, and is held constant in
between notes. Page 27

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WHEELS AND PITCH

PITCH WHEEL AMOUNT: Clicking on the numerical field at the top

and bottom of the Pitch Wheel allows you to set the pitch bend
range up and down from 0 to 24 semitones. Page 26

MOD WHEEL: Specifies the modulation wheel’s preset value.

KB OCT: Click on the numerical field to specify the Sub Phatty’s

keyboard octave position. Page 22

KB SEMI: Click on the numerical field to specify the Sub Phatty’s

keyboard transposition offset in semitones. Page 26

NOTE: Wheels and Pitch settings are stored with individual presets.

MODULATION

LFO RATE: Varies the Low Frequency Oscillator’s

modulation rate. The LFO’s frequency range can be
selected in the SHIFT MODE PARAMETERS shown
below. Page 20

SOURCE: Selects between 5 LFO waveforms

and Filter Envelope as the Sub Phatty’s source of
modulation. Page 20

PITCH AMT: Specifies the maximum amount of

modulation sent to the Oscillator’s pitch when the
Mod Wheel is engaged. Page 20

PITCH AMT OSC 2 ONLY: Assigns pitch modulation

to Oscillator 2 only. Page 21

FILTER AMT: Specifies the maximum amount of

modulation sent to the Filter Cutoff when the Mod
Wheel is engaged. Page 21

WAVE AMT: Specifies the maximum amount of

modulation sent to the Oscillator’s Waveform when
the Mod Wheel is engaged. Page 21

 
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MODULATION SHIFT MODE PARAMETERS

LFO RANGE: Selects the frequency range at

which the LFO operates. Select between Low
(0.01 to 10Hz), Medium (0.1 to 100Hz), or High
(1 to 1000Hz) ranges. Page 28

WAVE MOD DESTINATION: Determines

whether the waveform of Oscillator 1, Oscillator
2, or both are modulated when WAVE AMT is
engaged. Page 28

LFO KB AMT: Specifies how much the LFO rate

follows the keyboard pitch, from 0 - 2:1.
Page 29

LFO GATE RESET: Resets the LFO to its start

phase with each new note played. Page 25

MIDI SYNC: Synchronizes the LFO rate to a

clock division** of the incoming MIDI beat
clock. If no clock is present, the LFO runs at the
selected rate. Default is on. Page 29
 
** See page 38 for LFO clock divisions.

OSCILLATORS
The Sub Phatty’s primary source of sound. They
generate four waveforms: triangle, sawtooth, square,
and pulse. Page 13

OCTAVE: Selects the oscillator’s pitch in one-octave

increments. Page 13

HARD SYNC OSC 2: Forces the restart of Oscillator

2’s cycle based on Oscillator 1’s start phase.
Oscillator 2 is phase locked to harmonically related
overtones of Oscillator 1’s root pitch. Page 14

FREQUENCY: Fine-tunes the pitch of Oscillator 2 up

to +/-7 semitones within its selected range. Page 14

WAVE: Smoothly varies the oscillator’s waveform

from triangle to sawtooth to square to narrow pulse
wave and everything in between. Page 13

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OSCILLATORS SHIFT MODE
PARAMETERS

OSC 2 BEAT FREQUENCY: This parameter creates

a linear constant detuning of Oscillator 2 relative to
Oscillator 1, so that Oscillator 2 is always detuned by
the same number of cycles per second regardless of
its musical pitch. Page 25

OSCILLATOR GATE RESET: Forces the Oscillators

to simultaneously begin their cycles whenever a new
note is played. When ON, the result is a consistent
and well defined leading edge to sounds. When OFF,
the oscillators run continuously. Page 25

MIXER
The mixer combines audio signals from each of the Sub Phatty’s
four internal sound sources and the external audio input.

NOTE: Any setting above 6 will overdrive the filter’s input. Page 15

OSC 1: Controls the level of Oscillator 1. Page 15

SUB OSC: Controls the level of the Sub Oscillator. The Sub
Phatty’s sub oscillator is a fixed square wave tuned exactly one
octave below the pitch of Oscillator 1. Page 15

OSC 2: Controls the level of Oscillator 2. Page 15

NOISE: Controls the level of Pink Noise (an un-pitched sound

source with frequencies of equal amplitude in every octave)
Page 15

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MIXER SHIFT MODE PARAMETERS

EXT INPUT: Controls the level of signal sent from Sub

Phatty’s EXT IN jack to the mixer section. Page 25

PRESET LEVEL / formerly MASTER VOLUME: Sets the

maximum volume level of a preset and is stored per preset.
PRESET LEVEL works in combination with the hardware
Master Volume control, which is always active.

FILTER
The Sub Phatty has a classic Moog Ladder filter with four
selectable slopes. Lowpass filters pass all frequencies up
to a point called the cutoff frequency, and then gradually
attenuate frequencies above that point.

CUTOFF: Controls the filter’s cutoff frequency from

20Hz to 20 KHz. Page 16

RESONANCE: Emphasizes harmonics closest to the

cutoff frequency and exaggerates any changes to
the cutoff frequency. Above 8, the filter resonance will
cause the filter to self oscillate. Page 16

MULTIDRIVE: Controls the smooth continuous

transition from clean signal to asymmetrical, tube-like
warmth to aggressive hard clipping. Page 16

EG AMOUNT: Controls how much the filter envelope

modulates the filter’s cutoff. Page 16

KB AMOUNT: Specifies how the filter cutoff tracks the

keyboard. With KB AMOUNT turned up halfway, the
filter cutoff will follow the keyboard’s pitch at a 1:1 ratio
centered at middle C (MIDI note 60). With KB
AMOUNT set at maximum, the filter tracks the
keyboard at a 2:1 ratio, or two octaves for every
octave played. Page 17

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FILTER SHIFT MODE PARAMETERS

FILTER POLES: Filter poles control how sharply

high frequency content passed through the filter is
rolled off. With fewer poles, the filter has a buzzy,
raw sound. With more poles, the sound is smooth
and rounder. You can select between 4 filter slopes.
1-pole has a 6dB-per-octave slope, 2-pole has a
12dB-per-octave slope, 3-pole has an 18dB-per-
octave slope, and 4-pole has a 24dB-per-octave
slope. By default, the Sub Phatty’s Filter Poles are
set to 4. This is the classic Moog 24dB-per-octave
filter slope. Page 28

ENVELOPES
Envelopes determine the brightness
and volume contour of a sound over
time. Each of the Sub Phatty’s envelope
generators have four stages: attack,
decay, sustain, and release (ADSR).

NOTE: The filter envelope can be used

as a source in the modulation section.

 
ATTACK: Specifies the time it takes for the filter or amplifier to ascend to its peak value. Page 18, 19

DECAY: Specifies the time it takes for the filter or amplifier to descend to the sustain level. Page 18, 19

SUSTAIN: Specifies the filter or amplifier level when a note is held. The sustain stage of an envelope
occurs after the attack and decay stages have occurred. Page 18, 19

RELEASE: Specifies the time it takes for the filter to descend to the CUTOFF knob setting or for the
amplifier to descend to zero once a note is release. Page 18, 19

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ENVELOPE SHIFT MODE
PARAMETERS

The FILTER and AMPLIFIER tabs

control additional filter and amplifier
envelope parameters. DELAY
specifies a timed pause before the
onset of the attack stage, effectively
turning an ADSR envelope into a
DADSR envelope. Page 23, 24

HOLD: Specifies the amount of time that the envelope holds at the peak level between the
attack and decay stages, effectively turning an ADSR envelope into an AHDSR envelope.
This can be used to simulate the clipped envelopes of vintage synthesizers such as the
Minimoog Model D, giving the peak a short sustain before the decay stage. Page 23, 24

VEL TO AMT: Specifies how playing velocity will the Filter or Amplifier Envelope Amount
settings. As this control is increased, the sound will become brighter or louder in response
to the velocity with which a key is pressed. Page 23, 24

VEL TO TIME: Specifies how playing velocity scales the Filter or Amplifier Envelope decay
and release times. When engaged, higher playing velocity on the keyboard lengthens the
envelope time. Page 24

FAST DECAY: Sharpens decay and release slopes without affecting their time.

RESET: When Envelope Reset is turned ON, each new note triggers the envelope causing
it to reset from Zero. When Envelope Reset is turned OFF, the envelope Attack sweeps the
envelope output only from its current level to the maximum level. Page 30, 31

MULTI TRIG: With multiple triggering turned ON, a new gate occurs each time you play
a note on the keyboard. You can select single or multiple triggering separately for the
Amplifier and Filter envelopes. Page 29, 31

REPEAT: When envelope repeat is turned ON, the Delay, Attack, Hold, Decay, and Release
stages loop continuously as long as a note is held. The shorter the envelope times, the
faster the loop will repeat. Page 30, 32

GATE SOURCE: Controls whether the envelope is triggered via the keyboard, external
gate voltage, both, or is on continuously. Use keyboard trigger for playing from the
keyboard or via MIDI, use external gate if you wish to control the synthesizer with modular
or other gear, and use on for self-sustaining drones or for processing external signals
through the Sub Phatty’s external input. Page 31, 32

EG KB AMT: Controls how keyboard tracking shortens the envelope time as you play
higher notes on the keyboard. This effect is similar to the natural envelopes of acoustic
instruments, (e.g. strings or piano), which have shorter note durations as you play higher in
pitch. Page 30

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PREFERENCES

EDITOR SETTINGS

MIDI INPUT: Selects the Editor’s MIDI Input source.

MIDI OUTPUT: Selects the Editor’s MIDI Output destination.

KNOB BEHAVIOR: Selects whether the editor knob control behavior is VERTICAL (linear movement up
and down rotates a knob) or KNOB (rotary movement is required to rotate a knob).

MIDI PORT WARNING: If the Sub Phatty is not properly communicating with the Editor, this will warn
you that the hardware is disconnected or unavailable.

Echo MIDI from Host: Merges MIDI from the host DAW and the Editor plugin and sends it to the Sub
Phatty’s specified MIDI input.

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SUB PHATTY GLOBAL SETTINGS
MIDI IN CHANNEL: Selects the channel on
which your Sub Phatty will receive MIDI
information. (CH 1-16)

MIDI OUT CHANNEL: Selects the channel

on which your Sub Phatty will send MIDI
information. (CH 1-16)

KNOB MODE:
Selects how the Sub Phatty’s physical knobs
respond when turned.
SNAP: The value jumps to the knob’s current
position as soon as you begin turning it.
PASS THROUGH: Turning the knob has no
effect until it reaches its preset value and then
it takes effect.
RELATIVE: Turning the knob up or down
slightly causes minor changes in value, while
turning it further causes an increasingly
greater change in value. This allows the value
to “catch up” with the knob’s position and
prevents sudden jumps from a preset knob
value to a physical knob value.
(Default is RELATIVE) Page 36.

KEYBOARD PRIORITY: Selects between LOW NOTE, LAST NOTE, or HIGH NOTE PRIORITY.
(Default is LAST NOTE) Page 36

LOAD PRESET VOLUME: Specifies whether an individual preset’s loudness is controlled by the
MASTER VOLUME knob’s current setting or by the volume level that was saved within a preset.
Page 35

LOAD PRESET KB OCTAVE: Specifies whether to load a preset’s Keyboard Octave settings or
to retain the keyboard’s current transposition. Page 22 Global Controls.

LOAD PRESET MOD WHEEL: Specifies whether to load a preset’s modulation depth as
controlled by the MOD wheel setting that was current when the preset was saved. Page 35

14 BIT CC OUTPUT: Most MIDI commands allow a range of values from 0 to 127, a number
limited by 7-bit words that make up standard MIDI messages. For Control Change (CC)
commands that require greater resolution, it’s possible to use 14-bit words that allow a much
finer-resolution range of values, from 0 to 16,384. Page 34

MIDI INPUT: Selects the Sub Phatty’s MIDI input port from USB, DIN MIDI, or BOTH. (Default
is BOTH) Page 33

MIDI OUTPUT: Selects the Sub Phatty’s MIDI output port to USB, DIN MIDI, or BOTH.
(Default is BOTH) Page 33

MIDI MERGE: The Sub Phatty can merge the MIDI data it receives with the MIDI data it
transmits. You can specify the path of the merged data so that data received at either the
MIDI IN jack or the USB port is passed through to the MIDI OUT jack or the USB port.

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MERGE DIN INPUT:
OFF: Turns MIDI merging off.
DIN MIDI IN to DIN MIDI OUT: Data received by the MIDI IN jack passes through to the MIDI OUT jack
only.
DIN MIDI IN to USB OUT: Data received by the MIDI IN jack passes through to the USB port only.
DIN MIDI IN to USB AND DIN MIDI OUT: Data received by the MIDI IN jack passes through to both the
MIDI OUT jack and the USB port. Page 34

MERGE USB INPUT:

OFF: Turns MIDI merging off.
USB IN to DIN MIDI OUT: Data received by the USB port passes through to the MIDI OUT jack only.
USB IN to USB port OUT: Data received by the USB port jack passes through to the USB port only.
USB IN to USB AND MIDI DIN OUT: Data received by the USB port passes through to both the MIDI
OUT jack and the USB port. Page 33

MIDI OUTPUT FILTER:

Filters data that the Sub Phatty sends out so that certain data isn’t received by external MIDI devices.
Page 35

OFF: Sends all data. (Default is OFF)

CC7/ VOL: Sends everything except volume data.
PANEL KNOBS: Only sends data from the keyboard, Mod Wheel, and Pitch Wheel.
KEYS ONLY: Sends note data only.

START WITH ACTIVE PANEL:

Upon turning on the Sub Phatty, the front panel settings determine the sound rather than loading
a preset. Dialing up sounds in Active Panel mode is exactly like dialing up sounds in a classic synth
without patch memory, but when you’re finished sculpting your sound, you can save your work. Saving a
preset stores all the settings that define your new sound. (Default is OFF) Page 10

MIDI OPERATION AND CHARTS

See pages 38-41 for clock divisions and CC value information.

SUPPORT:
http://www.moogmusic.com/support

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