I’ve been struggling to re-create this patch on the Super 6. Here’s a breakdown of the settings on the Ob6 used:
Osc1 is a square wave, Osc 2 is a triangle wave. osc 1 sync turned on. Osc1 tuned to G3, Osc 2 tuned to C2. Volume of Osc 1 is about half that of osc 2, osc 2 up full. Half filter keyboard tracking. Filter envelope has medium amount of negative modulation of both the pulse width and pitch of osc 1. positive modulation of filter, but smaller amount. Attack at 0, sustain at 0. Filter a 2P LP filter, slight resonance, no variable filter, just full LP, slightly open. Noise volume turned up. Velocity routing is on for the filter, off for loudness. Like the comment said, very subtle/slow LFO pitch modulation of Osc 2. I can give you more exact info if you have any questions. There is also a slight amount (6) of analog distortion on the output. It also uses the ob6’s bbd delay effect with a quarter note delay and I think the Ob6 has a sub osc in addition to OSC A and OSC B.
I can’t seem to get the S6’s LFO to do the exact ‘bendy tone’ that is at the heart of the patch, much less the sort of ‘warm’ but not sharp attack that is more prophet like. The delay is also off, in that the delay on the ob6 will seem to play two tones (I think it’s somehow playing the sync’d osc and unsync’d osc as you hear two different notes in the delays).
Here’s an image with the settings and a sample of what I’ve been able to get to so far. It’s not a bad patch as is, but wondering if I can get closer.
I think you’ll need to swap the oscillator settings on the S6 because the tuning range on OSC2 is only 6 semitones and you need 7 to make it a fifth as on the OB6.
So I would use the OB6 osc1 settings on DDS2 and the osc2 settings on the main LFO and then raise DDS2 by two octaves and drop the tuning 5 semitones to get the correct waveforms at the correct intervals. Don’t know if that will affect the sound in regards to sync. You could also experiment with the Pulsewidth in DDS2 as the OB6 sounds not quite square to me. Notice the triangle wave is now handled by the LFO, that frees up DDS1 for noise, which I think is really what’s missing. Then use LFO2 as your pitch mod for the oscillator instead of LFO1. Only problem with all this is you’re going to have A LOT of noise since LFO1 and DDS1 are going to share the same mixer source.
The tuning range on DDS 2 is a just a bit under an octave, not 6 semitones. The numbers don’t correspond to semitones, so a fifth is at the 4 setting. It’s slightly strange but every interval between an octave above and below DDS1 is reachable.
@EveningsEmpire I know I’m dragging this thread out from the grave, but were you able to figure it out eventually? If so, I would love if you could share with us how you went about it! Thanks!
Nope. Posted the patch above as close as I could get it, which is not that close. I ended up getting a good deal on an OB6 module so I didn’t need to continue the pursuit.
i make this patch on pretty much any synth I have, including Super 6. You CAN tune DDS2 to 5h as tune range is 10 semitones (although it says 6 on the pot). I have both OB-6, Prophet 10, Super 6 - and you can get pretty close. The bend of the sync tone can easily be done by using any of the envelopes (I usually set negative mod to -3). The main thing is to “nail” time of the bend both for the PWM and for the pitch. Super 6 has very similar envelope curves to Prophet and OB, but the decay is the most crucial control - that one has to be properly set, or you get zingy harpsichord.
I see where you went fundamentally wrong. DDS2 MUST be in PULSE, not SQARE mode (based on your screenshot). The entire premise of the patch is that you get 50% pulse = square and modulate it in negative direction with filter envelope, together with pitch, that gives that bendy vibe - thin pulse going back to full square - in S6 you can detach envelopes and use special one for this to fine tune DDS2 (Pulse and G3 sync oscillator). So, turn off the Super voice mode and use PWM on DDS2, and then set PW to be full square (easy to do by ear), and then PWM modulate in one of the two ways, up or down - you will get the same result, thin pulse, with different phase tho - that’s why it’s cool to use negative modulation on PWM, to keep OG vibe.
