I’ve recently bought the Super 6 Desktop (had it for about two weeks so far), and I thought that I in this thread, on a continuous basis, would share tidbits of what I play/make whenever I feel inspired to do so.
Let’s start with some snippets of improvisation of different patches that I’ve created. I’m playing this in MPE mode via my Expressive E Osmose, which has both polyphonic aftertouch and polyphonic pitch bend (still waiting for me to be able to polyphonically control the Super 6 via the pre aftertouch parameter as well, i.e., how far you press down a key). I also use an expression pedal.
In theory both zones of pressing down on the Osmoses keys are already supported by the Super 6 in MPE mode, but one of them is hard-wired to filter cutoff.
I believe default Osmose MPE settings make the initial touch range send aftertouch messages, and those are supported in the Super 6, including customisable routings via the mod matrix. The final aftertouch zone on the Osmose is sending MPE Y CC64 by default, and this is the one that is hard-wired to filter cutoff in the Super 6 in current firmware. Making that flexible via the mod matrix is on the list of planned firmware improvements.
So I’m curious as to how you currently have things setup with your Osmose & Super 6 pairing that caused you to describe things in the way you did. It is certainly possible to reverse the configuration of the messages in the Osmoses settings, so that initial key movement sends MPE Y (CC74) and the final aftertouch zone sends MPE Z (channel aftertouch midi messages per channel so that its polyphonic). But that would still lead to the initial key pressure doing something, albeit hard-wired to alter filter cutoff.
I say in theory because although I have an Osmose and a Super 6, I havent got round to trying them together yet, so apologies in advance if I made a mistake with any of this detail.
Everything you’re writing is correct. My original description wasn’t totally accurate. Rather, to be precise, one should say that you only can choose one of the Osmose pressure responses (the first or the second one) to manifest polyphonically and assignable on the Super 6.
In my case, I’ve set up the Osmose so that aftertouch (which is what Super 6 can respond to polyphonically and assignable) is sent for the final pressing down event of the key. And I’ve chosen to set the initial pressure to send nothing as I don’t think it works well to have it hardwired to control the filter cutoff. If it would be possible to only control the VCA (i.e., the volume) I’ve would have gone with that, even though I most off all just want to freely assign it to whatever I want.
Unfortunately, the bend parameter can only be mapped for the global pitch bend that’s sent on channel 1. Otherwise, I would have set up the patches to respond to more parameters for the individual pitch bends as well.
I’ve brought up these things in the following thread. Feel free to chime in there as well
Well, it only took me a year , but I’ve finally recorded something with the Super 6 again. This time, I paired it up with the Boss Reverb RV-6, the Elektron Syntakt, and the Elektron Analog Heat +FX. I have to say, using a reverb really makes the Super 6 sparkle a little bit extra
, but I’ve finally recorded something with the Super 6 again. This time, I paired it up with the Boss Reverb RV-6, the Elektron Syntakt, and the Elektron Analog Heat +FX. I have to say, using a reverb really makes the Super 6 sparkle a little bit extra 
