I haven’t tried, but I was looking at a CS80 clone before going with the Super6 instead, so I know a bit about the differences in architecture you might have to overcome.
As I understand it, the CS80 has an ADSR amp envelope. However, the synth has two layers per voice, each with their own amp, filter, and accompanying envelopes. And further, each of those has a dedicated control for velocity amount to envelope, per layer. So recreating that multi-layer aspect on the Super6 is where I think a major challenge will lie as we may have two synth architectures per voice, but they’re not being addressed independently as separate layers as in a CS80, rather we get a stereo pair.
Further, the filter envelope on the CS80 is altogether different from the ADSRs we have on the Super6. The CS80 filter envelopes are ASR, however they have an initial level and attack level, which the Super6 doesn’t have. I’m not sure exactly how the IL interacts with the filter setting, but I assume you can get around that by setting the cutoff frequency of the Super6 slightly differently from normal. That variable AL is going to give you trouble though, the only way I could see to mimic the effect on the Super6 would be to vary the amount of envelope being sent to the filter, then using a combination of filter setting and sustain to get your final filter frequency where you want to be. Again, though, the CS80 has two independently addressable filters, each with their own velocity that is changing all of this on every new note.
My guess is to get close, the key is to get the correct amount of velocity routed to filter cutoff, filter envelope amount, and amplitude envelope amount. If the settings between both layers on the CS80 were close to each other, then the Super6 could get really close to the sound.