UDO AUDIO SUPER 6 Owner'S Manual Download Page 140

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UDO Super 6 — Owner’s Manual

140

UPDATING THE FIRMWARE

PERFORMANCE CONTROL

SECTION (KEYBOARD

MODEL)

ADDITIONAL CONTROLS &

PARAMETERS (DESKTOP

MODEL)

USING THE MODULATION

PATCH, SEQUENCE &

WAVEFORM MANAGEMENT

HOW-TO GUIDE

MIDI SPECIFICATIONS

GLOSSARY

SUPPORT INFORMATION

SUPPORT INFORMATION

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Instrument name

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Serial number

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Summary of Contents for SUPER 6

Page 1: ...UDO SUPER 6 OWNER S MANUAL 2021 UDO AUDIO VERSION 3 0 JULY 2021 12 VOICE BINAURAL ANALOG HYBRID SYNTHESIZER UDO AUDIO COM ...

Page 2: ...UDO SUPER 6 OWNER S MANUAL 2021 UDO AUDIO VERSION 3 0 JULY 2021 SUPPORT DOWNLOADS UDO AUDIO COM ...

Page 3: ...nt Patch 17 Editing a Patch 18 Saving a Sound as a Patch 19 Comparing an Edited Sound to a Saved Patch 19 Manual Mode What you see is what you get 20 Starting from the Init Patch 21 Level Up 22 Updating the Firmware 23 Connections 24 Keyboard Model 24 Desktop Model 26 Sound Design Programming 28 Oscillators 28 DDS 1 Parameters 29 Selecting Alternative Waveforms for DDS 1 31 DDS 2 Parameters 33 Usi...

Page 4: ...on Parameters 58 DDS Modulator 64 Modulation Parameters 65 Effects 70 Delay 70 Chorus 73 Performance Control Section Keyboard Model 74 The Bender Control 75 Controlling Pitch and Filter Cutoff Frequency 75 LFO 2 Low Frequency Oscillator 2 77 Portamento 79 Octave Selector Transpose Function 80 Global Fine Tune 80 Master Volume 82 Manual Mode 82 Additional Controls Parameters Desktop Model 83 LFO 2 ...

Page 5: ...ring Sequences 106 Global Settings 107 MPE Support 110 Patch Sequence Waveform Management 111 File Name Convention 112 Loading Patches Stored to Your Computer 113 Loading Sequences Stored to Your Computer 113 Loading Waveforms Stored to Your Computer 114 Backing up Patches to Your Computer 115 Backing up Sequences to Your Computer 115 Backing up Waveforms to Your Computer 116 How to Guide 117 Chan...

Page 6: ...Setting up the Super 6 as a MIDI Device in a DAW 120 MIDI Specifications 121 System Real Time Messages 121 Channel Messages 121 Continuous Controller Messages 122 Registered Parameter Numbers 128 Non Registered Parameter Numbers 129 Glossary 134 Support Information 140 ...

Page 7: ...ANCE CONTROL SECTION KEYBOARD MODEL ADDITIONAL CONTROLS PARAMETERS DESKTOP MODEL USING THE MODULATION MATRIX VOICE ASSIGN ARPEGGIATOR SEQUENCER GLOBAL SETTINGS MPE SUPPORT PATCH SEQUENCE WAVEFORM MANAGEMENT HOW TO GUIDE MIDI SPECIFICATIONS GLOSSARY SUPPORT INFORMATION Navigation Use the interactive index section to the left of each page to navigate through the individual sections of this document ...

Page 8: ...cal instrument and supporting furniture or stand Educating children about the dangers of climbing on furniture to reach the musical instrument 5 Do not use or store the musical instrument in the following types of locations Locations exposed to rain Locations of excessive dust Locations subject to heavy vibration Locations of extremely high temperature such as in direct sunlight near heating equip...

Page 9: ... always be supervised by an adult 15 Ensure that the connected cables are organised and managed in a safe manner and do not cause an electrical or trip hazard 16 When you need to transport the musical instrument package it in the box including padding that it came in otherwise damage during transport could occur 17 Unplug the power supply from the outlet when left unused for long periods of time o...

Page 10: ...IX VOICE ASSIGN ARPEGGIATOR SEQUENCER GLOBAL SETTINGS MPE SUPPORT PATCH SEQUENCE WAVEFORM MANAGEMENT HOW TO GUIDE MIDI SPECIFICATIONS GLOSSARY SUPPORT INFORMATION ACKNOWLEDGEMENTS Nick Batt Jasmine Butt Axel Hartmann Dan Parks Frank Rüffel Chloe Smith Gaz Williams The UDO Team Anthony Gillan George Hearn Magnus Hearn Mike Hiegemann Alexandros Liarokapis Kester Limb Levi Morgans Callum Mulholland W...

Page 11: ...ers and people like yourself who have supported this venture The Super 6 is a result of years of hard work and many iterations of development My mission with the Super 6 has been to harmonise what I love about archetypal electronic instrument design with modern novel synthesis technologies that excel at generating spatially dynamic results The architecture leverages the vibrancy of a true stereo a...

Page 12: ...s centre is a clock signal three orders of magnitude higher than typical audio sample rates The clock signal increments a counter through thousands of indices in your choice of waveform selecting the appropriate sample to output every twenty billionths of a second with interpolation filling in the gaps between samples at different oscillator frequencies The samples produced by our numerically cont...

Page 13: ...ices are twinned to form six stereo Super voices Consequently the left and right channels and each of your ears are assigned a complete synthesizer voice Starting with the stereo oscillators parameters of both channels of each super voice may be independently controlled facilitating you the player to create gorgeous stereo images The effect on the sound ranges from subtle to extreme stereo movemen...

Page 14: ... DELAY LR PHASE MODE 0 10s 0 2π 0 5 10 1ms 10s 1ms 10s 1ms 10s 1ms 10s 1ms 10s 0 10 0 10 1ms 10s 0 5 10 0 5 10 0 5 10 0 5 10 0 5 10 0 5 10 0 5 10 0 5 10 0 5 10 0 5 10 0 10 0 10 SEQ REC DDS 2 100 0 LFO 2 ENV 1 VEL A T PED CV BEND NOTE LFO 1 X MOD ENV 1D ENV 2R RES DLY TIME DLY FB 100 LFO1 MOD ASSIGN DETUNE SWM SUPER DDS 1 1 2 3 4 5 6 7 8 A B C D E F G H W1 W2 W3 W4 W5 W6 W7 W8 W9 W10 W11 W12 W13 W1...

Page 15: ...to create store and recall your own sounds The patch and bank select buttons also used to enter the modulation matrix or to access alternative waveforms and global parameters Further patches can be stored on a computer via the USB connection on the rear side see page 115 The patch and bank select buttons consist of two rows of eight numbered patch select buttons on the left 1 8 and lettered bank s...

Page 16: ...button are referred to by the bank letter and the number in their pair For example bank A1 is one bank accessible by bank select button A and bank A2 is the other bank accessible by bank select button A To switch between bank pairs press the bank select button corresponding to a pair For example switching between bank A1 and bank A2 is achieved by pressing bank select button A To indicate that you...

Page 17: ...y selected bank Simply switching banks won t launch a new patch You have to confirm a patch selection by pressing one of the numbered buttons after a new bank is selected When a patch memory location is empty the corresponding LED won t light up Selecting a Different Patch Let s say you would like to select patch p8 in bank B1 1 Make sure that the PATCH button s LED is lit If not then press PATCH ...

Page 18: ...ntrol panel is split into two horizontal halves The bottom half provides plenty of performance controls whereas the top raised panel mainly consists of sound shaping controls There are three main types of control elements Rotary control Fader Toggle switch Editing a patch is as easy as turning rotary controls moving faders and toggling switches Any gesture applied to a control element will have an...

Page 19: ...lect button press it again You can toggle between banks associated with each bank select button by pressing that bank select button A solidly lit LED in the button means that the first bank associated with that bank select button is selected A flashing LED in the button means that the second bank associated with that bank select button is selected 2 Press and hold a patch select button of your cho...

Page 20: ...IONS GLOSSARY SUPPORT INFORMATION Manual Mode What you see is what you get In addition to patch storage the Super 6 also provides a manual mode Manual mode is accessed by pressing the white MANUAL button located to the left hand side of the keyboard Entering manual mode ignores the current patch settings and prompts the Super 6 to respond to whatever the front panel controls are currently set to T...

Page 21: ...RX E TX RX P DUMP LOCAL TUNE MPE TRNSP SHIFT WAVE LOAD MODE ON HOLD UP DOWN U D RANDOM SEQ STEP SLIDE ACCENT REST LENGTH 4 3 2 1 DELAY LR PHASE MODE 0 10s 0 2π 0 5 10 1ms 10s 1ms 10s 1ms 10s 1ms 10s 1ms 10s 0 10 0 10 1ms 10s 0 5 10 0 5 10 0 5 10 0 5 10 0 5 10 0 5 10 0 5 10 0 5 10 0 5 10 0 5 10 0 10 0 10 SEQ REC DDS 2 100 0 LFO 2 ENV 1 VEL A T PED CV BEND NOTE LFO 1 X MOD ENV 1D ENV 2R RES DLY TIME...

Page 22: ...this on your journey of finding and creating new sounds After all this is by far the best way to learn and fully understand the capabilities of your new instrument For a deeper explanation of the instrument s features and capabilities the following passages of this manual explain all of the Super 6 s operation in far greater detail For info on how to adapt the instrument to your particular environ...

Page 23: ...ep 2 if not Release the SHIFT button 2 Connect the Super 6 to your computer using the included USB cable 3 The Super 6 s boot disk will appear as a disk drive named SUPER6 BOOT on your computer 4 Delete all files from the SUPER6 BOOT drive Make sure to empty the trash if you are a macOS user or the update won t be possible 5 Copy the firmware file for example xos_v1 00 bin and the init patch file ...

Page 24: ...TROLS PARAMETERS DESKTOP MODEL USING THE MODULATION MATRIX VOICE ASSIGN ARPEGGIATOR SEQUENCER GLOBAL SETTINGS MPE SUPPORT PATCH SEQUENCE WAVEFORM MANAGEMENT HOW TO GUIDE MIDI SPECIFICATIONS GLOSSARY SUPPORT INFORMATION CONNECTIONS Keyboard Model 1 Power Switch Use this switch to power cycle the Super 6 2 Power Connector The AC power connector accepts a standard grounded IEC power cord and operates...

Page 25: ...operates with a linear potentiometer over a range of 0 to 5 volts 6 Sustain Pedal Input Connect a normally opened positive polarity or a normally closed negative polarity foot switch to this input to sustain notes during your performance Upon power cycling the Super 6 will automatically detect the polarity of the connected pedal Note that the state of the sustain pedal at power up is taken as its ...

Page 26: ...n Out and Thru Ports Standard 5 pin MIDI DIN connectors 5 Expression Pedal Input Connect an expression pedal to this input to add dynamics to your live performance There are a variety of options for using an expression pedal since it is an assignable modulation source in the Super 6 s modulation matrix This input accepts any standard expression pedal that features a TRS Tip Ring Sleeve connector a...

Page 27: ... SPECIFICATIONS GLOSSARY SUPPORT INFORMATION L R OUTPUT S6XXXXX 8 Main Audio Outputs Left and Right The Super 6 is capable of gorgeous stereo sounds Connect both outputs to your mixer or audio interface using unbalanced 1 4 inch jacks Although we highly recommend making use of the stereo outputs you can also use the Super 6 in mono mode If you only connect the left output to your mixer or audio in...

Page 28: ...cillators Oscillators belong to the most basic and essential building blocks of a synthesizer Without them you could neither hear a sound nor shape or modulate what is producing an audio signal The oscillator section of the Super 6 The primary sound sources of the Super 6 are its two FPGA based oscillators DDS 1 and DDS 2 Although they are capable of generating superb analog tones they utilise UDO...

Page 29: ...GA based super waveform oscillator core It provides a centroid oscillator as well as six sister oscillators that can be dynamically de phased in the stereo field if one of both Super modes is activated in the DDS Modulator section see page 66 This essentially means that DDS1 is made up of seven free running oscillators which gives the Super 6 its characteristic rich and wide sound Frequency Amplit...

Page 30: ...cillators spread to each side when Super mode is switched to full intensity and the detune parameter is set to 10 The detune spread of the oscillators can be adjusted in the DDS Modulator section and modulated by LFO 1 and or envelope 1 see pages 66 68 for more details DDS1 wafevorm and range controls WAVEFORM This rotary control allows you to select a waveform for DDS 1 You can either select one ...

Page 31: ... To switch between both waveforms simply press a patch or bank select button after you have entered waveform selection mode For example switching between waveforms 1 and 17 is achieved by pressing W1 To indicate that you are accessing a waveform from the first group the LED of the patch or bank select button will stay solidly lit To indicate that you are accessing a waveform from the second group ...

Page 32: ...EQUENCE WAVEFORM MANAGEMENT HOW TO GUIDE MIDI SPECIFICATIONS GLOSSARY SUPPORT INFORMATION When you switch from patch to manual mode the alternative waveform from the previously loaded patch will be retained in DDS 1 1 Load a patch in which DDS 1 is set to an alternative waveform 2 Press the MANUAL button 3 Move the DDS 1 rotary control to the rightmost position or press the WAVE button 4 The now l...

Page 33: ...y keypress to allow for binaural pitch modulation via LFO 1 The latter wouldn t be possible if DDS 2 was operating as a free running oscillator DDS 2 controls WAVEFORM This rotary control allows you to select a waveform for DDS 2 You can select one of the following classic waveforms sine sawtooth square triangle noise or pulse RANGE This rotary control allows you to adjust the coarse frequency of ...

Page 34: ...e between the signals of DDS 1 and DDS 2 relative to an adjustable split point on the keyboard The crossfade between the output signal of both oscillators will occur over a range of two octaves The split point can be defined using the MIX rotary control see page 40 Key Amplitude C3 C4 C5 C2 C6 1 0 Split Point DDS 1 DDS 2 Crossfading the signals of DDS 1 and DDS 2 across the keyboard SYNC Selecting...

Page 35: ... DDS 2 set to LFO mode If DDS 2 is used as an LFO the output signal of DDS 2 is no longer routed to the audio path In this mode the TUNE control determines its frequency over a range from 0 1 to 100 Hz The LFO waveform can be selected just like in its default mode i e via the WAVEFORM rotary control When you select the noise waveform a sample and hold signal will be generated except when you turn ...

Page 36: ...ition marked LFO 2 Flip the toggle switch to the middle position next to which it says SUB OSC in inverted letters Enabled sub oscillator In this mode the sub oscillator s audio signal replaces the audio signal of DDS 2 The pitch of the sub oscillator is locked one octave below the frequency of DDS 1 which essentially means that the sub oscillator is tied to DDS 1 The sub oscillator s waveform is ...

Page 37: ...5 If you still hear an audio signal on top of the external audio signal ensure that the output signal of LFO 1 in HF TRK mode is not sent to the audio channel of DDS 2 If LFO 1 is in HF TRK mode and the mode toggle switch is set to DDS 2 LFO 1 s signal will be mixed in with the external audio signal your Super 6 is receiving through DDS 2 s audio channel When you feed an audio signal into the sign...

Page 38: ...ignal 1 Press the SHIFT button to the right of the patch and bank select buttons 2 Turn the MIX rotary control in the mixer section to adjust the input gain 3 Return to editing your sound by pressing the SHIFT button again If you don t adjust the input gain manually the gain defaults to a line input level that makes an external audio signal as loud as the Super 6 s oscillator signals The audio inp...

Page 39: ...SARY SUPPORT INFORMATION Mixer The mixer section allows you to control the balance between the audio signals coming from DDS 1 and DDS 2 or DDS 1 and an external audio signal If DDS 2 is set to X FADE mode you will be able to crossfade between the audio signals relative to an adjustable split point on the keyboard The mixer section MIX At a 12 o clock setting the signals of both audio sources will...

Page 40: ... MIX rotary control will adjust the split point on the keyboard which the audio signals of DDS 1 and DDS 2 or DDS 1 and an external source will be crossfaded relative to At a 12 o clock setting the signals of both audio signals will be crossfaded over two octaves relative to a split point that is going to be located at middle C C4 The more you turn the MIX rotary control counter clockwise the more...

Page 41: ... a classic polysynth filter design from Sound Semiconductor SSI It is preceded in the signal chain by a voltage controlled high pass filter HPF that can either be off fixed or can also track the low pass filter cutoff frequency for band pass operation The filter section The low pass filter subtracts high frequencies above the filter cutoff frequency FREQ The harmonic content below the cutoff frequ...

Page 42: ...ow it responds to key tracking Left half of the filter section FREQ This fader allows you to adjust the filter s cutoff frequency i e the frequency at which the filter begins to cut off or subtract frequencies to shape the sound The Super 6 s low pass filter has been designed to respond in a sensible manner to key tracking This in turn determines how much you can open the filter by means of the FR...

Page 43: ...f frequency FIX In this mode the high pass filter removes a fixed amount of low frequency content from the sound below around 500Hz This can be useful for cleaning up excessive bass content of polyphonic sounds When this mode is selected pressing the SHIFT button will allow you to independently control the high pass filter s cutoff frequency by means of the FREQ fader TRK In this mode the filter i...

Page 44: ...velope modulation ENV 1 At this setting envelope 1 will be selected as the source for the envelope modulation 1 2 At this setting both envelopes will be selected as the source for the envelope modulation ENV 2 At this setting envelope 2 will be selected as the source for the envelope modulation LFO 1 This fader allows you to adjust the amount at which LFO 1 will modulate the filter cutoff frequenc...

Page 45: ...ilter cutoff frequency will increase meaning that the sound will get brighter in higher registers This is how acoustic instruments typically behave so key tracking can be a useful ingredient for creating more naturally responding timbres At a key tracking setting of 1 2 the filter cutoff frequency will follow the keyboard pitch in quarter tone steps ON At this setting the filter cutoff frequency w...

Page 46: ...led by envelope 2 ENV 2 which gives you control over the attack decay sustain and release stages You will learn more about how the VCA can be modulated by the dedicated envelope in the section that covers the functionality of envelope 2 see pages 55 56 Alternatively the VCA can be controlled by one of two fixed envelopes allowing the second envelope to be freed up for other duties if so desired Th...

Page 47: ...ixed envelope if you would like to free up envelope 2 for other modulation duties but still need your sound to fade out gradually after you release a key LFO 1 This fader allows you to adjust the amount at which LFO 1 will modulate the VCA s amplitude This parameter is particularly useful for creating a tremolo effect as your sound s loudness will be increased and decreased according to the rate o...

Page 48: ...ularly exciting nor the way sounds work that surround us in our daily lives be it in crowded places or while hiking in a remote location Envelope generators help us to add dynamic movement to a sound insofar as they allow us to determine how a sound evolves over time Typically envelope generators are routed to filters and amplifiers to change the harmonic content and the volume of a sound through ...

Page 49: ...pe A TTACK H OLD This fader controls the amount of time it takes for the attack stage to start after you pressed a key The attack hold stage can be as short as 0 seconds or as long as 10 seconds At its minimum setting this parameter will have no impact i e the envelope will then respond as if it only featured four or five stages attack decay sustain and release or attack decay hold decay sustain a...

Page 50: ...he sustain stage always depends on how long you keep holding down a key R ELEASE This fader determines the duration of the envelope s release stage once you release a key The higher the setting the slower the release time and the longer it will take for the effect the envelope has on its destination to fade out after you released a key The release stage can be as short as 0 5 milliseconds or as lo...

Page 51: ...e bottom left allows you to choose between three types of envelope behaviours Lower position At this setting envelope 1 will be in default mode Middle position At this setting envelope 1 s shape will be inverted or horizontally mirrored An envelope that ramps up during its attack stage for example will now ramp down The effect this will have on its modulation destination will be the opposite to en...

Page 52: ...OR SEQUENCER GLOBAL SETTINGS MPE SUPPORT PATCH SEQUENCE WAVEFORM MANAGEMENT HOW TO GUIDE MIDI SPECIFICATIONS GLOSSARY SUPPORT INFORMATION sustain level Duration Amplitude ATTACK DECAY RELEASE ATTACK HOLD however long you press down a key DECAY HOLD as soon as you release all keys Envelope 1 in loop mode Loop mode allows you to use envelope 1 as an additional LFO that can even be key tracked see pa...

Page 53: ...ATIONS GLOSSARY SUPPORT INFORMATION sustain level Amplitude DECAY HOLD ATTACK DECAY HOLD ATTACK however long you press down a key DECAY Duration DECAY ATTACK DECAY HOLD DECAY Creating Periodic Modulation Shapes With Envelope 1 in Loop Mode Listed below are a few examples that illustrate what periodic modulation shapes you can create by using envelope 1 in loop mode The repeated shapes are based on...

Page 54: ...THE MODULATION MATRIX VOICE ASSIGN ARPEGGIATOR SEQUENCER GLOBAL SETTINGS MPE SUPPORT PATCH SEQUENCE WAVEFORM MANAGEMENT HOW TO GUIDE MIDI SPECIFICATIONS GLOSSARY SUPPORT INFORMATION sustain level Amplitude DECAY ATTACK HOLD however long you press down a key DECAY as soon as you release all keys Duration DECAY RELEASE sustain level Amplitude ATTACK ATTACK however long you press down a key DECAY as ...

Page 55: ...u release all keys DECAY HOLD ENV 2 Envelope 2 Envelope 2 setting and a diagram of the resulting envelope shape A TTACK This fader determines the duration of the envelope s attack stage The higher the setting the slower the attack time and the longer it will take for the envelope to affect its destination for example the filter cutoff frequency The attack stage can be as short as 0 5 milliseconds ...

Page 56: ...inimum setting this parameter will have no impact i e the envelope will then respond as if it only featured five or four stages attack decay sustain and release or attack hold attack decay sustain and release S USTAIN This fader determines at which level the envelope is sustained if you hold down a note on the keyboard for longer than the hold attack and decay stages This is the only control param...

Page 57: ...fect LFO 1 can also be set to a high frequency In the according modes LFO 1 covers an audible range between 20 Hz and 20 kHz allowing it to be used either as a third oscillator a drone or for FM frequency modulation style sounds LFO 1 essentially consists of six LFOs one for each of the six super voices In 12 voice non binaural mode each one of these six LFOs is shared between two voices The Super...

Page 58: ...ttom left of the LFO 1 section provides a visual indication of the rate If you press the SYNC button in the arpeggiator and sequencer section the rate of LFO 1 will be synchronised to either the internal clock as set by the TEMPO control see page 98 or an external MIDI clock signal see pages 99 101 When synchronised the RATE fader allows you to adjust the cycle duration of LFO 1 s waveform in cloc...

Page 59: ...tting Timing Division LFO 1 Cycle Duration 1 4 note 1 beat Dotted 1 8 note 3 4 of 1 beat 1 4 note triplet 1 3 of 2 beats 1 8 note 1 2 of 1 beat Dotted 1 16 note 3 8 of 1 beat 1 8 note triplet 1 3 of 1 beat 1 16 note 1 4 of 1 beat Dotted 1 32 note 3 16 of 1 beat 1 16 note triplet 1 6 of 1 beat DELAY This fader determines the time it takes before the LFO modulation starts to affect the sound after y...

Page 60: ...L SECTION KEYBOARD MODEL ADDITIONAL CONTROLS PARAMETERS DESKTOP MODEL USING THE MODULATION MATRIX VOICE ASSIGN ARPEGGIATOR SEQUENCER GLOBAL SETTINGS MPE SUPPORT PATCH SEQUENCE WAVEFORM MANAGEMENT HOW TO GUIDE MIDI SPECIFICATIONS GLOSSARY SUPPORT INFORMATION The left right phase when LR Phase is set to 0 0 The left right phase when LR Phase is set to 25 π 2 The left right phase when LR Phase is set...

Page 61: ...left right phase when LR Phase is set to 75 3π 2 The left right phase when LR Phase is set to 100 2π PAN If you disable binaural mode see page 97 the LR PHASE fader will allow you to control how far the 12 non binaural voices will be spread in the stereo panorama At its lowest setting all voices will be centred At its highest setting all voices will be alternately hard panned between the left and ...

Page 62: ... at this setting by default HF TRK Set to this option LFO 1 will be switched to high frequency mode and respond to key tracking at the same time In this mode LFO 1 can either be used as a third oscillator or as a dynamic modulation source for frequency modulation While the rate fader will still control the core frequency of LFO 1 just like the range switches in the oscillator section it will now a...

Page 63: ...termined by the waveform you have selected RESET Resets the phase of LFO 1 s waveform every time you press a key If LFO 1 is set to one of the two high frequency modes the MODE toggle switch allows you to select one of the following modes NORM At this setting LFO 1 in high frequency mode will act as the modulation source DDS 1 At this setting the audio signal of LFO 1 in high frequency mode will b...

Page 64: ...lating the Super 6 s oscillators in various ways While building blocks like the oscillators and the filter can be seen as the core ingredients that define the instrument s character the DDS Modulator can be used to add more depth complex textures and sonic width to your sound The DDS Modulator section The DDS Modulator section is organised in three parts The first subsection provides controls for ...

Page 65: ...pitch modulation by LFO 1 ENV 1 This fader controls the amount of pitch modulation by ENV 1 The toggle switch allows you to select the modulation destination for the pitch modulation driven by LFO 1 and or ENV 1 DDS 1 At this setting the modulation will be routed to the first oscillator DDS 1 BOTH At this setting the modulation will be routed to both oscillators DDS 2 At this setting the modulatio...

Page 66: ...r mode Super mode is a unique feature of Super 6 that utilises its stereo signal path If this mode is engaged the first oscillator DDS 1 can be dynamically de phased resulting in widening the sound in a unique way and positioning it in the stereo field The toggle switch provides you with three options OFF This option deactivates Super mode In this mode both of the faders in this subsection will co...

Page 67: ... WAVEFORM MANAGEMENT HOW TO GUIDE MIDI SPECIFICATIONS GLOSSARY SUPPORT INFORMATION Frequency Amplitude 0 The centroid oscillator of DDS 1 If Super mode is not activated it will be the only oscillator of DDS 1 that will produce a sound Frequency Amplitude 0 The centroid oscillator and the six sister oscillators spread to each side when Super mode is switched to 1 2 and the detune parameter is set t...

Page 68: ...s you to adjust the amount of randomisation applied to the oscillators pitch and phase the filter s cutoff frequency and resonance behaviour the stages of both envelope generators and the settings of both LFOs amongst other things You may either utilise this parameter to add a subtle but very pleasing amount of oscillator movement that will work particularly nice with complex waveforms in Super mo...

Page 69: ...the first and second oscillators This parameter is useful for creating deep FM frequency modulation sounds When applying cross modulation DDS 2 is modulating DDS 1 with exponential FM When you enable the oscillator sync option for DDS 2 see page 34 the default cross modulation behaviour will be reversed i e DDS 2 will be frequency modulated by DDS 1 Since DDS 2 is forced to restart its waveform cy...

Page 70: ...d a classic style dual mode stereo chorus The effects are routed in series with the chorus being the first and the delay being the last in the signal chain Delay The delay section LEVEL This rotary control allows you to determine to what degree the delay signal is mixed with the source signal Higher values will result in a wet effect mix whereas lower values will make the dry signal more prominent...

Page 71: ... GLOBAL SETTINGS MPE SUPPORT PATCH SEQUENCE WAVEFORM MANAGEMENT HOW TO GUIDE MIDI SPECIFICATIONS GLOSSARY SUPPORT INFORMATION The following table lists the clock divide values for the synchronised delay times Setting Timing Division Phase Duration 1 32 note triplet 1 12 of 1 beat Dotted 1 64 note 3 32 of 1 beat 1 32 note 1 8 of 1 beat 1 16 note triplet 1 6 of 1 beat Dotted 1 32 note 3 16 of 1 beat...

Page 72: ...MIDI SPECIFICATIONS GLOSSARY SUPPORT INFORMATION Setting Timing Division Phase Duration Dotted 1 8 note 3 4 of 1 beat 1 4 note 1 beat 1 2 note triplet 1 3 of 4 beats Dotted 1 4 note 1 1 2 beats 1 2 note 2 beats Whole note triplet 1 3 of 8 beats FEEDBACK This rotary control allows you to adjust for how long the delay signal will be repeated until it fades out Low levels will result in few repetitio...

Page 73: ...is a classic simple and effective design that can be used to thicken your sound even further Chorus I This option will activate a smooth and subtle chorusing effect Chorus II This option will activate a denser chorus effect that is modulated at a higher rate Chorus I II By enabling both options at the same time a third and even more intense chorus effect will be generated that resembles the distin...

Page 74: ...nd features a comprehensive performance control section in addition to a responsive 49 key Fatar keyboard that is velocity sensitive and responds to aftertouch Simply put velocity sensitivity means that the harder you hit a note the louder the sound will be Aftertouch allows you to modulate the sound when pressure is applied to a note while you are holding the key The type and amount of modulation...

Page 75: ...pressure pad design is used to measure the applied force and translate it to a modulation amount The bender lever itself is not designed to be moved upwards in the same manner as can be moved horizontally The bender control Controlling Pitch and Filter Cutoff Frequency By moving the bender control to the left the pitch will be bent downwards while the filter cutoff frequency will be lowered result...

Page 76: ...ight half of the performance control section DDS This fader allows you to adjust how much the bender will affect the oscillators pitch Which oscillator is going to be affected by pitch modulation is determined by the toggle switch to the left of this fader The oscillator select toggle switch allows you to select one of three options DDS 1 With DDS 1 selected only the pitch of the first oscillator ...

Page 77: ...tly on The type and amount of modulation generated by LFO 2 is determined by the faders DDS and VCF situated on the left side of the performance control section in conjunction with the LFO 2 rotary controls located above these faders LFO 2 operates as a single or global LFO for all voices meaning that its modulation won t vary from voice to voice like in LFO 1 s case The free running waveform gene...

Page 78: ...ch of both oscillators will be affected by LFO 2 DDS 2 With DDS 2 selected only the pitch of the second oscillator will be affected by LFO 2 VCF This fader allows you to adjust the modulation depth at which LFO 2 will affect the filter cutoff frequency The leftmost toggle switch in the performance control section determines how LFO 2 modulations will be triggered TRIG With this option selected mov...

Page 79: ...N Portamento When Portamento is engaged the sound will slide in pitch with each new note that is being played The higher the portamento time the longer it takes for the sound to slide in pitch after a new note is triggered via the keyboard The Super 6 is capable of polyphonic portamento When you change chords each of the notes slide over different lengths of time depending on the pitches of the no...

Page 80: ...he global transpose setting by up to 12 semitones upwards or downwards If you transpose the global tuning upwards the two LEDs on the right will start flashing If you transpose the global tuning downwards the two LEDs on the left will start flashing Press the SHIFT button again to return to octave selection When you adjust the global transpose setting the middle octave LED will continue flashing e...

Page 81: ... reversed when turning the MOD AMOUNT control counter clockwise The printed line at the very top of the patch and bank select button section serves as a legend for what amount of fine tuning is being indicated by the lit patch select button LEDs When you adjust the global fine tuning the middle octave LED will continue flashing even after you exit shift mode to indicate that the default global tun...

Page 82: ...r Volume The master volume control The Super 6 s main volume is controlled by the MASTER VOLUME rotary control Turning the control fully clockwise will increase the volume to a maximum of 4 decibels This control will also determine the headphone volume if you connect headphones to the rear side of the Super 6 Manual Mode The manual button Manual mode is accessed by pressing the white MANUAL button...

Page 83: ...litude controlled by the VCA to create a tremolo style effect The LFO 2 section Modulation Parameters MODE This button allows you to determine how LFO 2 modulations will be triggered from an external MIDI controller that features aftertouch and a modulation wheel MW With this option selected left LED solidly lit moving a modulation wheel upwards will cause the sound to be modulated as set by the L...

Page 84: ...odulation gradually over the duration of a held note Assigning Modulation Destinations to LFO 2 On the right side of the LFO 2 section you can determine which modulation destination should be affected by LFO 2 Notice how an arrow is pointing from the MOD AMOUNT rotary control to the modulation destinations in the LFO 2 section You can use this control to dial in the modulation depth that should be...

Page 85: ...3 Release the modulation destination button Its LED will become solidly lit You can also use the modulation matrix to assign more modulation destinations to be controlled by LFO 2 See pages 90 95 for more details on how to use the modulation matrix The three modulation destination buttons don t only allow you to create modulation mappings You can also use them to instantly determine whether a modu...

Page 86: ...N Portamento When Portamento is engaged the sound will slide in pitch with each new note that is being played The higher the portamento time the longer it takes for the sound to slide in pitch after a new note is triggered via the keyboard The Super 6 is capable of polyphonic portamento When you change chords each of the notes slide over different lengths of time depending on the pitches of the no...

Page 87: ...ume The master volume control The Super 6 s main volume is controlled by the MASTER VOLUME rotary control in the upper left corner of the control panel Turning the control fully clockwise will increase the volume to a maximum of 4 decibels This control will also determine the headphone volume if you connect headphones to the rear side of the Super 6 Manual Mode The manual button Manual mode is acc...

Page 88: ... as you touch or slightly move the MOD AMOUNT control the LEDs of patch and bank select buttons 1 8 and A H will indicate the current fine tuning setting If you turn the MOD AMOUNT control clockwise the number of lit LEDs will shrink towards the right when the fine tune amount is negative and grow towards the right when the modulation amount is positive The effect is reversed when turning the MOD ...

Page 89: ... SECTION KEYBOARD MODEL ADDITIONAL CONTROLS PARAMETERS DESKTOP MODEL USING THE MODULATION MATRIX VOICE ASSIGN ARPEGGIATOR SEQUENCER GLOBAL SETTINGS MPE SUPPORT PATCH SEQUENCE WAVEFORM MANAGEMENT HOW TO GUIDE MIDI SPECIFICATIONS GLOSSARY SUPPORT INFORMATION In the third example the lit LEDs of the patch and bank select buttons coloured black here indicate a global fine tune setting of 1 semitone or...

Page 90: ... and there are two different methods to map modulation routings which will be described below The front panel section relevant to the modulation matrix Before we go into detail about the different ways in which you can map modulation routings we would like to point out how the patch and bank select buttons behave during modulation assignment The modulation matrix is entered by pressing the MOD ASS...

Page 91: ...sion Pedal CV F Delay Time 7 Pitch Bend Wheel G Delay Feedback 8 Note Number H LR Phase The modulation amount i e the intensity with which a modulation source modulates a modulation destination is determined by using the MOD AMOUNT rotary control The modulation amount control By turning the MOD AMOUNT rotary control you can adjust the modulation amount over a range from 100 negative modulation amo...

Page 92: ...RS DESKTOP MODEL USING THE MODULATION MATRIX VOICE ASSIGN ARPEGGIATOR SEQUENCER GLOBAL SETTINGS MPE SUPPORT PATCH SEQUENCE WAVEFORM MANAGEMENT HOW TO GUIDE MIDI SPECIFICATIONS GLOSSARY SUPPORT INFORMATION In the first example the lit patch and bank select buttons LEDs coloured black here indicate a positive modulation amount of 100 In the second example the lit patch and bank select buttons LEDs c...

Page 93: ...ing by selecting a source first press any modulation source button patch select buttons 1 8 Its LED will become solidly lit If this source is actively modulating any destinations in the matrix the LEDs within the buttons bank select buttons A H representing those modulated destinations will flash Press any destination button to proceed to a mapping lock Both source and destination buttons LEDs wil...

Page 94: ...ponding to bank select buttons A H as per the method described in this section and will flash if those sources are actively modulating any destinations not only those corresponding to bank select buttons A H 3 To create a direct mapping first press and hold one of the eight modulation source buttons patch select buttons 1 8 4 While still holding the chosen modulation source button move any paramet...

Page 95: ...Attack 21 Portamento Time 11 Envelope 1 Sustain 22 Delay Level Clearing Modulation Mappings If you would like to clear all mapped modulation press the SHIFT button and then the MOD ASSIGN button All modulation routing will be instantly erased To clear modulation per source or per destination follow the steps below 1 Press the MOD ASSIGN button Its LED will flash indicating that you have entered mo...

Page 96: ...be curtailed in this mode POLY 1 This option activates a polyphonic mode with two oscillators per voice This mode allows note releases to overlap when new notes are played and is the instrument s default mode UNISON In unison mode the Super 6 s voices will be stacked for a huge monophonic sound It is possible to choose how the voices are stacked whilst in unison mode by accessing the U SIZE parame...

Page 97: ...n be played at a time Each time a note is played the envelopes will be re triggered BINAURAL This option can only be deactivated for the modes POLY 1 and POLY 2 By default the Super 6 operates in binaural mode where its twelve voices are twinned to form six true stereo super voices The left and right channels are assigned a complete synthesizer voice Starting with the stereo oscillators parameters...

Page 98: ...the set tempo rate If the arpeggiator or sequencer is synchronised to an external MIDI clock source the TEMPO control allows you to adjust the playback speed in clock divisions that are relative to the external tempo for example quarter notes eighth notes or sixteenth note triplets SWING Press the SHIFT button and then the RANGE button to access this feature It allows you to select from 5 differen...

Page 99: ...ise the arpeggiator or sequencer to an external MIDI clock source To activate this option press the SHIFT button and then the SYNC button If the arpeggiator or sequencer is synchronised to an external MIDI clock source the TEMPO control allows you to adjust the playback speed in clock divisions that are relative to the external tempo The following table lists the clock divide values for the arpegg...

Page 100: ...the arpeggiator and sequencer will output MIDI notes The available options are saved as part of the global settings You can enable the following options PATCH SELECT BUTTON 1 With this option selected LED solidly lit MIDI clock signals will be sent PATCH SELECT BUTTON 2 With this option selected LED solidly lit MIDI clock signals will be received On top of that the Super 6 will respond to MIDI Sta...

Page 101: ...rpeggiated In addition to that LFO 1 and the delay time can be locked to the arpeggiator s clock while the arpeggiator itself can be synchronised to an external MIDI clock signal coming from your DAW or another device In arpeggiator mode the RANGE button allows you to choose from four different octave settings 1 Set to this option one octave only the notes that you actually hold on the keyboard wi...

Page 102: ... sequencer is active HOLD If you activate this option the arpeggiator will play back the current pattern without the need to hold down any keys In hold mode new notes will only be added to an ongoing arpeggio if at least one key is held Once you release all keys and play a new note or chord a new arpeggio will be initialised based on the arpeggiator settings and the notes you played Sequencer Mode...

Page 103: ...s option the 16 patch and bank select buttons representing the steps of the sequence will display page 1 of the step sequence steps 1 16 Whenever you enter the sequencer mode this will be the default page being indicated by the 16 buttons 2 Set to this option the 16 patch and bank select buttons representing the steps of the sequence will display page 2 of the step sequence steps 17 32 3 Set to th...

Page 104: ...initialising step recording mode the SEQ REC button is used for skipping through the five available sequencer tracks If you select one of the options the step sequence represented by the 16 patch and bank select buttons will be updated accordingly If you select the option ACCENT for example the patch and bank select buttons will display the track for accents showing you which steps have accents en...

Page 105: ...steps should be omitted A rest on a step will skip the note or chord you recorded to that step Active rests are indicated by unlit LEDs LENGTH This option is selected after you have pressed the SEQ REC button five times The length track allows you to define the length of a sequence First choose the page on which the last step of the sequence should fall using the RANGE button Then press the patch ...

Page 106: ...r will be indicated by the solidly lit patch and bank select button Choose a different sequence by pressing one of the patch and bank select buttons 1 8 and A H The patch select buttons allow you to select sequences 1 8 while the bank select buttons allow you to select sequences 9 16 Let s say you would like to select sequence 12 1 Press the SHIFT button and then the HOLD button 2 Press bank selec...

Page 107: ...ect any global parameters If you press the SHIFT button again you will exit the global settings Any changes applied to the global settings will be stored to the non volatile memory after about 30 seconds of no interaction with the instrument The updated global settings are retained once the Super 6 is power cycled The global settings section MIDI CH This option allows you to determine the MIDI cha...

Page 108: ...s activated To exit this parameter press the button TX RX E again If option 2 is enabled parameter change receive the Super 6 will always respond to both parameter changes sent at a resolution of 7 and 14 bits TX RX P This option allows you to determine whether program change messages will be transmitted and received via MIDI Once you press TX RX P you can activate and combine both of the followin...

Page 109: ... 110 for more details on MPE support and possible configurations ON If MPE support is enabled lit LED the Super 6 will respond to incoming MIDI messages sent by an MPE controller via an individual MIDI channel per note OFF If MPE support is disabled unlit LED the Super 6 won t respond to incoming MIDI messages sent by an MPE controller This is the default setting TRNSP Desktop model only This opti...

Page 110: ...f Velocity The Super 6 s response to this MIDI message can be controlled by the DYNAMICS toggle switch in the VCA section see page 47 Polyphonic Aftertouch Polyphonic aftertouch can be assigned in the same manner as channel monophonic aftertouch Use the controls in the keyboard model s performance control section see page 78 the desktop model s LFO 2 section see page 83 or the modulation matrix se...

Page 111: ...ese tasks Follow the steps below to access the SUPER6 drive 1 Turn off the Super 6 2 Connect the Super 6 to your computer using the included USB cable 3 Hold the PATCH button and power cycle the synth to unlock the SUPER6 disk drive The LEDs of the 16 patch and bank select buttons will indicate the progress of the loading process 4 Once the LEDs indicate that the Super 6 is in patch mode release t...

Page 112: ...m_name ws6 w16_waveform_name ws6 alt_waveforms w1_waveform_name ws6 w2_waveform_name ws6 w3_waveform_name ws6 w4_waveform_name ws6 w5_waveform_name ws6 w6_waveform_name ws6 w7_waveform_name ws6 w8_waveform_name ws6 w9_waveform_name ws6 w10_waveform_name ws6 w11_waveform_name ws6 w12_waveform_name ws6 w13_waveform_name ws6 w14_waveform_name ws6 w15_waveform_name ws6 w16_waveform_name ws6 sequences ...

Page 113: ... prefix of the patch files you copied and pasted so that it matches the desired patch location Make sure to manually delete the patches you would like to replace in the selected folder if the names of the new patches are not identical to the names of the old patches Empty the trash on your computer so that the files are indeed deleted from the SUPER6 drive Loading Sequences Stored to Your Computer...

Page 114: ...desktop as an external drive named SUPER6 and can be accessed just like any flash drive 3 Click on the icon of the SUPER6 drive 4 Navigate either to the folder waveforms or to the folder alt_waveforms 5 Copy and paste the waveform files you would like to transfer to the Super 6 to the waveforms folder you have selected in the previous step 6 If necessary edit the name prefix of the waveform files ...

Page 115: ... just like any flash drive 3 Click on the icon of the SUPER6 drive 4 Click on the folder patch_banks and copy and paste it to your computer s hard drive You may also navigate to one of the 16 bank folders a1 h2 or a single patch within those folders to copy and paste it to your computer s hard drive This method is an alternative to the dump option as described in the Global Settings chapter of thi...

Page 116: ...ATCH SEQUENCE WAVEFORM MANAGEMENT HOW TO GUIDE MIDI SPECIFICATIONS GLOSSARY SUPPORT INFORMATION Backing up Waveforms to Your Computer 1 Connect the Super 6 to your computer using the included USB cable 2 The instrument will appear on your computer s desktop as an external drive named SUPER6 and can be accessed just like any flash drive 3 Click on the icon of the SUPER6 drive 4 Click on the folder ...

Page 117: ...nds 2 Whilst holding down the SHIFT button power on your Super 6 and continue to hold the SHIFT button 3 Progress LEDs will cycle through the patch and bank select buttons and the SHIFT button will continue flashing make sure that this is the case restart step 2 if not 4 Release the SHIFT button After you activated bootloader mode do the following 1 Connect the Super 6 to your computer using the i...

Page 118: ... external drive named SUPER6 and can be accessed just like any flash drive 5 Copy the alt_waveforms folder to the SUPER6 drive 6 Power cycle the Super 6 7 To access the waveforms from the alt_waveforms folder select a waveform on the Super 6 Repeatedly pressing a patch or bank select button will cycle between the two available groups of waveforms To indicate that you are accessing a waveform from ...

Page 119: ...hord on the keyboard After you released all keys the LED of first step will become solidly lit to indicate that you have recorded a chord to the first step 5 Press the SEQ REC button again to select the SLIDE track 6 Activate the slide option for the first step Its LED will become solidly lit 7 Press the SEQ REC button three more times to select the LENGTH track 8 Set the sequence length to one st...

Page 120: ...nd the key you played 6 Move DDS 2 s TUNE control to 6 then back to the centre The oscillators should now be in tune 7 Don t play a key or move a control for about 30 seconds to save the calibration setting Setting up the Super 6 as a MIDI Device in a DAW Follow the steps below to use your Super 6 in conjunction with a DAW 1 Connect the Super 6 to the MIDI ports of your audio interface in case you...

Page 121: ...TINGS MPE SUPPORT PATCH SEQUENCE WAVEFORM MANAGEMENT HOW TO GUIDE MIDI SPECIFICATIONS GLOSSARY SUPPORT INFORMATION MIDI SPECIFICATIONS System Real Time Messages Control Function Transmit Receive MIDI Timing Clock Yes Yes Start Yes Yes Stop Yes Yes Channel Messages Control Function Transmit Receive Note Off Yes Yes Note On Yes Yes Polyphonic Key Pressure No Yes Control Change See Global Settings pa...

Page 122: ...ler Messages The table below lists the continuous controller messages CCs that are mapped to the controls of the Super 6 These messages are transmitted and or received dependent on TX RX E configuration in the global settings see page 108 CC Value Range Parameter Name 0 0 127 Bank Select 1 0 127 Modulation Lever 2 3 0 127 Tempo 4 0 127 Foot Controller 5 0 127 Portamento Time 6 0 127 Data Entry MSB...

Page 123: ...FORMATION CC Value Range Parameter Name 20 0 Free Norm 43 Once DDS 1 85 Reset DDS 2 LFO 1 Mode 21 0 127 DDS LFO 1 Amount 22 0 127 DDS Env 1 Amount 23 0 DDS 1 43 Both 85 DDS 2 DDS Modulator Destination 24 0 Off 43 1 2 85 On Super Mode 25 0 127 PW Detune 26 0 127 PWM SWM 27 0 LFO 1 43 Both 85 ENV 1 PWM SWM Source 28 0 127 Cross Modulation 29 0 Sine 21 Saw 43 Square 64 Triangle 85 Noise 107 Alternati...

Page 124: ...ATION CC Value Range Parameter Name 35 0 127 DDS 2 Tune 36 0 Norm 43 X Fade Sub Osc 85 Sync Audio In DDS 2 Mode 37 0 127 Oscillator Mix Split Point 38 0 127 LSB for Control 6 Data Entry 39 40 0 Off 43 Fix 85 Trk VCF HPF Mode 41 0 Off 43 1 85 2 VCF Drive 42 43 0 Off 43 1 2 85 On VCF Keytrack 44 0 Env 1 43 1 2 85 Env 2 VCF Envelope Source 45 0 127 VCF Envelope Amount 46 0 127 VCF LFO 1 Amount 47 0 1...

Page 125: ...ECIFICATIONS GLOSSARY SUPPORT INFORMATION CC Value Range Parameter Name 54 0 127 Envelope 1 Decay 55 0 127 Envelope 1 Sustain 56 0 127 Envelope 1 Release 57 0 127 Envelope 2 Decay 58 0 127 Envelope 2 Sustain 59 0 Off 64 On Manual Mode 60 0 Trig 43 AT Trig 85 On LFO 2 Trigger Source 61 0 DDS 1 43 1 2 85 DDS 2 Performance Control Destination 62 0 127 LFO 2 Rate 63 0 127 LFO 2 Delay 64 0 Off 64 On Su...

Page 126: ... Name 76 0 127 DDS Pitch Bend Amount 77 0 127 VCF Pitch Bend Amount 78 0 Poly 2 26 Poly 1 51 Unison 77 Legato 102 Solo Voice Assign Mode 79 0 3 voices 26 6 voices 51 6 voices octave 77 6 voices octave fifth 102 6 voices major chord Unison Size 80 0 Off 64 On Binaural Mode 81 0 Off 64 On Clock Sync 82 0 1 octave 32 2 octaves 64 3 octaves 96 4 octaves Arpeggiator Range 83 0 1 32 2 64 3 96 4 Arpeggia...

Page 127: ...BAL SETTINGS MPE SUPPORT PATCH SEQUENCE WAVEFORM MANAGEMENT HOW TO GUIDE MIDI SPECIFICATIONS GLOSSARY SUPPORT INFORMATION CC Value Range Parameter Name 93 0 Off 32 Chorus 1 64 Chorus 2 96 Chorus 1 2 Chorus 94 0 127 Drift 95 0 127 HPF Fix Cutoff Frequency 96 Data Increment 97 Data Decrement 98 0 127 Non Registered Parameter Number NRPN LSB 99 0 127 Non Registered Parameter Number NRPN MSB 100 0 127...

Page 128: ...ll Sound Off 121 0 Reset All Controllers 122 0 Off 127 On Local Control On Off 123 0 All Notes Off 124 0 Omni Mode Off 125 0 Omni Mode On 126 0 Mono Mode On 127 0 Poly Mode On Registered Parameter Numbers The table below lists the registered parameter numbers RPNs that are mapped to the parameters of the Super 6 These messages are transmitted and or received dependent on TX RX E configuration in t...

Page 129: ...Y SUPPORT INFORMATION Non Registered Parameter Numbers The table below lists the non registered parameter numbers NRPNs that are mapped to the global and patch related parameters of the Super 6 These messages are transmitted and or received dependent on TX RX E configuration in the global settings see page 108 Global Parameters NRPN NRPN MSB CC 99 NRPN LSB CC 98 Value Range Parameter Name 2051 10H...

Page 130: ...EMENT HOW TO GUIDE MIDI SPECIFICATIONS GLOSSARY SUPPORT INFORMATION Patch Related Parameters NRPN NRPN MSB CC 99 NRPN LSB CC 98 Value Range Parameter Name 1024 1025 1026 1027 08H 03H 0 16383 Tempo 1028 1029 08H 05H 0 16383 Portamento Time 1030 1031 08H 07H 0 16383 VCA Envelope Level 1032 1033 08H 09H 0 16383 Mod Amount 1034 1035 1036 08H 0CH 0 16383 Delay Time 1037 08H 0DH 0 16383 Delay Feedback 1...

Page 131: ...MANAGEMENT HOW TO GUIDE MIDI SPECIFICATIONS GLOSSARY SUPPORT INFORMATION NRPN NRPN MSB CC 99 NRPN LSB CC 98 Value Range Parameter Name 1048 1049 08H 19H 0 16383 PW Detune 1050 08H 1AH 0 16383 PWM SWM 1051 1052 08H 1CH 0 16383 Cross Modulation 1053 1054 1055 1056 08H 20H 0 16383 Envelope 1 Decay Hold 1057 08H 21H 0 16383 Envelope 2 Decay Hold 1058 1059 08H 23H 0 16383 DDS 2 Tune 1060 1061 08H 25H 0...

Page 132: ...B CC 99 NRPN LSB CC 98 Value Range Parameter Name 1074 1075 1076 08H 34H 0 16383 Envelope 1 Attack Hold 1077 08H 35H 0 16383 Envelope 1 Attack 1078 08H 36H 0 16383 Envelope 1 Decay 1079 08H 37H 0 16383 Envelope 1 Sustain 1080 08H 38H 0 16383 Envelope 1 Release 1081 08H 39H 0 16383 Envelope 2 Decay 1082 08H 3AH 0 16383 Envelope 2 Sustain 1083 1084 1085 1086 08H 3EH 0 16383 LFO 2 Rate 1087 08H 3FH 0...

Page 133: ... SETTINGS MPE SUPPORT PATCH SEQUENCE WAVEFORM MANAGEMENT HOW TO GUIDE MIDI SPECIFICATIONS GLOSSARY SUPPORT INFORMATION NRPN NRPN MSB CC 99 NRPN LSB CC 98 Value Range Parameter Name 1100 08H 4CH 0 16383 DDS Pitch Bend Amount 1101 08H 4DH 0 16383 VCF Pitch Bend Amount 1102 1103 1104 1105 1106 1107 1108 1109 1110 1111 1112 1113 1114 1115 08H 5BH 0 16383 Delay Level 1116 08H 5CH 0 16383 VCA LFO 1 Amou...

Page 134: ...al path in which its twelve voices are twinned to form six stereo Super voices Consequently the left and right channels and each of your ears are assigned a complete synthesizer voice Starting with the stereo oscillators parameters of both channels of each super voice may be independently controlled facilitating you to create gorgeous stereo images The effect on the sound ranges from subtle to ext...

Page 135: ...quencies The samples produced by our numerically controlled oscillators are then transformed to analog voltages by a DAC one for each oscillator which operates at the same clock rate before being filtered by a preliminary analog low pass filtering stage Drive The drive parameter controls the overdrive of the input signal to the Super 6 s filter circuit It allows you to overdrive the signal being p...

Page 136: ...ffect while a note is held What is being looped are the attack the decay hold and the decay stages Once you release a key the release stage will be triggered Low Frequency Oscillator LFO An LFO or low frequency oscillator is an oscillator that produces a frequency below the range of human hearing It can be used for example to modulate the oscillators frequency to produce a vibrato effect or to mod...

Page 137: ...d in its internal memory These patches are organised in 16 banks that each feature eight memory locations Portamento Portamento is a pitch sliding effect from one note to another If this parameter is activated the sound will slide in pitch to each new note s pitch that is being played The higher the portamento time the longer it takes for the sound to slide to a new note s pitch after that new not...

Page 138: ...nd its pitch is locked one octave below the frequency of DDS 1 which is the oscillator it is tied to Super Mode The Super mode is a unique feature of Super 6 that utilises its stereo signal path If this mode is engaged the first oscillator DDS 1 can be dynamically de phased resulting in widening the sound in a unique way and positioning it in the stereo field Super Wave Modulation SWM When Super m...

Page 139: ... subtractive synthesis its name The voltage controlled filter is an integral part of the Super 6 s sonic character shaping the sound of the oscillators by subtracting some of their signals spectral content Waveform A waveform describes the shape of a signal produced by an oscillator Among the classic analog waveforms are shapes like sine triangle sawtooth and square with sine waves producing the l...

Page 140: ...AGEMENT HOW TO GUIDE MIDI SPECIFICATIONS GLOSSARY SUPPORT INFORMATION SUPPORT INFORMATION If you are experiencing any issues with your Super 6 contact our technical support at support udo audio com Please provide the following information when you get in touch with us Instrument name Serial number Firmware version see firmware file on the SUPER6 BOOT drive Purchase date new or used and location co...

Page 141: ...UDO SUPER 6 OWNER S MANUAL 2021 UDO AUDIO VERSION 3 0 JULY 2021 SUPPORT DOWNLOADS UDO AUDIO COM ...

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