• Synth Engine:
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
Osc. 1 to 2 Sync On/Off• Sound Modifiers include a single VCLPF: 24 dB /Oct Moog Ladder filter, with filter Overload control and a single Output VCA.
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)
Filter parameters are:
Cutoff• The Modulation section contains a 4-waveform LFO, and a 1x2 Mod Buss with 8 possible mod sources and 4 possible destinations.
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:
Its parameters are:• The User Interface (UI) section is described in the UI spec, below the LCD and UI controls are the following:
Mod Source: (LFO triangle, LFO square, LFO sawtooth, LFO ramp, Filt. EGR or Sample and Hold, and Osc. 2 or Noise)
Mod Amount (the amount of modulation w/ the mod wheel all the way forward)
Mod Destination (Pitch, Osc. 2, Filter, Wave)
Performance controls: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)
Spring-loaded pitch wheel
• The side of the instrument houses the I/O of the instrument.
Power On/Off• Dimensions: 26.75" X 14.75" X 6.75"
Ext. Audio In (accepts +4dBu line level signal)
Pitch CV In (1 V/Oct)
Filter CV In
Volume CV In
Keyboard Gate In
• Weight: 22lb
• 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.Like the Stage and Tribute Edition before it, the Little Phatty Stage II puts the performer in control of a 100% analog signal path, two ultra stable Voltage Controlled Oscillators, a Voltage Controlled Filter and other versatile features like an external audio input, CV and KB gate inputs and a full MIDI controller.
Additionally, the Stage II boasts great new features including; MIDI over USB, MIDI Clock Sync, an Arpeggiator, Tap Tempo and a stylish New Black Finish.
The addition of MIDI over USB makes this performance and sound sculpting tool even more powerful. Combined with its warm analog sound, ability to process external audio and its intuitive performance, sound design and control features, the Stage II makes a great addition to any rig... from full-on analog, to a laptop/softsynth setup. You can also connect it directly to a computer running the Little Phatty Editor/Librarian.
MIDI Clock Sync allows you to synchronize the LFO and arpeggiator rate to the tempo of your MIDI sequencer, drum machine or software. Sample and hold, triangle, square, sawtooth and ramp wave modulations can now be perfectly timed with your rhythm tracks and the arpeggiator.
The arpeggiator is a great new performance feature with applications for musicians in all genres. Its wide variety of uses is sure to find a place in any style, and of course it also syncs to MIDI clock. Tap Tempo brings LFO and arpeggiator tempo sync functionality to situations in which there is no MIDI clock.
The distinctive new black finish is a real eye-catcher that emphasizes the unique new nature of the Little Phatty Stage II.
The new features in the Little Phatty Stage II bring true analog synthesis to contemporary performance and production.” says Cyril Lance, “USB, MIDI Clock Sync, Tap Tempo and the Arpegiator make it a modern music powerhouse.