So the next illusion for a firmware update is Easter then… 
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NAMM is in the air and Superbooth not far…hope never dies
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I feel that the super6 will never be finished, strongly suspect that we will get one more very small update later this year / early next then UDO will drop the synth and move onto other things. Hope I’m wrong as this is an expensive synth with several ‘correctable’ issues. A flawed future classic maybe or yet another half finished wannabe joining the ranks of the Roland G6/8, Integra7 and the mighty but very flawed Waldorf Wave etc
I may be wrong : I just had a look on Sequential’s site which gives me hope that UDO ‘may’ be able to address many issues raised on the forum for example more memories / more voices. The high priced flagship synth Sequential P5 now has an optional user installable expansion board which doubles the voices , memories etc plus a new O/S available to purchase. Sticking with Sequential at the lower end of their product range, the Take5 synth now has a free major upgrade OS which not only fixes bugs but adds envelope repeats, LFO slew etc.
Just shows that some small companies care about their products and customer base - If UDO do, then anything is possible with the Super6 except a screen or motorised knobs , for that there is currently only one game in town - the NINA synth.
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Apparently, they are working on something new. Why wouldn’t they? It is logical and the next step, but I don’t think they will abandon S6. I have high hopes, though, and expect a significant update after months of radio silence. Maybe at Superbooth, they bring us some cool features. It could backfire to drop a new product before this is polished or close to 1.0 firmware. The trust from customers might not be that forgiving then. Superbooth is around the corner, so keep your fingers crossed, but we need more communication from UDO and their plans with the S6. It sure feels like, at the moment, they don’t focus that much on S6 anymore, which would leave a bad taste, and potentially put at risk their next product.
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MPE definitely is something I want for every patch. I bought this synth for MPE implementation as described in the manual.
The Y axis can’t be used freely as a modulation source.
The Y axis’ forced control of filter cutoff can only be used in relative mode because the Super-6 ignores CC74 on a channel before note on (before Note On, on other synths, it preconfigures the voice so you don’t have the note sound then immediately and audibly jump to the Y value), unlike the other three MPE hardware synths I have and every MPE softsynth I have tried.
I expect the manual for a device to document its actual capabilities rather than the hopes of the designer.
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To be clear, I agree with your general statement 100%. I should say I definitely don’t want MPE for every patch, and I personally appreciate it wasn’t implemented wall-to-wall. I do think there should be a global toggle for this use case, however.
I love this synth, and I think UDO has a lot of promise, but your comments on aspirational manual-writing are entirely on target.
Hi, can you let me know what controller you are using and any relevant settings, if we have a controller we can try to tailor it. The instrument is designed to work with relative mode for cc74, I understand your issue and the jump in absolute mode you describe, we of course want to make it work with all controllers in all modes, which is why your feedback is so valuable.
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Is there any update about ETA on a firmware to improve vca gain modulator mapping and some of the various other issues? I also have velocity issues where during the round robin of voices sometimes one note is stick on lower velocity than the others. Desktop model. Really hoping to incorporate this synth into my live setup but so far I can’t.
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Having the voices drop here on the desktop with MIDI as well.
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@MattMarantz please can you let me know what controller you want to use for VCA modulation 100%, and perhaps describe your use case? It’s hard for us to test with all the wide plethora of controllers out there but we try!
Hi UDO Audio,
Thank you for the response. I play sax & EWI wind synth (AKAI EWI 5000) and I’m actually the person you are referencing when in the description of what’s to be included in the next firmware update you described a sax player who would like to modulate VCA gain with aftertouch or CC#2 (either are acceptable although Aftertouch seems to work more universally with various synthesizers). I want to be able to modulate both the volume (VCA gain) and the filter cutoff simultaneously in varying amounts with my breath mapped to Aftertouch. Sometimes only one or the other, sometimes both in varying amounts. It’s important for us wind synth players. Technically, the Akai EWI 5000 can send Aftertouch or Poly Aftertouch or CC#2 or any other CC# controller from its breath sensor. Sometimes synths don’t seem to like CC#2 (breath) so I use Aftertouch and that works better. Obviously the UDO is setup for Aftertouch as a modulator so that is fine.
Here is an example of what I’m talking about: Matt Marantz EWI Freeze chords in Usine Hollyhock 3 - YouTube
Here’s another: Fast Break - Matt Marantz, Luke Marantz, Simon Jermyn and Mark Ferber - YouTube
Here’s another: Anemone - Mark Ferber, Matt Marantz, Luke Marantz, Matt Pavolka - YouTube
Here’s another: Matt Marantz - EWI Simultaneous Chords + Solo - Squares - YouTube
Gotta be able to use VCA gain! I bought this synth 9 months ago not knowing it wasn’t fully completed. I’m hanging onto it hoping you will make it the greatest synth ever for polyphonic wind synth players. I love the tone of it. I need it to be more stable, not drop voices (sometimes it does or at least velocity is locked to be very low on one voice until a reboot!), and have VCA gain modulation. I know you are a small company, but the price is not small. Make us believe.
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I’ve replied separately about VCA gain modulation range from wind controllers in the original thread, best to move any discussion there regarding this.
And now there’s a new synth being promoted at Superbooth while this one isn’t even completed as its own manual describes.
That’s a bad look.
Congrats on the Gemini, though, I guess; it looks killer. No way I’d buy it at this point though, nor would I be able to recommend a UDO product to anyone. Beta firmware years in with a new product on the way is truly disappointing.
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Announcing this release is wrong on so many levels. Just being curious here but, as far as marketing is concerned, how will you ever convince potential customers to trust you enough to buy this new synth if the existing one Super6 is still begging for a formal release of a finished software ? I know I know 0.52 or 0.53 is just a number but there are still quite a few features that need being addressed. Will they ever be addressed ? This is looking like an all-in bet that synth buyers are stupid. Wait. Maybe they are.
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To be frank, it has always felt like one long beta test since purchasing my UDO Super 6, and for this reason I think I will always be a bit pissed off. The saving grace is that the synth itself is amazingly beautiful, both in terms of industrial design and sheer sound quality.
I would imagine there is a new firmware update on the horizon, just like last year, coinciding with Superbooth, or shortly after. Let’s see.
The new Super Gemini looks very attractive, but I would prefer to make the best use of what I currently own, albeit with stable and completed firmware, per the manual. As one would normally expect.
Personally, I am not looking for more shift functionality, or new hidden features, god forbid. I think the main focus should be on missing features/details per the manual, and bug fixes wherever they are identified, so we can use the Super 6 reliably as an instrument as it is currently understood to be. The only straight-forward feature I would really like to have is: Mixer as mod destination.
I think if the firmware was completed in this manner, this would give me the confidence to buy more UDO products, especially if I can trust that products are properly finished and maintained past the initial release.
I say this especially, as every synth brings with it a large investment of money to acquire it, and a huge amount of time for one to master it as an instrument.
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I don’t understand what else one wants out of a synth?
I feel like, if a Kickstarter campaign delivered on the above, I’d be really happy and just, like, take the win. Why the bad feelings?
For me personally it’s that they changed the voice allocation method after I purchased mine, and I really dislike the current method, broke quite a few fav patches.
And it’s been promised to be fixed…
This + stuff in the specs that has not been delivered and you maybe can get the picture.
I bought it for what it was at the time of purchase AND on what was listed in the specs, and I think it’s right to be disappointed when both of these have been non-deliverables
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I guess it’s extremely frustrating also when Udo asks their customers for patience (as they run a small team) for the bug fixes that many have expressed needing for the synth to be a reliable instrument live etc and for it to meet the original specs advertised, then to find out they have been spending all this time on a new product and not the fixes. I get why people would be pissed to be fair.
On top of that, let’s be honest, as amazing a piece of hardware it is, for most of us, it’s bloody expensive, so you’d hope that your hard-earned cash is going towards a fully developed and realised product. I guess that’s the trouble with a lot of tech these days, your buying stuff that’s not fully finished in the hopes that the company will fulfil their initial promise.
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…watch it, (around 18:50) there is mentioned that U.D.O’s priority now is to get the update for the Super 6 done before they finally going to release/ship their bigger one…
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