"This absolute madlad is a collaboration between Rhodes, ARP and Redshift, creating one of the most crazy synthesizers we've ever had in our shop. While the Chroma is a great synthesizer on its own, the expander and enabler make it even more special/easy to use. While you don't have 32 voices of polyphony when linked, you can have 16 notes polyphony with two seperate pitches per voice. 64 weighted and velocity sensitive keys give you plenty of room for expression. With the Enabler's knob per function layout and the ultra rare Expander's extra voices give you some massive sounding pads. The expander and chroma connect with an Apple IIe interface, and the cabling needed is included with the synth. There's also a sustain pedal which we've never seen with any of our other Chromas.
Fully fuctional and just serviced by our synth tech. This is a very rare find. Shipping will be via U-Ship to ensure safe delivery. Do not miss your chance to grab this elusive machine. We most likely will not have another set like this come through."
In this video, we build a 3-part multitimbral patch, set up a keyboard split for the parts, and use LFOs and the arpeggiator to build modulations and movement in the sounds.
The Redshift 6 allows up to 6-part multitimbrality, with each part having its own Character and other synth controls. Multitimbrality is a great way to build big sounds and use the huge amount of available oscillators on the Redshift 6."
"In this demo, we take ourselves back to the early 2000s, when supersaws and rolling trance basslines dominated the dance floor 💿🪩🎶
The Redshift 6 handles all the synth duties at the same time, using its incredibly powerful Demon Core Oscillators and multitimbrality.
The multitimbral patch has five parts:
Part 1: Supersaw Pad
Part 2: Main Lead
Part 3: Stereo Unison Bass
Part 4: SQR Wave Melody
Part 5: Paraphonic Pad
The parts are sequenced from the DAW, and the audio is recorded using the Redshift 6’s individual outputs.
The bassline is recorded dry from AUX 1, while all other synth parts are recorded from the Main Out through the Redshift 6’s internal FX.
There are no external FX on the synth parts."
"This is the first proper track I've made with the Supercritical Redshift 6, and I wanted to take it apart properly. The chord stab you hear at the start is three notes coming out of a single analog voice, which is the thing I still find hard to believe.
The Redshift is multitimbral, so I used it as three instruments at once: a pad chord stab, an arp, and a three layer lead. Each one goes out of its own stereo output. The two aux outs are always dry, meaning they skip the internal FX section entirely, so the arp runs into a Chroma Console and the pad into a Microcosm. The lead keeps the synth's own delay.
Everything else melodic is sampled from the Redshift into the Digitakt II, which is also doing all the sequencing. Around 16 layers in total, so apart from the drums this is one synth.
I also skipped Overbridge this time and recorded four stems straight into a Zoom LiveTrak, which meant committing to the mix as I went. That's why the bass is split across two tracks.
Chapters:
0:00 Intro
0:25 The chords - one voice, three notes
3:52 The arp - and what the Chroma Console does to it
4:46 Chrome Console overview
7:36 The lead - supersaw, macros, and four voices
10:57 I almost gave up on this track
12:41 Some of the Digitakt II layers
15:57 Digitakt trick: a trance click on a 909 kick"
"This is the first proper track I've made with the Redshift 6 and Digitakt II combo.
The 3-note chord stab you hear at the start is using a single analog voice. The Redshift 6 can distribute the up to 16 oscillators inside a voice across several notes, so one voice plays the whole chord. The arp is another single voice. Then the lead takes the remaining four with unison stacking, around 16 oscillators in total, and I'm performing it with both the built-in macros and the Launch Control XL 3.
The Redshift 6 is six-part multitimbral, with three separate outputs. The main outs play the lead, run through the synth's internal delay, but Aux 1 and Aux 2 are always bypassing the digital FX section - which felt like an invitation to put both Hologram pedals to real work. The arp goes into the Chroma Console, and it completely transforms what was a fairly plain pluck sound I dialed in seconds. The chords go into the Microcosm to make them bigger.
Everything else melodic was sampled from the Redshift 6 into the Digitakt II, which is doing all the sequencing and drums.
No Overbridge this time. Just four stems into my Zoom LiveTrak L6max: the DT2, plus the Redshift's main outs, Aux 1 and Aux 2. Some sidechain ducking, glue compression and EQ in Ableton, and that's about it. Mostly raw hardware.
I originally sketched this in the camper van with just the DT2, and went through three or four lead melodies I wasn't happy with before landing on this one. All those attempts are still in the project file if you want to see the messy version.
There's no official patch export on the Redshift 6 yet, but Supercritical tells me it's coming and I'll upload the patch as soon as it does. The Digitakt II project is on my Patreon in the meantime."
"Hi everybody this time we bring you the Supercritical Synthesizers Interview Superbooth 2026
Redshift 6 is a true sonic powerhouse. With 16 analog oscillators per voice and a 4-pole analog multimode filter featuring drive and character controls, it effortlessly delivers everything from super saw stabs to lush pads and from unison basses to vintage poly synth sounds. The Redshift 6’s 4 envelopes and 4 LFOs, combined with complex yet easy-to-assign modulation possibilities and the 32-slot mod matrix, offer endless possibilities for sound design.
Each of the Redshift 6’s six voices features a Demon Core Oscillator, capable of generating up to 16 simultaneous analog oscillators per voice. These oscillators can be assigned in various ways, from lush polyphonic textures to a massive 96-oscillator unison.
To take full advantage of the 96 oscillators almost endless sonic possibilities, the Demon Core Oscillator has various Engines, giving users a range of powerful options to choose from. Whether it’s traditional twin oscillators, supersaw engines, flanging phase sync, or transistor organ modes, each Engine is designed to be intuitive, highly controllable, and fully modulatable.
The filter core is an analog 4-pole state variable filter that is digitally controlled to act like almost any classic vintage synthesizer filter and more. In addition to the oscillators and filters, Redshift 6 has all the features expected of a modern synth – plenty of modulators, flexible voice routing, multitimbrality, MPE, and DSP effects."
"Got the Redshift 6 about a month ago, and I was just exploring it for a couple of hours when I accidentally made this. It's not really a complete track, more of a slow, floating texture that built itself while I was just poking at the built-in sequencer (new in firmware 1.6).
No external sequencing here - everything is the Redshift on its own, straight out of the stereo outs. About halfway into the jam, I route the audio into the Chroma Console and then the Microcosm.
Sometimes music just happens. This one moved me, so I wanted to share it here. As soon as Supercritical adds patch export support, I'll share this one on my Patreon."
"Please support my work on Patreon: / jayhosking
A live synthesizer jam performed with the Redshift 6 at the centre. Percussion added afterward in the box.
Fair warning: both Supercritical and MAS Distribution sent along their respective gear (the Redshift 6, and the Solarfaze/Polyphrase, respectively) for free. Take that as you will. Neither of them explicitly asked me to make a video with the gear, although I'm sure that was the point, right? But in both cases, the gear they sent along was a joy to play, which is why they're here.
I ended up really enjoying the Redshift 6. It's ostensibly analog where it counts—6 DCOs and VCFs—but it's also really clean and precise sounding, giving it a digital sheen. That's somewhat less my thing. However, it has a few things to really give it personality: multi-timbrality, up to a different timbre for each of the six voices; a Character parameter which vastly can change the sound of a voice, its filter and mixing and more; a great built-in effects suite (can only run one at a time); three pairs of stereo outputs to run your timbres separately (as here); easy-to-setup macro knobs for live performing using multiple timbres, all from one page; and a built-in sequencer for getting basic ideas onto the table without outside help. In many respects, it feels like an iteration on some of the ideas from the Elektron Analog Four, another synth I really love, only with enough voices to create a pad, arp, and drone at the same time.
Here, I run one timbre, a constant note, into the Vongon Solarfaze, which adds chorus and then drive/saturation. The second timbre, a single-note sequence, runs to the Vongon Polyphrase, adding delay. Both of these pedals impressed me way more than I had expected; there is something extremely performable about the Polyphrase that makes me want to get it on the table again straight away. And then for the third timbre, the pad, I run it direct out from the Redshift 6, using the synth's built-in reverb. I'm pretty picky on reverb these days and I think it sounds awesome.
With the macro knob opening all filters at once (to varying degrees), this live performance got huge. I had originally intended it to be only the synth, but once I heard the final performance, and how much it reminded me of a soundtrack cue, I knew I had to add orchestral percussion. I built the percussion out of modified samples from the Reason Studios loop library.
Altogether, it created an extremely cinematic performance and I'm very happy with the musical results. I was having such a good time with it that I'm excited to get back to the studio today and explore a little more. Thanks for listening.
"The Redshift 6 has come a long way since it first launched and in this video I explore some of the latest and biggest updates it has had over the past few months."
"Hellooo, synth freakz! I finnally found time to tweak Redshift 6 for you. This is one of the most misunderstood, misunderstood synths of all time. And justice needs to be done to it, because it's just bonkers & amazing. Enjoy!
0:00 Inttro
1:21 The thing with Thomann
4:37 Early access hardware synth?
6:19 First look
10:28 Demon Core Oscilaltor
12:37 Filter and (amazing!) drive
15:48 New feature: math
20:05 A bit more presets
23:28 The justice has come?"
"Redshift 6 Firmware 1.7 in action — no talking, just pure playing.
Firmware 1.7 brings a significant expansion to Redshift 6 through the introduction of Math Engines, unlocking powerful new ways to shape and transform modulation signals.
From essential processors like Slew and Sample & Hold to more experimental processors such as Curve and Fold & Clip, the new Math Engines provide a diverse set of modulation-shaping tools for both subtle refinement and radical modulation manipulation.
With Firmware 1.7, Redshift 6 reaches a major milestone, completing the front panel feature set envisioned from the very beginning and opening a new chapter in reimagining what an analog synth can do."
"At Superbooth 2026, I spoke with Timo from Supercritical Synthesizers about one of the most ambitious analog polysynths on the market today - a unique 6-voice analog polysynth from Finland that takes a very different approach to synthesis.
With 96 analog oscillators, multi-timbral architecture, MPE support, evolving firmware updates and a variable character engine that can shift between different vintage-inspired flavors, Redshift 6 blurs the line between traditional analog hardware and modern software flexibility.
In this interview and sound demo we talk about who Redshift 6 is for, how its unusual interface works, the latest firmware innovations, and why some of its sounds might make you think you’re listening to a DX-style digital synth - even though the signal path remains analog.
Chapters:
00:00 Demo #1
00:13 What is Redshift 6?
00:55 Demo #2
02:14 More About Specs
02:43 Who Is It For?
03:48 The Unique User Interface
05:14 Firmware Updates & New Features
05:54 The New Delta Wave Oscillator Engine
06:28 Demo #3
08:24 The Best Of Both Worlds: Hardware & Software
09:15 Summary from Timo
03:33 Demo #4 - Starting with the Init patch"
"Supercritical Synthesizers have introduced an array of new features for the Redshift 6, and are currently working on a new oscillator engine that'll be available in a future update."
"Recorded at Superbooth Berlin 2026, this video takes a closer look at the Supercritical Redshift 6, one of the most original analog synth designs on the show floor. The Redshift 6 is a six-voice desktop synthesizer built around Supercritical’s Demon Core technology, with each voice using a digitally controlled analog oscillator architecture that can generate up to 16 simultaneous analog oscillators per voice.
What makes this instrument stand out is Supercritical’s MDCO concept, or Multiperiod Digitally Controlled Oscillator, which goes beyond the usual idea of a classic DCO by allowing multiple analog waves with pitch and phase control from a single analog oscillator core. In practice, that gives the Redshift 6 a huge sonic range, from vintage-style poly textures and wide supersaw stacks to flanging, phase-based movement, and dense unison sounds across a fully analog dry signal path.
In this Superbooth 2026 video, we explore the synth’s sound, interface, and performance potential, while talking through the features that make it one of the most forward-thinking hybrid-controlled analog instruments available today. With six voices, an analog 4-pole multimode filter, and a design that can evolve through firmware-based engine expansion, the Redshift 6 is aimed at producers and sound designers who want a modern polysynth with a distinctive technical identity.
If you are into advanced synthesis, bold analog tone, and new approaches to oscillator design, this is one of the most interesting synthesizers to watch from Superbooth Berlin 2026."
"A selection of factory presets showcasing the new SEQ:POLY sequencer and macros. All sounds and FX are from Redshift 6 — no external effects or sequencers were used.
The new firmware — featuring the presets — is now available on our website.
More info about the Redshift 6 synthesizer:https://supercriticalsynthesizers.com"
"Firmware 1.6 just landed — with the new Poly Seq engine handling everything from mono lines to full poly sequences, plus macros for hands-on live control."
"Redshift 6 Firmware 1.6 in action — no talking, just pure playing.
Firmware Update 1.6 introduces a new polyphonic sequencer engine and macros.
The update also includes new factory presets designed to showcase the Poly Seq engine and macros. Each multitimbral part in Redshift 6 supports its own sequencer, allowing up to six independent sequencers to run in parallel.
The Poly Seq engine handles per-part sequencing, making it easy to build polyphonic sequences across multiple parts.
Macros provide access to eight assignable controls. Each Macro can control multiple parameters simultaneously, including parameters across different parts. This enables complex changes with a single knob and makes Macros especially useful in live performance.
All synth sounds and FX are from Redshift 6 — no external effects were used."
Additional details:
"REDSHIFT 6 FIRMWARE VERSION 1.6
ADDED
New sequencer engine: SEQ: POLY
Macros
IMPROVEMENTS
Drive is now a modulation destination
8 new factory presets
FIXED
Fixed all known bugs
Supercritical’s Redshift 6
Redshift 6 is a true Sonic powerhouse. With 16 analog oscillators per voice and a 4-pole analog multimode filter featuring drive and character controls, it effortlessly delivers everything from super saw stabs to lush pads and from unison basses to vintage poly synth sounds. The Redshift 6’s 4 envelopes and 4 LFOs, combined with complex yet easy-to-assign modulation possibilities and the 32-slot mod matrix, offer endless possibilities for sound design.
Each of the Redshift 6’s six voices features a Demon Core Oscillator, capable of generating up to 16 simultaneous analog oscillators per voice. These oscillators can be assigned in various ways, from lush polyphonic textures to a massive
96-oscillator unison.
