UDO Audio Super Gemini In-Depth Demo

At Superbooth 2023, synth designer George Hearn from UDO Audio introduced their new synthesizer Super Gemini in this Gesprächskonzert.

The Super Gemini is a 20-voice polyphonic, bi-timbral analog-hybrid flagship keyboard. UDO says that the keyboard gives you “immediate comprehensive control” over both timbral layers. Like the company’s Super 6, the Gemini can be used as a 20 voice synth, or as a 10-voice, true-stereo binaural synth.

The Super Gemini is equipped with a 61- note semi-weighted keybed with polyphonic aftertouch, in addition to a custom engineered ribbon sensor.

It has a hybrid voice architecture. Digital oscillators offer wave morphing, cross & ring modulation, bi-directional sync and more. These feed into an analog signal path that they say is by classic vintage instruments.

Details on the Super Gemini are still to come at the UDO site.

19 thoughts on “UDO Audio Super Gemini In-Depth Demo

            1. I’m no math wiz, but if that’s the price for the Gemini, the Gemini will cost more (not 900 euros less) than the Deckards Dream.

      1. Looks and sounds amazing. UDO is one of the most interesting new companies. I already have the Super6 and this tempting. But I did not expect them to jump to “massive polyphony flagship synth” after the Super6 either. I’d be interested in a mono or duophonic synth from UDO with a 3 or 4 octave keyboard. In black please.

    1. Does it? I never had the pleasure of playing a real CS80, so I really can’t tell. It does sound and look amazing though.

    2. That’s mainly because of the polyphonic aftertouch.

      This is going to be priced as a flagship synth in the $4k range, based on one of interviews with the developer.

      That’s pricey, but it’s also a deal for a synth that’s clearly going to be one of the finest synthesizers ever made.

      Seriously, a binaural polysynth, with wave morphing oscillators and a hybrid analog signal path and polyphonic aftertouch and a knob-per-function style interface? This is one of the best synth designs of all time.

  1. I agree with Sabazios up to a point. I think its much closer to a seriously amplified Juno-106, because its mostly a real-time player’s synth and very WYSIWYG. No menus. Its worth the $5k price, because someone is going to use it to rock pretty hard. The basic voice is a winner.

    I’ve played a real CS-80. This voice is its own thing, with a digital edge where the Yamaha had a very focused analog sound. The Super Gemini can feel CS-like because of the dual layers, but I hear a nice distinction. This demo is a bit on the polite side, but at several points, you can feel the power. Mmm MM!

  2. What surprises me is that there aren’t more pure controller keyboards with polyphonic or MPE aftertouch. I only know the Xkey from CME and the Osmose. But I can’t find anything between the two in price range and quality.

    1. It is too bad.Probably the cheapest “real” poly aftertouch keyboard at the moment is going to be in a Hydrasynth (which also has a ribbon controller!) or the UB-Xa if/when it ships. Hydrasynth Explorer is a 3-octave mini-key option (and of course it has the nice Hydrasynth digital synth engine as well.) Waldorf Iridium keyboard is another option but more expensive than the Hydrasynth.

      I have a KMI K-Board and a QuNexus (except for the goo problem on the QuNexus) and they are nice but not exactly traditional keyboard controllers.

  3. This really looks like a close-ish thing to a modern CS-80 (or maybe CS-80 vs. Ensoniq hybrid) in a single keyboard synth – with analog-ish hybrid voices, polyphonic aftertouch, and a ribbon controller. On the other hand, maybe you could add an external ribbon controller to a UB-Xa and get something in the cheaper 8-voice space.

    Personally I’d like to try controlling a Sequential polysynth module (since they support polyphonic aftertouch over MIDI) with a Hydrasynth’s keyboard/ribbon controller.

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