Ha, yes - Nick ‘got me’ too. Plus it’s also a dual reverb. Two for the price of one. (although a relatively expensive one!).
I mostly have it stuck on the E-Dome setting - the Super6 sounds huge!
I’ve had an H9 Max for six years now and it’s a fine complement to the Super 6. Fromel Seraph Deluxe too.
CXM 1978 is great
But I tend to bounce the synth dryish then use things like Output Portal In DAW and the CXM on a send.
Thinking of grabbing the Hologram Electronics Microcosm pedal to accompany it though
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Upload it to Youtube and insert a link here.
It seems like the forum software doesn’t support direct video file upload.
Ok Thanks for your answer.
H9 is amazing, not only for Super 6, but for pretty much anything. I’m thinking on adding an EvenMidi controller at some point. I think it will make a lot more sense with it, and feel more connected in a touch/physical way as opposed to the app.
https://www.evenmidi.com/midi-controllers/1-evenmidi-h9-midi-controller.html
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My Source Audio Ventris arrived yesterday! 
The color matches nice. 
And the effects are great (as far as i could explore it in one late evening).
E-Dome with a littie bit of Shimmer … make even a simple sawtooth sound like a huge monster-synth. 
The fact that it’s dual is not that special, lots of the actual DSP based pedals can run more than one effect in parallel or chained.
E.g. the BOSS GT-1000 or the MOD DWARF can run even more complex effect chains including amp & cabinet simulations. But that was not my intention because this makes the configuration much more complex and i would worry about loosing this “hands on experience” and getting lost in config software.
And to be honest:
On top of a simple sawtooth the effects are really impressive.
On top of my fairly sloppy “hammond drawbar” patch i could emulate something that makes it much more “vintage”.
But on top of some of my patches, that make really use of those special Super 6 features like SuperDDS, binaural mode with phase shifted modulation or modulated delay time… there comes quickly that point where it does definitely not get better by additional effects.
So the relay bypass is one important effect too… 
… and here comes the first disadvantage i allready noticed: The bypass is not active when the Ventris is powered off. So if it’s in the signal path it allways needs power supply even for bypass. 
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After I used the Ventris for one month now, I want to share my experiences (in case someone is interested):
In the first days I was heavily impressed about the sound improvements, that effects like “E DOME” or “SHIMMER” could give to even an ordinary sawtooth.
But to be honest, I didn’ buy the Super6 to play it in trivial patches and let an effect pedal make it sound huge. So I came more and more to that point, that I reduced the use (or the effect mix) till that decent point where I realized, that this is what even the FX section of my mixer does.
Than I bought a Moog Sound Studio (the one with the Subharmonicon) to have some kind of automated background sound … and immediately realized, that the Ventris is much better used to enhance this one!
And in this setup I realized too, that if the Super6 is not used as a solo instrument, there is nearly no need of any additional effect at all.
As soon as there is something different playing in background, the “raw” Super6 sound fits best (to my opinion) and the buildtin delay is effect enough.
And another experience I wanted to share about the Source Audio Ventris:
To get full use of it’s real power, you need to connect it to a computer and use the supplied remote control software. This is not really complicated or some kind of “show stopper”, but it’s just the opposite of that live playing hands on experience that I would like, especially in combination with the Super6 that offers just this.
Maybe, something like the Strymon Nightsky would have been a better way choice to me, simply because it has more knobs to directly access it’s functions.
To give an example:
The SHIMMER pitch shift is an interesting feature, espacially if changed on the fly.
The Nightsky has a knob for that, for the Ventris this function is only available in a software menu.
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This one is absolutely amazing!
Went with ventris also. It’s a match made in heaven with Super 6 imho. Opens it up in ways that had me absolutely awed.
This is probably overkill for a response, but here goes:
I run it through my spaceship of a guitar pedalboard.
I’ve tried it with all of those pedals, but the ones most routinely used are the bigsky, or the timeline if I want a really specific delay (or dual delay). Pitch shifting/doubling can be fun with the Pog, but it’s not really a go-to effect. The lack of a bpm counter/screen for the delay/arp on the super 6 can make it a little wonky to get things right (and I still have trouble getting the sync clock to work with ableton sometimes), so a dedicated delay pedal is handy. That said, the super 6 really sounds amazing on its own, and the most I usually do is add a splash of reverb.
There are a ton of quality reverb pedals that would do the job: the bigsky, immerse, h9, night sky (I had it and returned it fwiw), holy grail, blackhole, hx stomp, etc. Of these, the line 6 hx stomp is the ‘best value’ pedal, as the stomp can do every effect (reverb, delay, modulations) simultaneously AND model amps and cabs, IR’s, etc. The reverbs on the hxstomp are the one area that are, by a hair, not as good as the dedicated pedals like an h9 (whereas the delays, modulations, etc. all absolutely hold up against the mobius, h9, etc. in my experience). But even then, you can set up multiple blocks of reverb effects and delays and get some pretty cool patches if you want to get trippy/ambient, and the hx stomps’ space echo and really their echoplex emulations are great.
The latest and greatest pedals on the scene are from Chase Bliss (CXM 1978) and Apollo (Solid Gold FX), whereas the bigsky is years old. For my money the Neunaber Immerse goes toe to toe with them all at half or less the price and a smaller form factor, and I frankly prefer the immerse shimmer settings to anything except the H9. So ya, you’re spoiled with options here.
The last point to be made though is do you really need to shell out for a reverb pedal at all? Unless you’re playing live, the best investment you could make for recording would be to go buy a copy of Valhalla Shimmer ($50) and Vintage verb ($50). Those plugins sound every bit as good (or better) than any of the pedals and are built for very specific tweaking/use in recording. I haven’t worked with a producer in the past few years who doesn’t have and use those two plugins.
So ya, if you’re looking for all around best value in a pedal form factor, I’d go with the hx stomp (or one of its competitors like the GT-1000 core). If you want a dedicated reverb pedal, look at the H9, Bigsky, Immerse, etc. If you don’t need a pedal though, don’t get one. Get Valhalla and other select great plugins.
I pair mine with the Empress Zoia. It’s alot of fun to build or download patches and tailor them to fit the Super 6 without washing out it’s sound.
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I use:
Eventide Space
Strymon Night Sky
Microcosm
Chasse Bliss
I’ve got a couple effects sends on my mixer and have one going to the plate reverb on the Alesis Quadraverb. The other, as of today, goes through an Xotic EP booster, which is a clone of the Echoplex preamp, and that feeds into a Belle Epoch Deluxe, which, like the S6, is a digital/analog hybrid, emulating the Echoplex tape delay. I think this setup is a keeper. The Belle Epoch Deluxe by itself was really working for some reason, but once I added the EP Booster it just blended perfectly with the S6.
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I have Quadraverb for 20 years or more, trusty Hall and Room presets.
Another great option is the Meris Mercury 7. Awesome reverb with a simple interface (no display!). It has only two algorithms, classic plate and a bombastic cathedral. There are a few interesting modulation options (especially the Bladerunner pitch drop thing). But I guess it works best as a simple always-on reverb. The thing that I like most about it is the dedicated knob to control the low frequencies, so your synth doesn’t get muddy. It’s also cheaper than the H9 and Ventris (~300€ on Reverb) and it‘s blue!
Make Noise Morphagene & Strymon Starlab.
UA Golden Reverberator. This quote from the manual might sound familiar.
Dual Stereo Reverb Engines for Endless Creativity
Built from the ground up for UAFX, Golden Reverberator’s powerful engine runs separate stereo instances of each reverb effect, thanks to its unique dual-engine processing — giving you uncanny three-dimensional, immersive soundscapes. This results in a stereo spread of complex, awe-inspiring spatial textures, and seamless effect transitions with trails.
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Zoom’s pedals, the MS-70CDR and MS-50 (essentially the same pedal with different paint colours) are my go-tos for synths in general. Depends on the algos chosen, you can usually run 4-5 effects at the same time, and there are a huge number of options. Some of the effects in particular, like the Small Clone algorithm, sound better than the actual analogue versions.
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