Suggestions regarding the parameter behaviour hardware <=> software & Delay FX

UDO Audio Gear Super 6
1

Hi everyone,

I have 2 suggestions for the UDO Super 6.
One suggestion I put as a reply on a youtube video somewhere. It seemed right to post it here:

SUGGESTION 1:
Menu setting for knobs behaviour:

A menu setting to switch between jump to parameter, catch on parameter & scaled to parameter.
(First one is the standard mode which is now already used, second parameter is catch on parameter and the third is a scaled movement based on internal setting and hardware setting)
Maybe also saved as a unique parameter with each patch?

This could also help the concept to do very fine adjustments to patches for cross modulation, high frequency tracking LFO frequency modulation and more.
For when you select the scaled parameter setting on a patch you could do more subtle adjustments to for example the cross modulation parameter.

Example:
You choose this scaled parameter setting, save the patch, switch to a different patch. (in this example you want to subtly raise the cross modulation slider)
On my saved patch it is set to 5. Then I switch to a different patch and put the slider at 0. I switch back to the patch I would like to adjust and raise the cross modulation slider.
As scaled settings are selected. It will use a different curve to catch up with the slider its setting. (if you want to go wild you could add different curve settings somewhere in the menu)
So in this case you start at 0 with your slider, but your actual internal setting is 5. So when you push the slider towards 10, you have double the range for the same distance.
(0-10 on the hardware slider parameter equals the 5-10 parameter internally,
(INT=EXT)
=>
5=0, 6=2, 7=4, 8=6, 9=8, 10=10)
This gives us more subtle fine-tuning possibilities which we sometimes want.

A suggestion regarding keycombination would be:
SHIFT + Chorus 1 = Jump to setting (standard)
SHIFT + Chorus 2 = Catch on setting (twist to “catch” on)
SHIFT + Chorus 1&2 = Scaled changes based on current setting of patch parameters & current hardware parameters
When you press shift you will see the Chorus knobs start blinking to show which type of parameter setting is selected.
(Chorus 1 blinking is type 1, Chorus 2 blinking is type 2, Both blinking is type 3)

With the Super Gemini you select one layer and press shift and you see the setting of that one layer, if you select the second layer and press shift you see the setting of the second layer. If you choose both layers it will only show the setting if both layers have the same setting. Though you can select a setting for both layers at the same time this way.

The catch up setting and scaled setting would be really nice to use in a live setting, as you have no parameter jumps happening, and the scaled setting specifically would really help with sound design to get to those sweet spots on the for example “cross modulation” setting.

SUGGESTION 2:
Extra settings for the delay FX:

I really like it if my delay has more movement, which could be possible with the Super 6, but not yet implemented.
My idea gives you an option to have a Left + Mid + Right tap delay at different time signatures. Or with sync turned off, with algorithmically spaced distances depending on selected distances.
So we can have an interesting dual delay on our Super 6! (& Super Gemini)

Hold “SHIFT” + Twist “DELAY VOLUME” knob:
All 1-8 and A-H buttons lit up, but with the selected button flashing.

Extra note:
As the time tempo knob changes the time of the delay line. The settings done here will go up and down accordingly, but at its set rate.
So if the Left path is set to 3/4 , Mid path to 1/2 and Right path is set to 1/8 this is in relation to the setting on the time speed knob.
So, it would be Setting (example: 1/8) * DELAY TIME = resulting timing sound

With SHIFT + Twisting DELAY VOLUME Knob, you select the delay timing for the LEFT side.
With SHIFT + Twisting DELAY TIME Knob, you select the delay timing for the MID side.
With SHIFT + Twisting DELAY FEEDBACK Knob, you select the delay timing for the RIGHT side.

With 1-8 & A-H all lighting up, (depending if you selected LEFT, MID, or RIGHT)
Standard setting would be at 1/8D. (Button Number 6 flashing)
(With standard setting, you have LEFT 1/8D flashing (Button 6), MID no buttons flashing (no mid line standard) and RIGHT 1/8D flashing (Button 6))

This should be decided by UDO, as I have no idea to which length max the delay line can be. And this is important to know to actually define this properly. But anyway, this is my suggestion:
(if it can’t be this long, we would opt for 1=1/64 2=1/64D 3=1/32 4=1/32D 5=1/16, … and so on)
Having Button 8 be 1/8D and be the standard selected setting. (Button 8 flashing standardly)

1 1/32
2 1/32D (D for dotted)
3 1/16
4 1/16D
5 1/8
6 1/8D
7 1/4
8 1/4D
A 1/2
B 1/2D
C 1/1
D 1/1D
E 2/1
F 2/1D
G 4/1
H 4/1D

Now if you want triplets (example: 1/8T), you select button 5 & 6. With both these flashing you have a 1/8T.
You can also deselect all the buttons, (no buttons flashing) which disables the delay for the part you select. For instance on MID. (having only delay lines on Left and Right side)

When you have SYNC turned on, your timings are as written synced to what you selected on the button. With SYNC disabled, your timings are based on “button selected” * “Delay Time”

I’m not sure if there are more possibilities to do with the delay soundwise (is the delay part added to the end signal like a bus, or is the delay line on an insert?
If it would be like a bus, you could have the delay line have a sampling frequency reduction with every tick. (kind of a lo-fi setting) or slowed down or sped up with every delay tick.
This would be selected with holding shift + twisting one of the delay knobs, and you can choose between 3 different modes with the “Chorus 1” - “Chorus 2” buttons (Button 1 lit, Button 2 lit, Both lit)
With Button one already available, as it is the hifi delay we have now.
Or very simple, you could have Chorus 1 be Standard, Chorus 2 Ping Pong and Chorus 1+2 Slowed down & Lo-fi with every tick.

Having a delay that ping pongs or with different timings, gives more possibilities for karplus, sound scapes, leads, plucks, …, and the overall general binaural experience with the Super 6 (& Super Gemini). It would change the instrument in a good way

I thank you for your time reading my ideas.
Cheers!

1 Like
2

Scaled parameters would be incredible!! This is also at the top of my list. Catch is fine too, but jump is jarring.

3

Suggestion 3:
FM-like Oscillators
I’m not sure if the Super 6 (+8 + Gemini) has enough power left to do this?
A possibility to hold shift and then going through the oscillators of DDS1 to turn them into an FM-like oscillator. It is an idea I got from the Roland System-8.
And when holding shift and use the detune encoder you would change the sound of this FM-like oscillator, depending if it takes too much power you could disable the sister oscillators of the super DDS to make it possible. (though you won’t need to do shift+detune then).
And when going through the oscillators without shift you have your standard waves like you do now.
(I wonder what an FM-like DDS1 wavetable oscillator sounds with its sister oscillators detuned aside…)
Also:
This shift+detune could also be used to choose a different starting point with the wavetable oscillator?

4

Just curious, what would this be like?

In my view there’s no sensible way to introduce even let’s say four operator FM on the S6 controls. There would need to be some shift controls for FM algorithm selection, operator frequency multipliers / divisions and the individual operator levels. So this FM-like oscillator would lack most controls that are required to do any kind of FM, so wouldn’t it be just the same to load an FM-esque wavetable to DDS1?

Maybe it’s from my overexposure with Digitone and modular but FM overall is a bit of a dead horse to me. I would prefer S6 to remain this really special but instant traditional architecture subtractive synth (with all the binaural magic in play), and I hope their future updates enforce this architecture rather than deviate from it.

5

Get yourself a Roland System-8 and dial to oscillator section 3 & 4.
Or, you could watch this video. But the experience is different.

Though with the Super 6 the sampling rate is way higher and would give a more fluently crystal clear sound in comparison with the System-8.

Would use the same amount of controls. (and my shift+detune combination)
Though only one FM operator taste to choose. (in comparison with the System-8)

Or you would add shift + the range dial of DDS1 and you have 6 different options to add.
Also remember this is a simplified but accessible version of FM. An easy way to add new timbres to the Super family.

Also important. With all these shift functions. When someone does not use the shift function it remains the instrument everyone knows. The shift button concepts give more options and tinkering tools to delve deeper into the instrument. (which could be viewed clearly with a short-cut list pdf manual addendum)

Cheers!

6

I have no clue what the color parameter does in that system 8 FM-oscillator, but two operator “FM” (PM) is already quite well covered with the DDS2 on hard sync and adjusting cross mod (so DDS2 will get frequency modulated by DDS1, which is dictating the fundamental frequency, while DDS2 will affect the timbre/harmonics - in essence 2 operator FM/PM, as most FM synths like DX7 or Digitone are just doing PM).

Adding more operators would require some kind of “meta-parameter” like that color setting on system 8 which are to me kind of fighting against the “back-to-basics” spirit of the Super 6/8. :thinking: But to each their own!

7

Actually you keep your basics if you do not go into “shift oscillator” mode.
For those who don’t know it “doesn’t exist”.
But for those wanting to delve deeper, it would be there.