It is far too seldom that you find threads on forums that sing praise about a product. Truth be told, we are often so immersed in the product that has delivered so superbly well that the thought seldom comes across our mind. I, of course, am no exception to this.
I would like to take a moment and speak positively about Moog's latest monosynth, the Sub Phatty.
It is too often that people speak of perfection as though it were something not only tangible, but absolute. What is one's ideal of perfection isn't another's; perfection is a matter of subjectivity. With that in mind, I shall begin to state my thoughts on the Sub Phatty.
I haven't gone toe-to-toe with the Voyager XL, but I have owned the Taurus, Taurus 3, Little Phatty Stage II (w/CV Out mod), Voyager Select Series, and now the Sub Phatty. While I may've sold all my previous monosynths, it was to no fault of their own. I am not a collector; I'm a hobbyist. I fuel my music with sales from my music and from downsizing other gear. I have a rather good relationship with my Moog vendor so I'm hardly ever really taking a risk with any of my purchases. That said, I never get "stuck" with an instrument that I'm not content with. During each phase for which I owned own these synthesizers -oftentimes in pairs - each of them not only served their purposes, but exceeded my expectations.
The tradition continues with the Sub Phatty.
I am coming from a LP SE II + T3 combination. It was a marvelous combination, but I needed to make room in my workstation area. That said, I let go of each piece in order to finance other pieces of gear of completely different purposes. That is, of course, with the exception of the Sub Phatty.
When the Sub Phatty arrived, I had - what I thought were - pretty extreme expectations. And yet again, Moog exceeded them.
The copious amounts of knobs was exactly what i was missing desperately from both the LP SE II. The brand new oscillators are a thing of beauty. While some will argue that the stability of them is a detriment to the analog spirit of the machine, I would beg to differ. You can easily fine tune the amount of detuning you want with the glorious addition of the B. Frequency parameter that I fancied so much on the T3. This attributes to one of the most gracious offerings the Sub Phatty offers: unparallel control.
With the amount of control you are given through the hidden parameters, you can make things as predictable as do so please. This is something that, in my opinion, assures Moog's position at the forefront of analog monosynths.
I'm not entirely sure how people draw the conclusion that the Sub Phatty is nothing more than a rehash. I can understand the choice term "culmination," but not "rehash". The Multidrive parameter alone is noteworthy. While to some, they see only one new parameter but using this one new parameter can result in almost an insurmountable quantity of sonic possibilities.
I could go on, but I will cut this short. The Sub Phatty is the ideal analog monosynth for me personally. I craft generative, drone, and ambient sonic architectures. The Sub Phatty provides me with an outstanding sonic pallete for which I may illustrate and draw from.
Thanks for reading.
Moog Sub 37 (#0133), Ibanez M80M, & Doomy Bow
MF-102 • MF-103 • MF-105m • KE Kommander • MHI B:a (Germ. w/EQ mod) • Strymon Timeline
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