Oh sure, it’s all over the place in gaming and lots of other areas.
I’m still pretty much over it.
And digital envelopes!
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He’s coming!
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I totally get the collector comment. It reminds me of Leica — brands with that quality heritage always have that collectability angle.
A little bit of MOOG in this:
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I’m just 
this will cause the the PPP (Poly Preferring People) to offload their Matriarchs, so I can snag one 
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I somehow feel the same about wanting this thing.
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Totally get the criterion.
To be honest, when the Subphatty was announced, I was very excited by its full panel. Only the two octave keyboard was a drawback for me. A friend got one, and I played it a lot; I do prefer the Little Phatty’s sound.
Same thing when the Sub 37 was announced: full panel, aftertouch… this thing was going to be my new Moog. Until I tried it: the keybed and sound stopped my gas… and I found it less funny than my beloved, direct LP.
Tastes 
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So what do we think, a midnight release tonight?
I admit I didn’t really understand the implication of paraphonic vs. true polyphonic synths until I got my Matriarch. The intellectual understanding of oscillators sharing the same filter and envelope doesn’t compare to actually working with the physical thing, with one’s own hands and ears - at least not for me.
After I got a better understanding, I still kept the Matriarch. Even after I bought a true polysynth that happened to be analog.
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Yeah, I haven’t had the opportunity to play a little phatty, and I could always midi cc control via the OT. And the LP rack units aren’t too expensive, and of course Bobwas involved in that one, where the Sub’s I believe were mainly done by Amos in design.
Yep, the Little Phatty was the last unit Bob was involved in. That being said, I think Amos and him were contemporary; they just did different jobs.
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It needs to be released now whilst interest is peaked.
Paraphony has something stimulating to me. It forces me using playing techniques a bit different and will sound a bit differently too.
I’ve played an MG-1 and its so called “polyphony part” is cheap as hell but definitely allows something unexpected.
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The Little Phatty was the first synth after about a decade of pure racked instruments snd Cubase to really start getting me playing keys again! Same reason I love the Grandmother so much. Moogs just always feel like player’s instruments where others seem more sound design oriented, sequence oriented, experimentation etc. Sequential and Oberheim are in this category too IMO. Just so fun to sit and play. These guys just get that part right somehow.
I’m not saying there isn’t crossover (look at the Xpander for example, Moog Modular, etc.) or that someone else doesn’t view this completely differently, but for me Moogs have always been so PLAYABLE. My first synth was a MicroMoog given to me in maybe 1992-1993, just as I was getting into electronic music more heavily aside from C64 SID tunes and Amiga MODs. The Micro had that effect too. I’d just sit at it and play little synthy bits. That was right when I stopped taking piano lessons too, and getting more into making my own music. That could be why I feel this way.
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Same. I learned the limits of paraphony vs. polyphony by playing chords on the Matriarch keyboard and observing the results - no amount of reading about paraphony vs. polyphony taught me as quickly as this hands on time.
The Matriarch arpeggiator taught me how to appreciate the paraphony as well.
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Helpful if you want to make SID style chords, arps and trills too. 
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Did you also notice that the SynthEX needed some beefieness… So he added a couple EQ’s.
Will flat EQ’s juice up a signal, or do you need to raise the bands?
they cut away before any changes were made to the frequency. They look flat.
Plus, I tried adding a couple EQ’s (Logic’s EQ) to a synth to see if i noticed a change, and as i bypassed them, I dont think I noticed too much of a change.
Appreciate the insight !
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Generally, a stock plugin won’t have any affect on the sound when set flat. I use Ableton, and the EQ 8 he drops in there will not affect the sound when set flat. If I had to guess, I think he probably had an idea of how he wanted that sound to sit in the mix. For instance, maybe do some high pass, and/or clear out a little mud in the low mids, etc.
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