I got my ST49 a couple of days ago, and tried it out with some of my patches plus with many more from third parties, so I’d like to share my initial experience with it.
First of all, installing it was very easy after I saw the Starsky Carr video: the video showed the more complex steps (to me, how to attach the ST49 cord, and how to align the keybed so the screws would fit decently) and it was extremely useful just to avoid the inherent scariness of dismantling a synth. I think without the video I would have been more anxious through the whole process.
About how the poly AT maps to existing patches, I think UDO did a great job with patch 1.4: the strategy to use the PB controls for the AT while leaving the PB functionality fixed, when LFO2 is in ON mode, is excellent. The only minor issue is that it removes some of the utility of the BEND - and BEND + mod sources: I use them sometimes as “macro controls” to modulate several destinations at the same time, and when I do I generally don’t want to also affect the pitch. If we ever get a settings.txt file, this might be a useful setting to add.
Personally, I find the ST49 feel to be absolutely fantastic: I can understand that, depending on how you play, the AT might be a little too reactive, but given the way I do, I love the “organic” feel of the keys, and the fact that I have plenty of room to add aftertouch to the individual notes. In fact, I think the ST49 is truly transformative for the Super 6, and turns it into something different in a sense, something much more interactive, that can be used to produce expressive ambient sounds: it’s not just an add-on. To me, UDO nailed it.
My very first experiment was to map the AT to the ENV LEVEL at +100%, which basically produces sound only when the AT is engaged, something that works perfectly with the ST49. But I noticed (with patch 1.4) that also existing patches, with more classic AT implementations, become something different with poly AT, because it has the effect of almost producing multitimbrality, if for example the left hand applies more pressure than the right.
Overall, I think that, with the ST49, the best strategy for sounds with AT when playing sections that don’t need it is to temporarily disable it by selecting TRIG on the on the modulation switch, and set it back to where it was when instead AT is needed: this way, I don’t risk to trigger it by mistake.
To conclude, I’m super happy with the ST49: it’s a game changer in terms of how it transforms the expressiveness of the Super 6, and I am grateful to UDO for having provided it as an option for this synth.
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I’m really, really happy with the ST49, and I don’t want to end on a sour note, but I’d like to mention something about customs. I’m from Italy, and I had to pay a steep customs fee for it. TBH, I didn’t understand, when I preordered it, that I would have to pay customs (and I think it’s the same for many others). In fact, I’m almost happy that I didn’t, because if I realized at the time what the true cost of the ST49 would have been, I could have passed on it, due to the steep price. Luckily, paying customs was not a big deal, but it might not be the same for others, and this, unfortunately, makes the ST49 less accessible that it could be, and it’s a shame because, as I wrote, I think it truly upgrades the Super 6 to something more. Honestly, I’m not sure how UDO could help here, but I just wanted to mention that the need to pay customs adds an extra barrier to the accessibility of these instruments. For example, I just saw the listing for the RBN-1, and I’m excited for it, but the fact that I’ll need to pay customs again for it brings the overall price to something I’m unfortunately not comfortable with.