UDO AUDIO SUPER 6 Owner's Manual page 42

NAVIGATION
IMPORTANT SAFETY
INSTRUCTIONS
ACKNOWLEDGEMENTS
INTRODUCTION
OVERVIEW
QUICK START
UPDATING THE FIRMWARE
CONNECTIONS
SOUND DESIGN &
PROGRAMMING
EFFECTS
PERFORMANCE CONTROL
SECTION (KEYBOARD
MODEL)
ADDITIONAL CONTROLS &
PARAMETERS (DESKTOP
MODEL)
USING THE MODULATION
MATRIX
VOICE ASSIGN
ARPEGGIATOR &
SEQUENCER
GLOBAL SETTINGS
MPE SUPPORT
FILE MANAGEMENT
HOW-TO GUIDE
CHEAT SHEET
MIDI SPECIFICATIONS
GLOSSARY
SUPPORT INFORMATION
The Super 6's low-pass filter is designed to respond to key tracking
in a musical manner. This in turn determines how much you can
open the filter with the LPF fader. You can use the remaining
headroom if you modulate the low-pass filter's cutoff frequency with
an envelope or an expression pedal via the modulation matrix.
The low-pass filter can be driven into self-oscillation if you set
RES to its highest value. In this case, the filter generates a pitch
determined by the cutoff frequency and a timbre that sounds like a
sine wave. You can also use the keyboard to control or rather play
the low-pass filter's pitch if you enable key tracking.
Right half of the filter section.
ENV: This fader controls the amount by which either or both envelopes
modulate the low-pass filter's cutoff frequency over time. See pages 46-53
to learn more about the envelope generators.
Use the upper toggle switch to select the envelope modulation source:
• ENV 1: With this setting, envelope 1 acts as the modulation source.
• 1 + 2: With this setting, both envelopes act as modulation sources.
• ENV 2: With this setting, envelope 2 acts as the modulation source.
LFO 1: This fader controls the amount by which LFO 1 modulates the low-
pass filter's cutoff frequency.
DDS 2: This fader controls the amount by which DDS 2 modulates the
low-pass filter's cutoff frequency. The result can range from subtle textures
to complex, experimental timbres.
UDO Super 6 — Owner's Manual 42