#427

Not 100% sure from the manual, but think in option 3 you can still only use 8 Sources and 8 Destinations (it replaces the “regular” modulation matrix), I’ll need to wait and see how it works in practice. Some relevant info from the manual:

Direct Parameter Control Mappings

This alternative method for mapping modulation routings using the
modulation matrix provides you with an immediate approach that allows
you to route a modulation source to any modulatable parameter on
the front panel.

This method of mapping modulation routings is useful for assigning
individual modulation sources to modulation destinations that are not
listed among the modulation destinations selectable via bank select
buttons A-H.

Every parameter you see on the Super 6’s top raised panel plus the
delay’s time parameter and feedback parameter is assignable as a
modulation destination with the exception of the PWM / SWM parameter
in the DDS Modulator section and anything that is controlled by either
a toggle switch or a rotary switch.

So possibly you could send up to eight sources (plus the hardwired knobs/sliders) to one destination.

BTW think I was wrong on not being able to see the amounts of your custom Sources and Destinations when you first make them, I think you can, BUT you’d have to write down what they were, and not sure if you can check the amount after the fact. Obviously the deeper down the rabbit hole you go the more confusing it becomes, but at least you have the opportunity to enter full on confusion if you want to. :slight_smile:

Am hoping there will be a full on computer editor at some stage that will make much deeper customisation available (I ALWAYS want slower LFOs for example), and a breeze to see exactly what’s going on. The possibilities of this hybrid and FPGA stuff is fascinating I think.

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#428

I agree. I think you made right choice getting the Super 6 and not the OB-6. OB-6 is great, but nothing really mind-expanding. People that come over always love the sound of it, though, but I’m always like, really? Filter could be less fizzy (it’s not brittle though, thank god). Guess I’m jaded, but they do tend to love that one of the synths I have the best, probably because it’s so evocative of that melancholy 80s sound. Even though I never maximize that sound myself.

In my opinion, digital and hybrid evolving sounds are a better complement to modular, and that AD envelope on the Super 6 looks cool too. I love delayed vibrato.

Yeah. Would be fun to have an editor with a randomize/but also lock parameter option.

monstrumWaveXT someone just made and it is a ton of fun. Sometimes, I will sit in front of the computer and generate 100 patches for the XT until I find one I like and tweak it.
So might even be possible for someone here to program an editor if there is extensive midi control of the Super 6.

#429

I am a huge fan of Oberheim pad sounds and love the fizziness of the filter. That swept Notch thing is so, so identifiable and there are very, very few synths that can do it. But when I look at the modulation options between OB-6 and S6, there is really no comparison. I am sure I’d start to get very frustrated with just one LFO for example, even though I know I love the sound. On the S6 you have two LFOs, and a VCO and ENV (with looping) that can also be LFOs, or an LFO that can also be a VCO where you can choose a user waveform for the shape etc. And the list goes on, all way more interesting to me.

Not really into modular any more, had the 22u of Frac a decade ago and don’t miss it at all. The Grandmother is all the modular I want or need right now. But I haven’t had a hardware ‘analoguey’ poly since my Juno 106 about 15 years ago, and desperately want one!

S6 has a simple Gate envelope, or Gate plus Release, or the regular two ENVs (one HADSR with looping, the other ADSR). LFO1 also has one shot mode so could be an envelope too. And yes, LFO1 also has the Delay control for delayed vibrato etc. I think that’s what I love about it, the more I read, all these tiny little extras that you don’t really notice at first, but will make a very capable and most importantly hands on/easy to use machine.

I had a MWXT from 1999-2005, one of my fave synths, need to pick up the Largo soft synth at some stage to replace that sound. First synth was a Wavestation EX in 1992. Sorry for OT!

My most desired feature for the S6 would be some way to do wavetable scanning with the user waves, controlled by the joystick or other sources etc. Then you could do Vector Synthesis with it too, for Prophet VS style sounds. Could be doable with some kind of deep editor from UDO in future.

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#430

Hopefully they open up the Super 6 platform a bit. That would be so cool.

The OB-6 expander I posted above is nice because it has wood sides, and looks the part.

But honestly, I don’t miss extra modulations on OB-6, and don’t have much desire for the expander. I look at it as a challenge to get the most out of it, and usually do get something interesting that doesn’t sound like someone else’s patch. I typically use second envelope not to modulate the filter but in cross mod section, and the f-mode and norm-bp destinations are fun.

Simpler mellow woodwind or Wurly sounds work well with VCO 2 as an LFO, because you still have noise and env 2 mod to add texture/additional movement, and a touch of sub can be useful.

The ring mod fx is quite cool too and can be used as a sound source, independent of analog path however.

Ironically, despite the lack of mod matrix, the overall tonal character of the OB-6 reminds me of the Xpander more so than the other Oberheims. You can do gurgly frog music and dial in the sweet spot of mellowed out resonance.

Arp and sequencer are very straightforward and a joy to use, and the Arp will work with external sequence, so you can layer that on top of it.

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#431

Agree re: the Rev 2. I’ve had one for a couple weeks now and I can’t stop playing around with it. Very deep modulation and sound design possibilities, and it can also do the vintage Prophet and OB sounds, especially if you employ Voice Component Modeling to add a little convincing instability.

By the way I find I can add a nice bit of OB6 style notch filter using an Analog Heat. Really adds the sweet and subtle modulation/swirl and warms up the Rev 2 a bit.

All that said, it still doesn’t sound quite a “alive” as the Prophet 600 with the GliGli mod. That remains a very economical path to a vintage Prophet sound with a few modern updates thanks to the mod.

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#432

I do know this is an apples x oranges thing, but would still love to hear your take:

To what extent can the Rev2 cover what the Perfourmer does?

My main concern with the Rev2 is that it’s too modern, without character - I’m worried about the nagging feeling that a VST would cover it.

Bear in mind, I’ve never owned a really expensive polysynth apart from the Analog Four, so not very experienced when it comes to these.

Something about the Perfourmer really appeals, but (of course) I’m worried if there’s enough depth. On the other hand, I wouldn’t want a ’master of none’ scenario.

#433

The perFOURmer is quite deep (depending on what you mean by that). Beyond that, it just sounds great. The variety of ways that you can assign its voices expands its depth even more.

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#434

Ah yes, sorry for the ambiguous language – I’m thinking about the range of sounds you can achieve. Most demos have some arpeggiated stuff with fairly short, plucky ”patches”, and it’s a glorious sound, but I’ve found it difficult to decide how versatile the Perfourmer is. Even after watching and listening most of the demos available :sweat_smile:

#435

4 voices is not enough for, say, chords in left hand and lead in right.

For voice leading, I’d want at least 6 voices.

For evolving pads, it’s best to have 10+.

Anything less with sustain and you get noticeable note stealing.

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#436

That’s an excellent point. Fortunately I’m not much of a keyboardist, so probably most of the time my imagination runs out long before 4 voices do.

#437

You will get better more quickly than you think, especially with a polysynth lying around.

#438

I don’t have a ton of it uploaded, but here are a couple non-plucky sounds. While it only has four voices, I find that the richness of the oscillators coupled with the way that you can dictate the method by which it shuffles the voices, lends itself to some super-rich sounds. But mostly am posting these so you can judge for yourself, as there’s not a ton of video of the perfourmer out there, which makes a $1400 purchase kind of scary!

Here is the other thing I’d say (and this may just apply to me). When an instrument kind of “calls to me”; that turns out to be a much more reliable indicator that I’ll actually use it to make music than anything else. It’s impossible to determine whether I’ll connect with an instrument by reading its specs on a piece of paper. Don’t worry about that stuff (and I say this living in a state where these instruments are not available to try out at a store, which sucks). If it’s reaching out to me, it’s reaching out to the part of me that makes music, not the part of me that makes sense. Just something I’ve noticed about myself after 32 years of buying and selling instruments.

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#439

Yes, it is the ultimate synth made today for dueling sparse melodies, and excels at Vangelis type sounds (despite pole difference).

Filter liquidity sounds a bit like SH-2. Beautiful.

Still, I wouldn’t be able to use it to play what I want, which requires at least 6 voices.

#440

Thank you so much. I’ll dive in. Actually my 3-year-old son asked me to hear what I was listening to on my headphones while your first Instagram clip was playing. He listened for a few seconds…

”Dad, I want to go sometime”

”Where?”

”To the place where that sound is”

:’)

16 Likes
#441

I don’t think it’s quite right to view the vermona as a standard polysynth, but it can make extremely nice pads even given it’s limited voice count.

the fact that each voice can have entirely unique dynamics, filter, and waveform gives it a lot of dimension even when just using limited voicing.

I wouldn’t say that it’s a very broad synth sonically (it’s FM can get pretty crazy, but it’s also very unpredictable to program), but it does what it does extremely well. using each oscillator to fm the following oscillators filter produces a lovely fuzzy tone that’s unpredictable, making it feel more alive than most very well behaved modern synths.

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#442

Toooooootally. The saw wave + filter sweep on the perfourmer is just blade runner in a box. Which was an awesome and pleasant surprise for me .

That is probably the best way to put it. It sounds like itself, and I reach for it when I need something that sounds like it does. It’s quite unique in that way.

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#443

Yeah, don’t get me wrong, every time I hear a demo like yours I wish I had one.

I just would want a standard poly too.

#444

For whatever reason, I tend to really gravitate toward Korg’s 16 voice prologue. Anyone take one of those for a spin? Seems to be priced quite reasonably.

#445

My friend has one. The filter is a bit modern sounding and it has limited modulation. Really wish they had included the minilogue’s motion sequencing.

That said, it has a distinctive character and sounds rich and analog. The digital custom oscillator is cool. I think it’s pretty great for someone’s first synth.

It tends to go on sale too.

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#446

what is voice component modeling? (I googled: link - this looks sweet I’ll try it out tonight)

On the rev2 I was initially bothered by what I perceived as that high end digital shrillness that people complain about on the internet. I largely traced the source to increasing gain on the VCA and regardless I’ve been putting a strymon deco after the rev2 and I could never have imagined sounds so lush and warm and dynamic. It’s been a great teaching tool - stacking voices, putting a gentle voice beneath a plucky one with random LFO modulating the filter cutoff and another modulating the frequency of that LFO = extreme synthy fun.

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