[align=center]NOVÝ MOOG spatří světlo světa 29.3.2006 [/align]
<p class="aligncenter"><img class="imgborder" src="http://moogmusic.com/news_photos/lp_teaser_pieces_400px.jpg"></p>Features
Taking Shape: Almost Time to Put it Together!
On March 29th, 2006, in Frankfurt, Germany, Moog Music will unveil our newest analog synthesizer. We are incredibly excited to bring this product to you, as it was Bob's vision to bring this product to market. Despite our best efforts to keep the information under wraps, the intense enthusiasm of Moog fans won the day as some of this information has already appeared on Web blogs around the world. You'll still have to wait until next week to see it, but let us pique your curiosity and officially confirm the rumors and speculation.
The "***" is a monophonic analog synthesizer, with 100 user editable presets.
Sound Sources are two ultra-stable analog VCOs. Parameters for the VCOs are:
- Osc. 1 Octave: 16’, 8’, 4’, 2’
- Osc. 1 Wave: Continuously variable from triangle through saw and square to skinny pulse.
- Osc. 1 Level
- Glide Rate
- Osc. 1 2 Sync On/Off
- Osc. 2 Frequency
- Osc. 2 Octave: 16’, 8’, 4’, 2’
- Osc. 2 Wave: Continuously variable from triangle through saw and square to skinny pulse.
- Osc. 2 Level
- 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:
Kb. Control Amount (how much the Key CV modulates the Filter)
Filter Env. Amount (how much +/- the filter envelope modulates the filter)
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:
The Modulation section contains a 4-waveform LFO, and a 1x1 Mod Buss with 6 possible mod sources and 4 possible destinations. Its parameters are:
Mod Source: (LFO triangle, LFO square, LFO sawtooth, LFO ramp, Filt. EGR, and Osc. 2
Mod Amount (the amount of modulation w/ the mod wheel all the way forward)
Mod Destination (Pitch, Osc. 2, Filter, Wave)
The User Iinterface (UI) section is described in the UI spec, below the LCD and UI controls are the following:
Spring-loaded pitch wheel
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.
AC In (100-250VAC, 50-60 Hz
Ext. Audio In (accepts +4dBu line level signal)
Pitch CV In (1 V/Oct)
Filter CV In
Volume CV In
Keyboard Gate In
Basic Editing of sounds
Sound editing of continuous parameters (like Filter Cutoff) is done from the front panel by enabling a parameter with its switch (its LED becomes illuminated), and then adjusting its value control. There are 4 value controls, one for each section: Modulation, Oscillators, Filter, and Envelopes. Each is surrounded by a ring of 15 LEDs that show approximately the stored or edited value of the current parameter. The value controls are analog, and when a parameter is activated, the analog control signal is switched to directly control that parameter (RAC™ or Real Analog Control). For each section, only one continuous parameter can be activated at a time for editing. For parameters that have multiple possibilities (such as Mod Source) pressing that switch advances through the possible Mod sources. For On/Off type switches like Osc. Sync, the LEDs are On when that parameter is on or Off when the parameter is off.
Specs subject to change without notice.
ty rusky byly dost hnusny, jeden mela babicka, hruza des, cvicila na tom varhany pac hrala v kostele, netusim kde to sebrala ale myslim ze to musel farar asi hodne silne vysvetit a pouzit nejtvrdsi exorcismus aby se na tom dalo vubec neco podnikat a nehranicilo to s rouhanim
About the Little Phatty
Mike talks about the conception of the Little Phatty.
I cannot think of a better transitional topic from my previous memo “Moog without Bob” to “Little Phatty”; Bob’s last project. He was very excited about the possibilities of this keyboard from our earliest discussions. I believe he felt that the technology and the team that we had (have) in place would finally enable him to bring a synth to thousands of musicians who were previously in no financial position to enjoy a Moog synth. I am very proud to say that is exactly what we are about to accomplish with the release of the Little Phatty.
As a starter, let me give you a bit of history about the development of the project. I am not exactly sure when the concept first entered Bob’s mind but I do have notes on it from early 2004 when we had a product planning meeting and Turnkey requested us to give this some consideration but I am sure he had thought about of it long before that. Then during the Summer of 2004 Steve and Bob really began the serious work of technical conception which resulted in Steve writing the initial technical spec in August, 2004. From there my memory gets a little fuzzy because 2005 was such a difficult year. What I do remember is that we sent off our first ideas to Axel Hartmann around October of 2004 and we met with him at the NAMM Show in 2005. (Axel Hartmann and his Design Box industrial design associates have been a long time collaborators of the company.) At NAMM and then subsequently at last year’s Messe, the first concepts of this keyboard began to take shape.
From there, Cyril Lance came on board. While he did not have the time he wanted with Bob, Cyril is an extremely talented engineer in his own right. This will be evident to those who discover the Little Phatty. The project team that worked on this design has come from the far corners of the world – Asheville, North Carolina where Moog is headquartered; Germany where Design Box is located; software from our consultants in California; and importantly our Chinese partners. Yes, our Chinese partners. No, we are not making this keyboard in China. It still will be made right along side the Voyager in Asheville but without the component level support from our Chinese partner we could never reached the low price point of this product.
So what about the name, Little Phatty? Taking a cue from Bob’s choice of the name “moogerfooger” for our line of effects modules, we adopted the moniker “Little Phatty” for our new synth because of its irreverent; tongue-in-cheek nature. At first it was just funny, but it grew on us as the personality of the synth developed. The Little Phatty name is a description of what we wanted this synth to be: smaller, less imposing, a chip off the old block as far as the sound character, and a price point people have a chance of reaching. It is a true Moog synth. It sounds really fat and ballsy. In this way we feel the name echoes the “minimoog”. Bob liked the name Little Phatty. He had a great sense of humor about these things. I know if he were still here we would be enjoying some great laughs, and I think he would really love the way the LP sounds. It definitely contains the sound that he created.
So that’s it. We hope you will buy one, enjoy it, and drop us a note about your experiences with this or any other Moog product.
As always, we appreciate every single one of you.
me to trosku pripomina nordy. leada trojku tema ukazatelema natocenim knobu a tou strohosti zase modulara
kdyz jsme u toho designu, jakoze o nicem jinym se seriozne stejne nemuzeme bavit, tak voyager je alespon pro me vetsi krasavec...
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