Super 6 Introduction

The Super 6 is a 12-voice polyphonic, Binaural Analog-Hybrid Synthesizer.  A harmonious marriage of state of the art FPGA digital hardware oscillators and Voltage Controlled Analog technology.  It is flexible, immediate, powerful and refined with a gorgeous analog tone.  Rich and evolving textures are easily teased from the unique Super-Wavetable core and can be shaped and manipulated with the binaural analog signal path and flexible modulation.  Robust, compact and inviting to pick up and play with smooth, solid and responsive controls throughout, 

it cries out to be played.

 

Short Form Specification

• 12-Voice Polyphonic Analog-Hybrid Synthesizer
• 4 Octave Fatar Keyboard with Velocity and Aftertouch, Expression and Sustain
• Binaural Analog Signal Path for Stereo Movement and Spatial Effects
• 7-core Super-Wavetable Main Oscillator with Waveform Download
• DDS Oscillator 2 with FM, Sync, Sub Oscillator and X-Fade Modes
• Flexible Hybrid FPGA & Analog Voice Architecture
• Robustly Built with Solid, Playable Controls
• Multi-purpose Flexible LFOs, Envelopes & Modulation Matrix
• Arpeggiator & Step Sequencer
• External Audio Input with Audio Trigger
• Dual Stereo 24-bit Digital Effects

 

Full Specification

Oscillators 

Two Wavetable FPGA-based Direct Digital Synthesiser Oscillators per voice.

DDS1 (Direct Digital Synthesizer)

FPGA Based Super-Wavetable Oscillator Core sampled at 40MHz with Centroid-Oscillator and 6 sister oscillators dynamically detuned & de-phased in the stereo field

Sine, Saw tooth, Squarewave, Triangle, Noise

16 Wavetables that can be user-defined

Range adjustable from 2’ to 64’

DDS2 

FPGA Based Wavetable Oscillator Core sampled at 40MHz

Sinewave, Sawtooth,, Square, Triangle, Noise and Pulse Waveforms

Hard-Sync to DDS1

Crossfade with DDS1 with adjustable split-point on the keyboard

LFO Mode

Sub-Oscillator Mode Active when in LFO Mode

Variable Pulse Width and PWM

DDS Modulator

LFO and Envelope Control of DDS1 & DDS2 Pitch

Selectable ½ Super or Full Super Mode for DDS1

Variable Detune Control For Super Waves and Variable Pulse Width control for selected Standard Waves

LFO and or ENV1 can modulate the depth of Detune for the Super-Waves and the Pulse Width for the standard waves

DDS2 to DDS1 Cross Modulation for Deep FM Sounds

Audio Input 

Stereo Audio input that can be fed through the 12 Analog Filters and the effects section

Audio to Gate Trigger with variable-gain input stage

LFO1

Main LFO with rate adjustable from 0.05Hz to 20kHz in Low and High frequency modes

One LFO per-voice implementation

Left - Right Phase Control for Stereo Effects and Harnessing The Binaural Sound Engine

One-Shot Mode for Envelope Duties

Keyboard Tracking Mode for FM sounds

LFO1 can be mapped through the DDS1 or DDS2 Audio path in either Fixed or Tracking modes for use as a Drone or Third-Oscillator

Free-Running, or Reset on note press or Beginning of Bar for Sequencer/Arpeggiator

Mixer

Adjusts Mix-Level of DDS1 and DDS2 Audio Paths

When in Oscillator X-Fade mode, adjusts Split-Point on Keyboard

Voltage Controlled Filter

Analogue 4 Pole Low-Pass Self-Resonant Filter

Two Levels of Overdrive

High-Pass Filter with Fixed Frequency or Linked to Low Pass Filter for BandPass response 

Selectable Keyboard Tracking with Filter Autotune For Accurate Keyboard Tracking

Modulation by ENV1 &/or ENV2, LFO1 and DDS2

Voltage Controlled Amplifier 

Analogue VCA with Selectable Fixed or Variable Envelope (ENV2)

Dynamics Control For Velocity Sensitivity

Modulation By LFO1

Envelopes 

ENV1 Invertible Hold-Attack-Decay-Sustain-Release, Multiple Destinations

Looping Mode Selectable Keyboard-Tracking for LFO and FM Duties

 

ENV2 Attack-Decay-Sustain-Release, Multiple Destinations

Keyboard and Controller Section

49 key Fatar Mechanism with Velocity and Aftertouch

Two Axis Bender with LFO trigger

Voice Modes Poly 1, Poly 2, Variable Size Unison, Solo and Legato

Keyboard Adjacent Dedicated Controls for Bend Range to DDS1/2 and VCF

Global LFO2 with Rate and Delay Controls.  Triggered and Always-On modes

Variable Portamento

Playable Spring-Lever Keyboard Octave Selector

MPE MIDI Compliance with mapping to Press and Release Velocity, Bend, Poly Pressure and Expression

Modulation Matrix

Intuitive Modulation Matrix For Second-Tier Modulation Functions

LEDs give clear feedback on assignment Depths

20x Audio Rate Oversampling Computation

Arpeggiator-Sequencer

MIDI Syncable Multimode arpeggiator with Smart-Hold

1-4 Octave Range selectable for Arpeggiator

MIDI Syncable 64 - Step Sequencer with Programmable Note, Rest, Slide and Accent Controls

LFO1 and Delay Controls CAn be Locked to Arpeggiator/Sequencer Clock

64 Sequence Memories

Effects

Dual Mode Stereo Chorus using 24-bit 192kHz processing 

Syncable & Modulatable Stereo Delay with 24-bit 192kHz processing 

Performance

64 User Patch Memories

Patch, Sequence & Waveform Management via simple USB ‘Memory Stick’ type interface

Easy access buttons and a Menu-Free Interface

IO Connections

MIDI In, Out and Hardware-Thru on DIN Connectors

USB For MIDI, Patch & Sequence Management and Waveform Download

Audio Input on Stereo ¼” Jacks

Expression Pedal Input.  Responds to CV inputs 0-5V and routed to Modulation Matrix

Sustain Pedal Input.  Accepts standard momentary footswitch

Main Output Left and Right on ¼” Jacks

High Quality Stereo Headphone Power Amplifier 

Integration                                                     

Easy Disk-Access Patch & Sequence Management and Waveform Download

(Unlock Multi-timbral Mode) not on release

(Unlock Deeper Modulation Capabilities) not on release

Easy OS Upgrade 

Power Supply

Universal (Worldwide) Mains AC input on IEC C14 Connector

30W Power Consumption

Physical

Weight approximately 10kg

Size approximately 846 x 360 x 100 (including feet and knobs)

 

Binaural

The Binaural refers to the twin synthesizer signal paths.  In Binaural mode, each channel ‘ear’ has a complete synthesizer voice. You can detune (and de-phase) the left and right oscillators, amplitude and filter (and indeed other parameters) relative to each-other.  The effect is subtle to extreme stereo movement and an improved sense of 3D positioning relative to conventional mono signal-chains panned at the output.  It has in this sense 6 “Super voices” that each use two “conventional” voices, hence “Super 6”