Full wavetable capabilities being supported cleanly and directly from the front panel, alongside with an application for making waves from samples, from direct audio, management and so on.
A small OLED screen for patch management and navigation
Two stereo outputs
A 5 octave keyboard with polyphonic aftertouch (Fatar already makes a 4-octave keyboard that supports PolyAT, so… no excuses!)
Implementation of lots of the feature requests would elevate this to a whole new level.
I think UDO has said in the past they are working on no such synthesizer (though it has been a few years, things could have changed since then).
Personally, I’d like to see them go the other way, a mono-synth with wavetables for at least one osc, maybe a second osc akin to DDS1 on the Super6, and then maybe a third simplified osc, maybe a dedicated noise source and a more complex mixer, a more comprehensive mod matrix, maybe multiple filters.
Love this thread guys - not only do we take it all in but we catalogue and vote all your suggestions. It’s really good to dream up stuff and describe it, that’s how things start!
If that’s the case, then let me explain “more comprehensive mod matrix” in greater detail. If a new synth had the same 16 buttons for patch selection/mod matrix duties, I’d like to see 16 mod sources instead of 8. Even if a destination has a slot on the buttons on the Super6, I find that I assign all my modulations in the matrix by holding the source and moving the destination on the panel, that’s just a very intuitive way of assigning mods for me. So the other 8 buttons would be better off being some of the “missing” sources like LFO1, modwheel, etc.
If this is on a mono-synth then I personally would like to see some audio rate mod from the more complex wavetable/super DDS as sources as well. I’m sure that would do some interesting stereo stuff (at least at lower mod amounts).
@Okke that is our primary focus of course. Like with the desktop, our product road map will allow us to continue developing the Super 6 and it’s ecosystem
Super 12, twice the polyphony, twice the outputs, true layers/splits. Let’s pretend it has a 5 octave Fatar poly-aftertouch. Protruding keys are fixed (sorry Axel).
12 notes polyphony in binaural mode, 24 in standard mode
OLED display (big enough that an old man can read it)
DDS1 with SUPER waves
DDS2 with SUPER waves
VCO3 with fat ANALOG oscillator to manage bass and lead sounds
real mixer for each oscillator
2 x VCF (different sounding type of LPF, e.g. one analog ladder filter as it is in SUPER 6 and a flexible digital filter), assignable to DDS1, DDS2, VCO3
effect section with competitive studio quality effects incl. reverb
super flexible modulation matrix (“all with all”)
each potentiometer or switch shall have an LED, showing if the selected value is as programmed or not
LFO 1 as in SUPER 6, dedicated to DDS1
LFO 2 as in SUPER 6, but dedicated to DDS2 and with possibility to set LFO2 frequency equal to LFO1 with defined phase shift to LFO1 (to make stereo effects with rotating DDS1 and DDS2 following DDS1 or both rotating independently)
LFO3 as LFO2 in SUPER 6
3 x EG
motion sequencer (recording manipulations on potentiometers)
Waveforms as in SUPER 6
Wave sequencing: select waveforms by the dedicated buttons and DDS1 shall play the sequence of the defined waveforms
2 expression pedals shall be assignable (e.g. one for volume, other for modulation)
Audio OUT shall be internally connectable to Audio IN to extract the waveform from a played note (or chord) and use this as a new waveform
@gobenji the super 6 already has LFO1 per voice if that’s what you mean? The new update shortly to come out makes LFO2 also ‘per voice’ for modulations although key reset is not enabled because synced/single lfo is crucial to many “classic” sounds
I vote for something completely different that I wouldn’t have thought of (not just a souped up Super 6, mono version, or whatever), with the same high build quality and interface design. I confess that I occasionally miss a small screen on the Super 6 (Sequential implemented these well–please no touchscreens!).
@udo-audio Maybe I didn’t describe it well enough. Check out the Oberheim SEM if you’re not familiar. The Four Voice is 4 of them. Each voice is completely independent of the others. You have unique oscillator pitch, LFO, env, modulation amount, etc… for each voice. There’s lots of interesting things that could be done using some or all of these features in a new product.
@Vanlesson just read this again and the last point is really interesting. Kind of a “timbre capture”. Would require an Fourier transform (FFT) of the output then an inverse Fourier transform to get the amplitude frequency and phase information of a series of sinusoids in a limited bandwidth to reconstruct the timbre through additive synthesis. Quite math’y but is well documented stuff and is how we made a number of waves for the super 6 wave banks, just not inside the embedded processor where it is trickier. The super 6 of course already has access to the sampled output via the effects processor … food for thought
Yes, “timbre capture” is the correct wording. I guess, it is very difficult to develop something which at the end sounds musical and is worth the development work. Never heard of such a function available in the “big 3” (Roland, Yamaha, Korg) workstations or synths.
Another topic I mentioned is very interesting for me:
If you develop a S12 by USB-(MIDI)coupling of two S6 boards or the possibility to couple two S6 by USB-MIDI interface, could you implement a dependency of the individual LFO1s? What I mean: one S6 can produce the nice binaural effect by LFO1 phase modulation. If I have another S6, it can produce the same effect with another timbre due to different waveform or filter setting. If both S6 stereo outputs are mixed, we can hear both binaural effects together but with uncontrolled phase relation between each other (LFO1). It would be nice, if the frequencies of both LFO1 can be exactly the same with a defined phase difference (lock mode). This would create a stable stereo signal movement from left to right, the one S6 signal would not “overtake” the other" if I do not want them to do so.
If it’s technically possible, I would like to see multitimbral mode. It makes sense especially on the 12 voice side allowing us to divide up patches to different MIDI channels. Usually multitimbral synths are the workstation kind but there are few in the past that offered it being hybrid synths like the Ensoniq ESQ1 and their VFX/SD line. It would make producing with the S6 so much more versatile.
A proper dedicated polyphonic sampler with various engine models as “oscillators” (“emulator”, granular, timestretch, wavetable, etc) and SYNTH CONTROLS for sound shaping, mixer, filter, envelopes, perhaps even with S6 stereo analog filters…
Tons of drummachine-samplers on the market (MPC, Octatrack, etc) but nothing that rivals 20+yo samplers in some aspects… I want to record a voice, instrument, whatever, mangle it, play across the keyboard… but without menu diving a la 90s Akai…
