Super 8

Blend waveforms rather than choosing only one

SUPER 8 presents two oscillators whose waveform levels can be mixed simultaneously. Shape controls further change those waveforms, while sync and oscillator FM introduce more complex harmonics. The result passes through a selectable low-, band- or high-pass filter and an amplifier, each with its own envelope shaping.

Vintage behavior with direct editing

Drift introduces tuning instability, and unison stacks, detunes and spreads voices for denser sounds. Dedicated pitch modulation, two general modulators and a routing section add movement without hiding the main synthesis path. This supports straightforward keys, basses, brass-like patches and pads, as well as more metallic material from sync or FM.

A practical programming order

Begin with waveform levels and the oscillator Mix, set the filter's basic color, then shape attack and release. Add modulation only where the sound needs motion, and reserve unison and effects for the final scale and space. The linked manual documents the REAKTOR-hosted version, including its preset workflow; the synthesis guide here follows that documented interface rather than assuming a later standalone plug-in layout.

Source: Manual, “Using SUPER 8 in REAKTOR 6,” pp. 7–8; “Overview of SUPER 8,” pp. 11–23.

Global and unison

MONO restricts playing to one note. DRIFT adds random oscillator detuning, GLIDE sets pitch-transition time and PITCH transposes the instrument. VOLUME sets the final level. Enable UNISON and choose VOICES to stack voices; STEREO spreads them spatially and SPREAD detunes them. The documented instrument switches to mono when five or more voices are stacked, so unison is not free additional polyphony.

Oscillators

Blend Sine, Sawtooth, Pulse and Sub/Noise level sliders independently. The corresponding Shape controls add an upper sine component, morph the saw family or change pulse width. Select a Shape Modulation Source and adjust the amount to animate those shapes. Semi/Fine tune each oscillator, and Mix balances oscillator 1 against 2.

Sync resets oscillator 2 from oscillator 1's cycle, useful for harmonically aggressive leads. FM uses oscillator 2 to modulate oscillator 1's frequency. Try changing oscillator 2's pitch while listening to either process. Its Keytracking switch can make oscillator 2 follow the keyboard or operate at a fixed frequency.

Filter and envelopes

Filter Frequency sets the operating region, Resonance emphasizes it, and Filter Mode chooses low-pass, band-pass or high-pass. Character adds drive into the filter. FM OSC 2 applies audio-rate filter-frequency modulation, while the regular modulator controls provide slower motion.

Key Tracking links filter frequency to played pitch; Key Tracking Chromatic sets exact tracking. Filter Envelope amount and Velocity determine contour depth and playing response. Shape the filter's Attack/Decay/Sustain/Release for timbral motion, and the separate Amp Envelope for loudness. Distinguish the sustained level from the time stages when programming plucks versus pads.

Modulation and effects

Pitch Modulation selects an LFO or attack/decay envelope. Apply independent amounts to each oscillator or use Link for equal movement. Mod 1/2 combine selected waveform shapes, with Speed, Sync, Trigger Phase and Mono/Poly/Trig/Monotrig behavior governing timing.

In Modulation Routing, choose a Destination, then Source and positive or negative Depth. Optional Sidechain multiplies the source, allowing a mod wheel to control LFO depth. Destination Lock prevents selection from following every touched control. The first Effects unit selects chorus, flanger or delay; the second supplies reverb. Balance effects after the dry envelope and stereo voice setup are established.

Source: Manual, “Header,” pp. 12–13; “Oscillators,” pp. 13–15; “Filter” and “Amp,” pp. 15–19; “Pitch Modulation,” pp. 19–21; “Modulators,” pp. 21–22; “Modulation Routing,” pp. 22–23; “Effects,” pp. 23–27.