Filter Envelope Delay

Filter Envelope Hold

Velocity to Filter Envelope Amount
Velocity to Filter Envelope Decay/Release
Amplier Envelope Delay
Amplier Envelope Hold
Velocity to Amplier Envelope Amount
Velocity to Amplier Envelope Decay/Release
External Input Level
Oscillator 2 Beat Frequency
Oscillator Gate Reset LFO Gate Reset
17
FILTER CONTROLS CONT.
The depth of the envelopes effect on the cutoff frequency also depends a lot on the CUTOFF setting.
If the setting is very high and you adjust the EG AMOUNT to raise it further, then the envelope will have
little effect. The lower the cutoff frequency, then the more the envelope will be able to modulate it. On
the other hand, if the setting is very low and you adjust the EG AMOUNT to lower it further by turning
the knob counterclockwise, again, the envelope will have little effect.
KB AMOUNT: Use this knob to specify how much the lter cutoff tracks the keyboard; that is, how
much the keyboard pitch affects the lters lowpass frequency. With KB AMOUNT turned up halfway,
the lter cutoff will follow the keyboard pitch at a 1:1 ratio centered around middle C (MIDI note 60).
KB AMOUNT at maximum sets a 2:1 ratio for lter keyboard tracking.
ENVELOPES
OVERVIEW
When you make any sound, it may take
a moment for that sound to reach its
maximum amplitude and brightness.
This initial moment is called the sounds
attack. An attack may be gradual (like
a cymbal roll), abrupt (like a cymbal
crash), or anything in between. The
attack often tells us more about how
an instrument is played than any other
characteristic. Likewise, when the
sound ends, it may take a moment to
die away completely, or it may stop
suddenly. This nal drop in amplitude
and brightness is called its release. The
attack and release, along with variations
in amplitude and timbre that occur
between the attack and release, make
up the sounds envelope.
The Sub Phatty shapes electronic sounds using two envelope generators (abbreviated EG). One
envelope affects the Sub Phattys lter, which controls timbre, and the other affects its amplier, which
controls amplitude. When you press a key on the keyboard, it sends a signal that tells the envelope
generator to begin the attack. In voltage-controlled synthesizers like the Sub Phatty, this signal is called a
gate. The gate ends when you release the key, telling the envelope generator to begin the release.
Each of the Sub Phattys envelope generators has four stages: attack, decay, sustain, and release
(abbreviated ADSR). Just as attack is the time it takes a level to peak, the decay is the time it takes
to fall to a steady level, called the sustain. The sustain level is held until the note ends. At that point,
the signal returns to zero at a rate determined by the release setting. Whereas the attack, decay, and
release stages are specied as lengths of time, sustain is a control-signal level.
13
OSCILLATORS
OVERVIEW
Oscillator 1 and oscillator 2 are the Sub Phattys primary
sound sources. They generate four basic waveforms:
triangle, sawtooth, square, and pulse.
The triangle wave consists of odd-numbered harmonics
only. Its fundamental is very strong, and its overtones are
very weak, making it less harmonically complex than other
waveforms. By mixing a triangle from one oscillator with
a more complex wave from the other, you can emphasize
one particular harmonic without mucking things up with
unwanted overtones.
An unltered sawtooth wave is much brighter, because
it contains all the natural harmonics. As the harmonics
ascend in frequency, they grow weaker in amplitude.
Sawtooth waves are useful for synthesizing bass,
simulating brass instruments, and more.
Although a pulse wave contains only odd-numbered
harmonics, it offers the most exibility because you can
change the balance of those odd-numbered harmonics by
changing its shape. Think of a pulse-wave oscillator as a
switch you can turn off and on hundreds or thousands of
times per second. In a single pulse wave, the switch is
either on or off. Its pulse width is the proportion of the wave thats on, usually expressed as a
percentage. A square wave is simply a pulse wave with 50% pulse width, meaning that in a single cycle,
it is on half the time and off half the time. If its frequency is 440Hz, that means it goes on and off 440
times every second, and the result you hear is the pitch A above middle C. Every pulse width has its
own characteristic sound, because each has a unique harmonic structure, making a variety of basic
timbres possible.
Unlike most synths, which simply switch between basic waveforms, the Sub Phatty allows you
to gradually change the oscillators output from one waveform to another, so it can generate
something partway between a sawtooth and a square wave, for example. We refer to such controls as
continuously variable because there are no discrete steps between settings.
In normal operation, either the keyboard or external MIDI data controls oscillator pitch. You can also
apply the LFO or the lter envelope to modulate oscillator pitch and waveform.
OSCILLATOR CONTROLS
OCTAVE: Use this knob to control either oscillators pitch range. Pitch range is expressed in feet, a
throwback to the age of pipe organs, when a pipes physical length determined its pitch. The Sub
Phattys OCTAVE knobs cover four pitch ranges corresponding to four octaves. The lowest setting is
16, and the highest setting is 2.
WAVE: Use this knob to vary either oscillators waveform from triangle to sawtooth to square to narrow
pulse wave. Turning the knob clockwise from the triangle to sawtooth position increases the oscillators
harmonic content. Continuing to turn it to the square-wave position weakens and then eliminates even-
numbered harmonics while strengthening odd-numbered harmonics. Turning it from the square to
narrow-pulse position changes its harmonic content further by weakening the overtones relative to the
fundamental frequency.
20
MODULATION
OVERVIEW
Controlling modulation (abbreviated as mod) is an important
aspect of programming and playing synthesizers. When you
modulate a synths audio signal, youre changing something
about the way it sounds. When you modulate a control signal,
youre changing something about its effect on whatever
its controlling. Synthesizers route their control signals from
modulation sources to modulation destinations. On the Sub
Phatty, a changing control signal can modulate pitch, lter
cutoff, and waveform shape. You control the modulation
signals depth using the MOD wheel immediately to the left of
the keyboard.
All LFOs generate repeating waveforms in the sub-audio
range. The Sub Phattys LFO has an extended range capable
of generating audio frequencies as well. At sub-audio rates,
the LFO is useful for generating repeating effects. At audio
rates, the LFO adds harmonic complexity to its destination.
When an LFO modulates oscillator frequency, the oscillators
pitch follows the shape of the modulating waveform. If the
LFOs output is a triangle wave, the pitch rises and falls at
a regular rate. At the proper rate and depth, this type of
modulation is called vibrato. Many performers rely on
vibrato to add expression to their performances. A violinist or guitarist employs vibrato with a
shaking motion of the hand as it applies pressure to the string. A singer subtly uctuates vocal pitch.
A synthesist uses an LFO to modulate oscillator frequency. The LFO RATE knob controls the rate of
modulation, and the mod wheel controls its depth.
MODULATION CONTROLS
LFO RATE: By default, this knob varies the low-frequency oscillators modulation rate from 0.1Hz (one
cycle every 10 seconds) to 100Hz (100 cycles per second). You can change this range in Shift mode
(see Hidden Parameters on pg. 28).
SOURCE: Use this knob to specify whether the mod source is the LFO or the lter envelope, as well
as the LFO waveform. At its counterclockwise position, the LFO generates a triangle wave, which is
particularly useful for vibrato. Turning the knob clockwise, the next position generates a square wave,
which is useful for performing trills and tremolo effects. The next two positions generate sawtooth and
ramp (reverse sawtooth) waves. Applied to pitch, sawtooth-wave modulation is useful for simulating
alarms, ray guns, and other ascending and descending effects.
The fth position uses sample-and-hold as a mod source. Without going into a lot of technical
explanation, think of sample-and-hold as a source of random control signals.
The SOURCE knobs most clockwise position, labeled FILTER EG, bypasses the LFO and routes the
lters envelope to the modulation destinations, which are determined by the settings of the PITCH
AMT, FILTER AMT, and WAVE AMT knobs below.
PITCH AMT: Use this knob to specify the depth of pitch variation applied to the oscillators when the
MOD wheel is engaged. If the mod source is the lter envelope, you can control changes in pitch using
the envelopes attack, decay, sustain, and release settings.
15
TRY THIS
OSCILLATOR SYNC
With the HARD SYNC OSC 2 button engaged, you can step through the harmonic series by
turning oscillator 2s FREQUENCY knob. To begin, make sure both oscillators are turned up
in the mixer. Turn both OCTAVE knobs to their lowest settings, and then press the HARD
SYNC OSC 2 button so that its illuminated. Begin with the FREQUENCY knob turned fully
counterclockwise and slowly turn it while listening for how the overtones change. Using your
ears, try to step through each harmonic one at a time. Now turn oscillator 2s OCTAVE knob
to its 8, 4, and 2 settings and slowly turn the FREQUENCY knob again to hear the harmonic
series in successively higher octaves.
MIXER
OVERVIEW
The mixer lets you combine audio signals from each of the Sub
Phattys four internal inputs. Each has a dedicated knob for controlling
its relative level. In addition to level knobs for each oscillator, the
mixer has level knobs for the sub oscillator and noise generator. When
a level knob is turned fully counterclockwise, its input is effectively
turned off. Turning it clockwise from 0 increases the level until it
reaches its maximum at 12. Settings higher than 6 overdrive the lter,
meaning that you can specify which sources are distorted and which
simply pass through the lter.
MIXER CONTROLS
OSC 1: Use this knob to control oscillator 1s level. Settings higher than
6 push the level beyond unity, imparting gentle lter distortion. A
setting of 6 or below delivers a clean signal to the lter.
OSC 2: Use this knob to control oscillator 2s level. Settings higher
than 6 push the level beyond unity, imparting gentle lter distortion.
A setting of 6 or below delivers a clean signal to the lter.
SUB OSC: Use this knob to control the sub oscillators level. Settings
higher than 6 push the level beyond unity, imparting gentle lter
distortion. A setting of 6 or below delivers a clean signal to the lter.
The Sub Phattys sub oscillator is always tuned exactly one octave below oscillator 1s pitch, and its
waveform is always a square wave. Typically, the sub oscillator adds a solid foundation to the Sub
Phattys sound. It is especially useful for crafting monstrous Moog bass patches.
NOISE: Use this knob to control the Sub Phattys noise generator level. Settings higher than 6 push the
level beyond unity, imparting gentle lter distortion. Noise is useful for programming punchy percus-
sion and other unpitched sounds.
Whereas an oscillator generates a pitched waveform, noise is an unpitched sound source. Just as white
light contains all colors of the visual spectrum in equal proportion, white noise contains a random
distribution of all audible frequencies. Every frequency has equal amplitude. We hear white noise as
a constant ssshh sound, like an FM radio between stations. Because of the way our brains respond to
white noise, the higher frequencies sound more prominent than the lower ones.
The Sub Phattys noise generator produces a signal called pink noise. Pink noise has equal amplitude in
every octave, making it sound deeper than white noisemore like the sound of a waterfall. Most syn-
thesists consider pink noise more useful than white noise.
Keyboard Transpose
Comment
Class a
created 01/01/2012 05:54:07
modied 01/01/2012 16:44
sortNr 1
Max range up or down is 12 semitones
Strike any key for transpose
Middle C is neutral
ShowKeyboard 0
Pitch Bend Range Up
Comment
Class a
created 01/01/2012 05:54:23
modied 01/01/2012 16:44:03
sortNr 2
Max range is 24 semitones
Strike any key for range
ShowKeyboard 0
Pitch Bend Range Down
Comment
Class a
created 01/01/2012 06:10:25
modied 01/01/2012 16:44:05
sortNr 3
Max range is 24 semitones
Strike any key for range
ShowKeyboard
Legato Glide
Comment
Class a
created 01/01/2012 05:17:01
modied 01/01/2012 16:44:08
sortNr 4
Legato Glide OFF
Legato Glide ON
ShowKeyboard 1
C
C#
D
D#
E
Glide Type
Comment
Class a
created 01/01/2012 05:51:39
modied 01/01/2012 16:44:10
sortNr 5
Linear Constant RATE
Linear Constant TIME
Exponential
ShowKeyboard 1
C
C#
D
D#
E
Gated Glide
Comment
Class a
created 01/01/2012 05:52:36
modied 01/01/2012 16:44:12
sortNr 6
Gated Glide OFF
Gated Glide ON
ShowKeyboard 1
C
C#
D
D#
E
Filter Slope
Comment
Class a
created 01/01/2012 06:19:56
modied 01/01/2012 16:44:15
sortNr 7
1 Pole / 6dB per Octave
2 Pole / 12dB per Octave
3 Pole / 18dB per Octave
4 Pole / 24dB per Octave
ShowKeyboard 1
C
C#
D
D#
E
Modulation Parameters
Waveform Modulation Destination
Comment
Class bModulation Parameters
created 01/01/2012 06:22:58
modied 01/01/2012 16:44:20
sortNr 8
Oscillator 1
Oscillator 2
Oscillators 1 & 2
ShowKeyboard 1
C
C#
D
D#
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LFO Range Selection
Comment
Class bModulation Parameters
created 01/01/2012 06:24:09
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sortNr 9
0.01 - 10 Hz
0.1 - 100 Hz
1 - 1000 Hz
ShowKeyboard 1
C
C#
D
D#
E
LFO Keyboard Tracking Amount
Comment
Class bModulation Parameters
created 01/01/2012 06:26:23
modied 01/01/2012 18:46:22
sortNr 10
Lower C = Consistent LFO Rate (NO tracking)
All other keys = LFO Tracks Pitch
Middle C = LFO 2x speed of key pitch
Highest C = LFO 4x speed of key pitch
ShowKeyboard 0
LFO MIDI Sync
Comment
Class bModulation Parameters
created 01/01/2012 06:31:21
modied 01/01/2012 16:44:28
sortNr 11
LFO MIDI OFF
LFO MIDI ON
ShowKeyboard 1
C
C#
D
D#
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Filter Envelope Trigger Mode
Comment
Class bModulation Parameters
created 01/01/2012 06:32:57
modied 01/01/2012 16:44:30
sortNr 12
Single Trigger
Multi Trigger
ShowKeyboard 1
C
C#
D
D#
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Filter Envelope Reset
Comment
Class bModulation Parameters
created 01/01/2012 16:07:57
modied 01/01/2012 16:44:32
sortNr 13
Filter Envelope OFF
Filter Envelope ON
ShowKeyboard 1
C
C#
D
D#
E
Filter Envelope Repeat
Comment
Class bModulation Parameters
created 01/01/2012 16:08:30
modied 01/01/2012 16:44:35
sortNr 14
Filter Envelope Repeat OFF
Filter Envelope Repeat ON
ShowKeyboard 1
C
C#
D
D#
E
Filter Envelope Keyboard Amount
Comment
Class bModulation Parameters
created 01/01/2012 16:08:32
modied 01/01/2012 16:44:37
sortNr 15
increased interval = increased tracking
All other keys:
Lower C means NO tracking
ShowKeyboard 0
Filter Envelope Gate
Comment
Class bModulation Parameters
created 01/01/2012 16:08:34
modied 01/01/2012 16:44:39
sortNr 16
Gate Open (Always On)
KB or MIDI
Gate CV
KB, MIDI or Gate CV
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C
C#
D
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Amplier Envelope Trigger Mode
Comment
Class bModulation Parameters
created 01/01/2012 16:14:49
modied 01/01/2012 16:44:42
sortNr 17
Single Trigger
Multi Trigger
ShowKeyboard 1
C
C#
D
D#
E
Amplier Envelope Reset
Comment
Class bModulation Parameters
created 01/01/2012 16:14:50
modied 01/01/2012 16:44:44
sortNr 18
Amplier Envelope Reset OFF
Amplier Envelope Reset ON
ShowKeyboard 1
C
C#
D
D#
E
Amplier Envelope Repeat
Comment
Class bModulation Parameters
created 01/01/2012 16:14:50
modied 01/01/2012 16:44:46
sortNr 19
Amplier Envelope Repeat OFF
Amplier Envelope Repeat ON
ShowKeyboard 1
C
C#
D
D#
E
Amplier Envelope Keyboard Amount
Comment
Class bModulation Parameters
created 01/01/2012 16:17:08
modied 01/01/2012 16:44:48
sortNr 20
increased interval = increased tracking
All other keys:
Lower C means NO tracking
ShowKeyboard 0
Amplier Envelope Gate
Comment
Class bModulation Parameters
created 01/01/2012 16:17:08
modied 01/01/2012 16:44:51
sortNr 21
Gate Open (Always On)
KB or MIDI
Gate CV
KB, MIDI or Gate CV
ShowKeyboard 1
C
C#
D
D#
E
MIDI Parameters
MIDI IN Channel
Comment
Class cMIDI Parameters
created 01/01/2012 16:19:35
modied 01/01/2012 16:44:53
sortNr 22
Select other 15 keys up until D# for Ch 2-16
Lower C is Ch 1
ShowKeyboard 0
MIDI OUT Channel
Comment
Class cMIDI Parameters
created 01/01/2012 16:21:50
modied 01/01/2012 16:44:57
sortNr 23
Select other 15 keys up until D# for Ch 2-16
Lower C is Ch 1
ShowKeyboard 0
MIDI Input Select
Comment
Class cMIDI Parameters
created 01/01/2012 16:22:11
modied 01/01/2012 16:44:59
sortNr 24
MIDI Reception OFF
MIDI IN Jack Only
USB Port Only
MIDI IN & USB Port
ShowKeyboard 1
C
C#
D
D#
E
MIDI Output Select
Comment
Class cMIDI Parameters
created 01/01/2012 16:23:43
modied 01/01/2012 16:45:01
sortNr 25
MIDI Reception OFF
MIDI IN Jack Only
USB Port Only
MIDI IN & USB Port
ShowKeyboard 1
C
C#
D
D#
E
MIDI Merge USB
Comment
Class cMIDI Parameters
created 01/01/2012 16:24:25
modied 01/01/2012 16:45:03
sortNr 26
MIDI Merging OFF
USB Port In to MIDI OUT Only
USB Port In to USB Out Port Only
USB Port In to USB Out Port & MIDI OUT
ShowKeyboard 1
C
C#
D
D#
E
MIDI Merge MIDI
Comment
Class cMIDI Parameters
created 01/01/2012 16:27:03
modied 01/01/2012 16:45:05
sortNr 27
MIDI Merging OFF
MIDI IN to MIDI OUT Only
MIDI IN to USB Out Port Only
MIDI IN to USB Out Port & MIDI OUT
ShowKeyboard 1
C
C#
D
D#
E
MIDI CC Resolution
Comment
Class cMIDI Parameters
created 01/01/2012 16:28:16
modied 01/01/2012 16:45:08
sortNr 28
14-bit Fine Resolution
7-bit Coarse Resolution
ShowKeyboard 1
C
C#
D
D#
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Local Control
Comment
Class cMIDI Parameters
created 01/01/2012 16:29:09
modied 01/01/2012 16:45:11
sortNr 29
Local Control OFF
Local Control ON
ShowKeyboard 1
C
C#
D
D#
E
MIDI Output Filter
Comment
Class cMIDI Parameters
created 01/01/2012 16:30:02
modied 01/01/2012 16:45:13
sortNr 30
Filter OFF (Sends All Data)
Sends All Data Except Volume Data
Send data from KB, MOD & PITCH Only
Send Note Data Only
ShowKeyboard 1
C
C#
D
D#
E
Global Parameters
Use Preset Volume
Comment
Class dGlobal Parameters
created 01/01/2012 16:31:41
modied 01/01/2012 16:45:16
sortNr 31
Ignore Preset Volume Level
Use Preset Volume Level
ShowKeyboard 1
C
C#
D
D#
E
Use Preset MOD Wheel
Comment
Class dGlobal Parameters
created 01/01/2012 16:32:38
modied 01/01/2012 16:45:18
sortNr 32
Use Current MOD Wheel Position
Use saved MOD Wheel Position of Preset
ShowKeyboard 1
C
C#
D
D#
E
Global Note Priority
Comment
Class dGlobal Parameters
created 01/01/2012 16:33:46
modied 01/01/2012 16:45:20
sortNr 33
Low-Note Priority
High-Note Priority
Last-Note Priority
ShowKeyboard 1
C
C#
D
D#
E
Knob Mode
Comment
Class dGlobal Parameters
created 01/01/2012 16:33:47
modied 01/01/2012 16:45:24
sortNr 34
Snap Mode
Pass-Through Mode
Relative Mode
ShowKeyboard 1
C
C#
D
D#
E
System Commands
Initialize ALL Parameters
Comment
Class eSystem Commands
created 01/01/2012 16:36:04
modied 29/07/2013 19:14:59
sortNr 35
(of currently-active preset only)
Press C# twice to reset all parameters to default
ShowKeyboard 0
Initialize Global Parameters
Comment
Class eSystem Commands
created 01/01/2012 16:37:54
modied 29/07/2013 19:14:04
sortNr 36
Use Preset MOD Wheel, Note Priority, Knob Wheel)
(Local Control, MIDI Output Filter, Use Preset
Volume,
Press C# twice to reset global parameters
ShowKeyboard 0
Restore Factory Presets
Comment
Class eSystem Commands
created 01/01/2012 16:40:24
modied 01/01/2012 16:45:32
sortNr 37 Press C# twice to reset all 16 presets
ShowKeyboard 0
Note Calibration
Comment
Class eSystem Commands
created 01/01/2012 16:41:14
modied 01/01/2012 16:45:33
sortNr 38 Press C# twice to start tuning of 2 oscillators
ShowKeyboard 0
Send Current Preset
Comment
Class eSystem Commands
created 01/01/2012 16:42:01
modied 01/01/2012 16:45:36
sortNr 39
MIDI Exclusive Data through USB
Press C# twice to send current preset as
ShowKeyboard 0
Send ALL Presets
Comment
Class eSystem Commands
created 01/01/2012 16:43:06
modied 01/01/2012 16:45:41
sortNr 40
MIDI Exclusive Data through USB
Press C# twice to send ALL presets as
ShowKeyboard 0
Hidden Features
From Website
Comment
Class fHidden Features
created 01/01/2012 16:45:41
modied 01/01/2012 16:46:03
sortNr 41
ShowKeyboard 0