Table of Contents FOREWORD from Steve Dunnington .................. THE BASICS How to use this Manual ....................................... Setup and Connections ........................................ Overview and Features ........................................ Signal Flow .................................................................... Basic Operation ......................................................... 6 6 8 10 11 THE COMPONENTS A. Oscillator Section ......................................
SAFETY INFORMATION *** Important Safety Instructions - Please Read *** WARNING - When using electric products, basic precautions should always be followed, including the following: 1) Read all the instructions before using the product. 2) Do not use this product near water – for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool or the like. 3) This product should be used only with a car t or stand that is recommended by the manufacturer.
FOREWORD Foreword We here at Moog Music are grateful that you have chosen the Slim Phatty® analog synthesizer for your musical pursuits, and hope you find it to be an inspiring instrument for years to come. Good things can come in small packages – and “the Slim” is no exception. Making the Slim Phatty has been a labor of love, transforming the electronic workings of the Little Phatty® into a package that is easily used as a desktop or a 3U rack-mount unit.
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 THE BASICS  
  
  
  
  
 How to Use this Manual The Setup and Connections section explains how to unpack, setup and connect the Slim Phatty, and provides a quick start to get you up and running with your new synthesizer. The Components section offers detailed explanations of the components that create and modify sound.
Slim Phatty User’s Manual - The Basics Set up Make sure you have an adequate place to set up. Do not expose your Slim Phatty to dripping or splashing and no objects filled with liquids, such as vases, should be placed on top of it.” Use care when unpacking the Slim Phatty, and be sure to save the carton and all packing material in case you need to ship the Slim Phatty for any reason.
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 Overview and Features The Slim Phatty (SP for short) is a monophonic analog synthesizer that is a descendant of the classic Minimoog Model D. The SP features 2 ultra-stable oscillators, a genuine Moog 24dB/Octave low pass filter, two 4-stage analog envelope generators and a flexible modulation matrix.
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Basics Front Panel (con’t): 5. The Envelope Generator (EG) section - contains two ADSR-style envelopes, one for the Filter and one for the Volume. The EG section includes controls for adjusting the Attack, Decay, Sustain and Release parameters of each envelope. 6. The Output section - includes controls for adjusting the Master Volume, and a switch to toggle the Audio output on and off.
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 Signal Flow To understand the operation of the Slim Phatty, refer to the diagram below. The diagram shows the flow of the audio, control voltage and modulation signals in the Slim Phatty. Heavy lines are used to indicate audio signals, which flow from left to right.
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Basics Basic Operation The SP has two operating modes: Master and Preset. • Master mode allows you to access and change global parameters and other utility options. A complete list of the Master mode functions and parameters is shown on page 26. • Preset mode allows you to access the presets and manipulate the sound from the front panel controls.
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 THE COMPONENTS  
  
  
 The Components Now let’s take a look at the individual module components that make up the Slim Phatty Synthesizer, starting with the Oscillator section and moving right across the front panel, explaining the features and functions of the Filter, Envelope Generator and Output sections.
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Components Waveform: Each oscillator has a switch labeled WAVE that allows the analog edit control to modify the waveform. The waveform is continuously variable from triangle, to sawtooth, to square, to rectangular. The waveform is morphed gradually from one to another as the value control is rotated.
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 B. The Filter Section Filters are used for adjusting the timbre of an audio signal. Filters modify sound by attenuating some frequencies while allowing others to pass through unaffected. An important term to understand regarding filters is “Cutoff Frequency”.
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Components Finally, the Overload (O.L.) parameter allows you to set the amount of signal clipping from none to soft to hard clipping as the amount is increased. The results you get with Overload will depend on the settings of the oscillator waves and levels, and the filter cutoff and the filter resonance settings in addition to Overload amount. Note that Overload is not the same distortion you’d get from a fuzz box.
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 TECH  
NOTES: 1.  
The  
SP’s  
Overload  
circuit  
uses  
asymmetrical  
clipping,  
which  
clips  
each  
side  
of  
the  
waveform  
 differently.
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Components Envelope Generator Section Controls: Attack: When the ATTACK switch is selected, the analog edit control is used to adjust the Attack time of the corresponding envelope from 1 msec to 10 seconds. Decay: When the DECAY switch is selected, the analog edit control is used to adjust the Decay time of the corresponding envelope from 1 msec to 10 seconds.
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 D. The Modulation Section Modulation is the heart of making interesting sounds with analog subtractive synthesis. The SP’s Modulation section opens up a world of modulation possibilities that were not available on the original Minimoog.
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(con’t) Destination: The DESTINATION switch selects the destination of the modulation. The modulation destination is chosen in the same manner as the source.
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 F. Input/Output Panel The Back Panel provides all of the input and output connections. In addition to Audio Input/Output jacks, there are CV and Gate inputs, connections for MIDI, and the power connector and power switch.
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Components G. Interface Panel The Interface Panel is located on a far left of the instrument. The Interface Panel provides a status display and controls for all of the Slim Phatty’s software functions and instrument settings. The status display is an LCD screen located in the center of the panel above the section controls. When the SP is first powered on, the screen will display the message: Slim Phatty Version X.
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 Enter/Store: The ENTER/STORE button is used to enter changes and store edited presets in PRESET mode and to execute SysEx and System Utility functions in MASTER mode. Fine Tune: The FINE TUNE control is used to tune the Slim Phatty’s oscillators ±3 semitones for matching an external reference pitch.
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Interface Preset Mode Preset mode is the default mode when the SP is powered on. Preset Mode is used to access presets and provide control for editing, naming and storing sounds. Preset sounds are selected using the VALUE knob.
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When  
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Arpeggiator  
is  
running,  
the  
ENTER/STORE  
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activate  
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latch  
if  
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Latch  
parameter  
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enabled.
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Interface Tap Tempo Tap Tempo is an easy and intuitive way to adjust the speed of the LFO Rate or the Arpeggiator Clock. The Tap Tempo function is always available for any preset in PRESET Mode. Tap Tempo can be used to adjust the LFO Rate when the Arpeggiator is not running, or adjust the Arpeggiator Clock when the Arpeggiator is running.
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 Master Mode Master Mode is used to access the global settings and Advanced Preset settings for the Slim Phatty, and the routines for sending and receiving data. To enter master mode, press the MASTER button. By default, the first master menu entry is Performance Sets.
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Interface ADVANCED PRESET: Advanced Presets is a set of menus that allows you to access additional parameters for the selected preset. These parameters are stored individually for each preset. There are eleven Advanced Preset menus: - Filter Poles - EGR Release - Gate Trigger Options - Filter Sensitivity - Additional LFO Modulation Sources (SRC5 & SRC6) - Pitch Bend - Secondary Modulation destinations.
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 CLOCKS/QUARTER NOTE  
  
  
 TIME VALUE  
  
  
 SP DISPLAY 3 1/32 note 1/32 4 Dotted 1/32 note 1/32 DOT 6 1/16 note 1/16 9 Dotted 1/16 note 1/16 DOT 12 1/8 note 1/8 18 Dotted 1/8 note 1/8 DOT 24 Quarter note 1/4 36 Dotted quarter note 1/4 DOT 48 Half note 1/2 72 Dotted half n
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Interface PROGRAM CHANGE SEND/RECEIVE: This menu item is used to enable or disable the transmission (SND) and reception (RCV) of MIDI program changes. To change the status of either parameter use the CURSOR button to highlight the parameter, then use the VALUE knob to set the new parameter value.
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 NOTE:  
  
While  
you  
are  
in  
this  
menu  
with  
AutoTune  
enabled,  
the  
output  
of  
the  
SP  
will  
be  
muted  
(the  
 Output  
ON/OFF  
button  
status
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Interface PRECISION MODE: Precision Mode is a feature that allows precision editing of SP parameters using the VALUE knob. Each SP parameter stored has a value from zero to 4095. In Precision Mode that value is displayed on the second line on the screen. To edit a parameter in Precision Mode, press the corresponding parameter button on the front panel (for example, Filter Cutoff).
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 MIDI CHANNELS IN AND OUT: This menu is used to select the SP’s MIDI In and Out channels. The SP can only send and receive on one channel at a time, but each channel can be set independently.
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Interface MIDI SETUP (con’t) The fourth page of the MIDI Setup menu allows you to select the MIDI output connection. To specify the MIDI output connection, use the CURSOR button to highlight the output selection, then use the VALUE knob to select the new output.
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 MIDI SETUP (con’t) The seventh page of the MIDI Setup menu allows you to set up multiple Moog synths as a polyphonic synth stack. The settings are ‘POLY: OFF’ or ‘POLY: (#) of (##)’.
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Interface SYSEX MENU: SysEx (System Exclusive) is a set of commands to transmit and receive selected presets, bulk dumps and firmware dumps. For more information on SysEx commands, see the SysEx Menus section on page 42. SYSTEM UTILITIES: System Utilities is a set of commands used to perform a system reboot, restore factory default values or perform various system calibrations on the instrument.
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 B. Advanced Preset menus The Advanced Preset menu provides a set of additional programming parameters for each preset. These parameters are stored individually for each preset. FILTER POLES: This menu allows you choose the number of Filter Poles for the preset.
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Interface MOD SOURCE 5 (MOD SRC 5): This menu allows you to select one of two modulation options that will be used when the FILT ENV source is selected on the front panel (Modulation Source 5). FILT (Filter Envelope) is the default source, but S-H (Sample & Hold) can be chosen as an alternate.
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 KEYBOARD PRIORITY (KB PRIOR): The Keyboard Priority menu allows you to select the keyboard priority for individual presets.
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Interface POT MAPPING (con’t): Press the CURSOR button once more to select whether the assignment applies to internal only (INT), external only (EXT) or BOTH. Pressing the CURSOR button again will return you back to the beginning. Once programmed, Pot Mapping is enabled in a section by selecting the active parameter in that section.
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 ARPEGGIATOR: The Arpeggiator provides a wide range of musical sequencing possibilities. The Arpeggiator is programmed for each preset individually through the seven menu pages described here.
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Interface ARPEGGIATOR (Con’t): The third page of the Arpeggiator menu allows you to specify the Arpeggiator Clock Divider. The available Arpeggiator Clock Divider values are the same as the LFO Clock Divider (see table on page 28). To make a selection, use the CURSOR button to move to the divider parameter field, then use the VALUE knob to select the desired divisor value.
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 ARPEGGIATOR (Con’t): The seventh page of the Arpeggiator menu allows you to enable or disable the Latch function. The Latch allows the Arpeggiator to keep repeating the arpeggio state when you remove your hands from the keyboard.
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Interface C. SYSEX Menus (Con’t) SEND ALL PRESETS: This option allows you to send the system exclusive data for archiving the complete bank of presets in the SP’s memory. To complete this command, enable the device that is to receive the SysEx data. Once the remote SysEx device is enabled, press ENTER to start the data transfer.
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 Receiving SysEx Data The SP is able to receive System Exclusive data at any time without any special prior setup. SysEx files are recognized and received automatically when a SysEx data transfer is initiated.
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Interface D. System Utilities Menus System Utilities provide a set of useful system commands, including commands to calibrate, restore factory defaults and set global system options. There are six pages of System Utilities menus, beginning with the Version number display.
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 While the restore process is taking place, the LCD will briefly display a ‘RESTORING FACTORY DEFAULTS’ message. When complete, the screen will return to the System Utilities menu. The sixth page of the System Utilities menu allows you to calibrate the Slim Phatty.
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Interface CALIBRATION (con’t) NOTE CALIBRATION: This calibration option allows you to select Note calibration. This calibrates individual notes exactly for each oscillator and octave setting. Press ENTER to access the Note calibration menu. The Note calibration menu will be displayed, allowing you to set the calibration range. The default note range is MIDI notes 12 - 116.
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 CALIBRATION (con’t) PITCH WHEEL AMOUNT: This option allows you to select Pitch Wheel Amount calibration. This calibrates the Pitch Wheel Amount parameter to precise semitone values (± 2, 3, 4, 5, 7 and 12). Press ENTER to access the Pitch Wheel Amount calibration menu.
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Interface CALIBRATION (con’t) OSCILLATOR 2 FREQUENCY (OSC2 FREQ): This option allows you to select OSC2 Frequency Calibration. This calibrates the OSC2 FREQ control so that turning the editing dial all the way CCW turns OSC2 down exactly a fifth (-7 semitones) and turning all the way CW turns OSC2 up exactly a fifth (+7 semitones). Press ENTER to access the OSC2 Frequency Calibration menu.
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 Performance Sets Performance Sets is a feature that allows you to customize the order of SP presets for a live performance situation or to enhance your productivity in a studio environment.
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Interface Editing Performance Sets To edit a Performance Set, use the CURSOR key to select the Performance SET number (1-4), ENTRY location (1-8) and PRESET (00-99). For example, to select the SET number, press the CURSOR button once to highlight the SET number for editing. Press the CURSOR button a second time to advance to the ENTRY location, and a third time to advance to the PRESET.
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 Activating the Arpeggiator and Latch Turning the Arpeggiator ON/OFF When a preset has the Arpeggiator function enabled, you turn the Arpeggiator ON and OFF by pressing the VALUE encoder switch (you must be in PRESET mode to engage the Arpeggiator).
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Interface Arpeggiator Examples The Arpeggiator takes the currently played note or group of notes and forms an arpeggio based on the Arpeggiator Menu settings. Here are some simple examples of the Arpeggiator function: Example 1. Pattern = UP, Octaves = 1, Mode = LOOP PLAY & HOLD NOTE THE ARPEGGIATOR PLAYS C3 C3, C4, C3, C4... Add E3 C3, E3, C4, E4... Add G2 G2, C3, E3, G3, C4, E4, G2...
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 How the SP handles MIDI When you adjust any one of the SP’s four analog edit controls, MIDI Continuous Controller (CC) messages are generated and transmitted on the MIDI Out connector.
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Interface Filter Oscillators Modulation Interface Panel SECTION CONTROL/PARAMETER FUNCTION CC VALUE/RANGE MASTER Master mode switch - - PRESET Preset mode switch - - CURSOR Navigation control - - ENTER Data entry control - - GLIDE ON/OFF Turns Glide ON/OFF 65 0 (OFF), 64 (ON) OCTAVE UP Octave increment switch - - OCTAVE DOWN Octave decrement switch - - LFO RATE Adj
CONTROL/PARAMETER FUNCTION CC VALUE/RANGE ATTACK Adjusts the filter envelope attack time 23 0 – 127 DECAY Adjusts the filter envelope decay time 24 0 – 127 SUSTAIN Sets the filter envelope sustain level 25 0 – 127 RELEASE Adjusts the filter envelope release time 26 0 – 127 ATTACK Adjusts the volume envelope attack time 28 0 – 127 DECAY Adjusts the volume envelope decay time 29 0 – 127 SUSTAIN Sets the volume envelope sustai
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Interface TIME VALUE CLOCK DIVIDER (SP DISPLAY) VALUE 1/32 note 1/32 0 Dotted 1/32 note 1/32 DOT 8 1/16 note 1/16 16 Dotted 1/16 note 1/16 DOT 24 1/8 note 1/8 32 Dotted 1/8 note 1/8 DOT 40 Quarter note 1/4 48 Dotted quarter note 1/4 DOT 56 Half note 1/2 64 Dotted half note 1/2 DOT 72 Whole note WH 80 Whole note + quarter note WH + 1/4 88 Whole note + half note WH
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Appendices  
  
  
 APPENDICES  
  
  
  
  
  
  
 Appendix A - LFO Sync Modes There are two LFO Sync Modes: INTERNAL and MIDI CLOCK.
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Appendices Appendix B - Arpeggiator Clock Source There are three Arpeggiator Clock Sources: Internal (INT), LFO, and MIDI Clock (MIDI). Detailed descriptions of these clock source options appears below. INTERNAL: When the Arpeggiator Clock Source is set to INTERNAL, the Arpeggiator runs at the internal Arpeggiator Clock rate. This defaults to the clock rate saved in the currently-active preset.
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 Appendix C - The Calibration Preset The SP has a specific Calibration Preset that is stored in a non-volatile memory location labeled ‘CA’ (this preset location appears after preset 99). The Calibration Preset is a single-oscillator squarewave tone that plays Oscillator 1 at full level.
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Appendices Appendix D - Accessories To further enhance the functionality and appearance of the Slim Phatty, Moog Music offers the following optional accessories. For complete information on everything listed here, including pricing and ordering info, see your Moog dealer, or visit www. moogmusic.com Rack Ears For those who wish to rack mount their SP, Moog Music offers matching metal rack ears for the Slim Phatty.
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 Appendix E - Tutorial For those who are new to the world of electronic music, let’s take a few moments to go through the basics of sound and synthesis. Sound is simply the audible change in air pressure.
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Appendices The Subtractive Synthesis Model The Oscillator is the starting point of Subtractive Synthesis, for it is here that the initial sound is created. The oscillator creates electrical vibrations which function in a manner similar to the strings of a guitar; they create the signal source that the rest of the system will use to modify and shape the sound. The key oscillator parameters are pitch and waveform.
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 Like the square wave, the triangle wave only contains odd harmonics, but the levels of the harmonics in a triangle wave are much less. The triangle wave has a soft, slightly buzzy sound that is suitable for highpitched leads (like a flute) or adding a beefy sub-bass to bass sounds.
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Appendices Returning to our Subtractive Synthesis model, the first of the auxiliary components is the keyboard. The keyboard provides a familiar musical instrument ‘interface’ that produces a control voltage and trigger signal whenever a key is pressed. The level of the control voltage signal is a function of which key is pressed - the higher up on the keyboard you play, the higher the level of the control voltage.
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 So there you have it - the six basic components that make up a synthesizer based on the subtractive synthesis model. Keep in mind that most ‘subtractive’ synthesizers often include more than one of each component.
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Appendices Appendix F - MIDI Implementation Chart MIDI Implementation Chart Moog Music Slim Phatty Analog Synthesizer FUNCTION Date: 10/1/10 Version 1.
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 Appendix G - Service and Support Information Moog Limited Warranty Moog Music warrants its produces to be free of defects in materials or workmanship and conforming to specifications at the time of shipment for a period of one year from the date of purchase.
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Appendices Appendix I - Using the CP-251 with the Slim Phatty The Moogerfooger® CP-251 Control Processor makes an ideal companion to the Slim Phatty synthesizer. The CP-251 provides an LFO with two waveforms (Triangle/Square), a Sample & Hold circuit with two outputs (stepped/smooth), a Lag Processor, a Noise source, a Mixer and two Attenuators.
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 To set the transposition interval, press the EP-2 footpedal all the way down and slowly adjust the Attenuator on the CP-251 while striking a note on the SP’s MIDI controller. The pitch will go up as you raise the Attenuator level.
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Appendices Appendix J - Specifications Type: Programmable monophonic analog synthesizer w/100 presets Synth Engine: Oscillator Section: Oscillator 1: Octave: 16’, 8’, 4’, 2’ Wave: Continuously variable (triangle/sawtooth/square/pulse) Level: 0 to 100% Oscillator 2: Frequency: ± 7 semitones Octave: 16’, 8’, 4’, 2’ Wave: Continuously variable (triangle/sawtooth/square/pulse) Level: 0 to 100% Glide Rate: 0 to 100% Oscillator Syn
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Glossary  
  
  
  
 GLOSSARY  
  
  
  
  
  
  
 Glossary Here are a few key terms that cover the basics of sound generation as used in the Little Phatty synthesizer. ADSR – Abbreviation for Attack, Decay, Sustain and Release, the four stages of an envelope control voltage. Amplitude – The strength of a sound’s vibration measured in Decibels (dB).
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Glossary EEPROM – EEPROM stands for ‘Electrically Erasable Programmable Read Only Memory’. This is a type of digital memory used to store information, even after the power is turned off. In the Little Phatty, the EEPROM is used to store global settings and presets, and operating system parameters such as tuning information.
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 Low Frequency Oscillator – Also called an LFO, this is a special type of oscillator that generates signals primarily below the range of human hearing (generally below 20 Hz). LFOs are typically used as a source of modulation.
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Glossary Sound – Audible vibrations of air pressure. For electronic sounds such as those produced by a synthesizer, loudspeakers are used translate the electrical vibrations into the changes in air pressure which we perceive as sound.
SLIM PHATTY PRESETS Slim Phatty Presets A list of the Slim Phatty Presets appears on the next page. Many of the preset names are self-explanatory, some are for fun, and all are all worth auditioning. As you listen to the presets, don’t forget check out the Mod Wheel function for additional performance control.
00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 SLIM NOT SLIM RIPSAW BASS UNRULY LEAD LITTLE LEAD GRIND MY BASS DEEP AND DARK ANALOG DRUM MINOR SLIDER SYNC SEQ BRITE LITE SQUAREZ REZZY PAD COLD LEAD DARK SIDE ELECTRO SITAR SLIPPERY FUNK MELLO EDGE FATTUS BOTTOM CLICK BUG EBB&FLOW LEAD TRIANGLE SUB PARALLEL MOOD BACKWARDSISH DIRTY CHEESE BLIPZ SEQ 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 MUSH MUSH DISTURBER SIMPLE DEEP PULSE BASS 1 SPARKLE WAH C