I can see their gear is very nice but it’s been years and it has midi issues ?
It actually shipped with midi issues.
I’m quite surprised though much bigger manufacturers also get away with it.
I hope it’s fixed for you all. ( I don’t have one )
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Seriously considering selling my desktop. By itself, it might just be the most gorgeous synth I’ve ever heard. But over the 2 years I’ve had it, it just hasn’t found its way into that many tracks.
I think the binaural thing just makes it hard to fit into mixes. Tried running it in mono, per some tips in this thread, but that sort of feels like it defeats the purpose. Anyone sold theirs and missed it?
I would never sell. My tip would be to use the Super 6 FIRST then add different synths.
It’s obv best for pads so having a nice chord progression looping is my first move.
Also the S6 goes well with acoustic sounds.
Do you mean 12 voice mode or mono?
Yeah, I feel that, but that’s just not really my process haha.
I guess I’m referring to 12-voice mode. My understanding is that it’s still not a mono signal even in 12-voice mode, and in order to get true mono you need to follow the steps outlined earlier in this thread (plug in only left output, put L/R phase all the way up.)
Yeah. I mean, it does defeat its purpose. Sometimes that’s what we have to do to make synths work. That’s kind of the whole deal behind subtractive synthesis — or mixing and mastering for that matter. Start with something that’s too rich/hot/prominent and then cut it with filters.
If you find yourself consistently taming down the uniquely S6-sounding features to the point where it operates like an overspec’d Peak (for example), I don’t think selling it in favor of said Peak would cause much regret.
But if you ever get use from (or even simply enjoyment out of) letting the S6 rip full-open in all its binaural, super-voice glory, then you’d probably miss that in a lesser synth, yeah?
I mean, the S6 can be really effective as a simple poly, even if that’s not taking full advantage of everything it has to offer. So you’re not missing out there. Everything else is just frosting. And even if you only get to enjoy frosting on special occasions, that’s still worth having it around IMHO.
EDIT: and to be clear, I adore the Peak 
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Hmm I boxed it up and took pics to list it online, but I might bust it out again and have a good go with it to see if I feel like keeping it around. It is a pretty special machine.
This was my exact experience! Something about the stereo aspect and the voicing made it hard to fit into the house/techno stuff I’m making. Sold it and eventually made my way to a peak and I’m super happy
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I’m too attached to mine, I’m not allowed to sell it unless I replace it with a Super 8 or Super Gemini, and I have neither the space nor the funds for those.
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I’m using mine for different sounds and different jobs. I’ve never saved a preset nor used any of the onboard preset’s apart from the init preset, which I really love.
I love it for chords and funk bass. I always start from there and make my sounds out from that starting point and it end up interesting.
I don’t know Peak but I’m sure you could do a lot of the same sounds with it or even plugins for that matter.
Looking forward to the new fw, maybe give it a try and if you don’t get along with it then sell or store it.
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V1 firmware is live:
https://www.dropbox.com/scl/fi/mocq0117sfyrhdgykj7hn/udo_super6_firmware_v1.0_a9dc.zip?rlkey=hwy5j2avo8s4skzfrp1giaxhj&e=1&dl=0
Changelog
• MIX available as modulation destination
Try it:
- Load factory patch A1
- Enter modulation assign mode by pressing MOD ASSIGN
- Press and hold LFO2, and whilst holding, move MIX until you see
the LED flourish. - Rotate the encoder to adjust the MIX modulation amount to
+/-100% and listen to the slow and smooth timbre variation - Adjust LFO2 RATE and zero the LFO2 DDS and VCF amounts to hear
in a more pronounced way
• Improved DDS2 TUNE control behaviour
Scale warped around 0 for more natural detune and perfect 5ths at
each extremity
Try it:
- Load INIT_PATCH
- Set MIX to 50%
- Experiment moving DDS2 TUNE control from end to end
• Improved Binaural Noise Source
Independent uncorrelated white and white variant noise sources
for each of the 24 oscillator channels (previously 6 sources)
Try it:
- Start from INIT_PATCH
- Set DDS1 and DDS2 to noise wave
- Set CUTOFF to around 75%
- Set VCF LFO1 depth to around 30%, and LFO1 wave to RAND
- Set ENV2 ATTACK and RELASE to around 75%
- Waves!
• New Voice Allocation Scheme
Allows for multiple overlapping notes and voice ‘round robin’
Improved stereo ping-pong in 12-voice mode
Try it:
- Load factory patch A3
- Move LR PHASE/[PAN] to 100%
- Play notes repeatedly and listen for natural and predictable
stereo ‘ping pong’
• New subtle SWING setting
Try it:
- Load factory patch B7
- SHIFT -> RANGE to adjust swing levels
• Improved Volume Pedal Response
Try it:
- Enter modulation assign mode by pressing MOD ASSIGN
- Press and hold PED/CV, and whilst holding, move VCA ENV LEVEL until
you see the LED flourish. - Rotate the encoder to adjust the VCA level modulation amount to
+/-100%
• Aftertouch can be mapped to 100% VCA level in a linear manner
Useful for using the Super 6 with wind controllers or controllers
that use pressure to directly control note amplitude from 0
Try it:
- Enter modulation assign mode by pressing MOD ASSIGN
- Press and hold AT, and whilst holding, move VCA ENV LEVEL until
you see the LED flourish - Rotate the encoder to adjust the VCA level modulation amount to
+/-100%
• CC4 Expression / Footcontroller (& CC1 Modwheel/Lever Desktop only) MPE
response
Allows additional MPE control dimension to be mapped through modulation
matrix.
Try it (MIDI connected to Expressive E Osmose Example):
- On the Super 6 choose MPE mode and map PED/CV to a destination in the
modulation matrix - On the Osmose, press “m” button and choose “ext MIDI”
- Press “adjust” key and choose “pressure”->“assign”->“cc4” add
amount to taste
• Greatly improved MIDI synchronisation & Instrument to Instrument sync
- No setup and configuration required. Autodetect clock source
- Auto switch back to internal clock at same BPM if MIDI clock stopped
or disconnected. - Snap to MIDI beat. Much simpler playing technique required to
play in time with master
• Simpler LED presentation in SHIFT mode
For easier navigation, only relevant LEDs are lit
• Faster PATCH & WAVE loading
• Support Added for SuperTouch49 Keyboard Upgrade
(hardware purchased separately)
- Adds Polyphonic Aftertouch sensitive keyboard with 49 weighted keys
- No setup required
Fixed / Improved:
• Sharper Edges on rise of Sawtooth and Square waves in LFO1
• Keyboard octave switch independent of LOCAL ON/OFF
• Keytracking for ENV2 only enabled when in SHIFT mode
• Assigning modulation depth via Panel Mod Matrix does not alter
control initial position
• Repeated notes starting and ending at same instance (ie within 3ms
sample step) will always retrigger
• Fixed Envelopes velocity sensitive in DYNAMICS 1/2 and ON positions
• Greater depth of VCA level modulation by velocity in DYNAMICS 1/2
and ON positions
• Tighter arpeggiator and sequencer timing
• Improved ENV1 modulation of DELAY TIME and DELAY FEEDBACK
• Delay Time LED (Desktop model) indicates delay time
• “Arpeggiator MIDI note output” option non-volatile
• Receipt of a program change message for an already loaded patch
reloads the same patch (for resetting any edits from external DAW / SEQ)
• LFO2 -> LFO1 modulation max depth reduced for more natural control
range
• Low transpose sequence bugfix (note number 0 caused note curtailment)
• Arpeggiator in HOLD mode single note sequence behaviour improvement
• MIDI Clock Output from UART bugfix
• Unresponsive controls bugfix
• Bender deadzone tweak/improve
• Bootloader behaviour tweak
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I just updated my S6 keyboard. Pay attention to the readme! Upgrade went smooth. I’m very happy with this synth. I plan to give it a workout tomorrow and see if there’s any annoying leftover bugs.
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I haven’t updated mine at all and find that it freezes on occasion when driven by external midi, so I was hoping that the midi stability would be improved.
It does sound lovely, but the midi stability has taken the shine off for me.
I’d be interested in your findings.
A Gearspace member is reporting problems with the update.
From memory
Problems routing velocity in the mod matrix
Arpeggiator doesn’t properly sync with other devices
Mod routings to the joystick not recognised.
Few other things
I wonder if new Super 6 synths will have the Poly AT keyboard as default at some point? With a little higher price?
Uh that is strange. Cause most people want that? How much more would the synth be with a Fatar TP/8SK and poly AT? In the end that brings the price closer to the Super 8…
It seems very strange to keep the 6 and the 8 both in the lineup, while offering the nicer keyboard for the 6 as a user upgrade that just requires the old (new) keyboard to be discarded? At this point, who would ever buy the 6 instead of the 8?
Even stranger is the introduction of the Super 8 at a price point of only $500 less than the Super Gemini? If I’m prepared to spend $4000 for one of their synths, I might as well spend $4500 and get the flagship!
I think they should have replaced the 6 with the 8 at a slightly lower price ($3800?) and maintained a two synth lineup. My guess is that they didn’t want to burn their early adopters and supporters who only just received a version 1.0 firmware, and they will retire the 6 quietly in the upcoming year after maybe one more bugfix firmware. Armchair speculation, not hating, I think these synths are so awesome.
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The replacement bed is a limited production run by Fatar only available this year and in limited quantities according to an interview with UDO by Synth Anatomy at SB24.
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But then maybe they could streamline things if all the keybeds were the same?
Perhaps the keyboard super6 isn’t long for this world.
Although the size of the Super 6 is very attractive.
The Super 8 is basically as big as the Super Gemini.