UDO Audio’s Super 8: Synthesising Thriller’s Spirit for Halloween

UDO Audio’s latest Patchwork episode lands just in time for Halloween, with Hazel Mills taking the Super 8 for a spin through the spectral soundscape of Michael Jackson’s ‘Thriller’. Rather than attempting a full song reconstruction, the focus is on capturing the essence of two pivotal synth sounds: the lush pad and the driving bass. This approach fits UDO’s philosophy of play and immediacy, inviting viewers to explore the architecture of classic pop timbres rather than simply copying presets.

Hazel begins with an initialized patch, quickly identifying the pad’s sawtooth foundation—likely two oscillators, gently detuned for width. The Super 8’s filter cutoff is dialed back for a softer, more subdued tone, while envelope modulation is used to open the filter subtly, mimicking the movement found in the original track. The sound is further shaped with a touch of release, ensuring smooth note transitions and avoiding abrupt cutoffs.

To evoke that unmistakable ‘Juno-y’ vibe, Hazel introduces a chorus effect, which adds depth and a hint of shimmer, reminiscent of the classic Roland chorus circuits. The oscillators are detuned slightly more to emulate the quirks of vintage analog gear, and a dash of pitch modulation is applied to both oscillators, imparting a gentle instability that makes the pad feel authentically aged. Notably, resonance is kept minimal, and some low end is trimmed to keep the pad from muddying the mix.

Switching to the bass, Hazel again starts from scratch, opting for a sawtooth wave—this time likely just one oscillator, possibly with an octave layered in for extra weight. The filter is set much more closed than on the pad, and the sound is intentionally short and punchy, with the envelope used to open the filter quickly and then snap it shut. This creates the percussive, driving quality that anchors the groove in ‘Thriller’.

Resonance is dialed in just enough to add bite without making the sound too peaky or aggressive. The key is balancing how much the envelope opens the filter versus the filter’s base position, a subtle interplay that defines the bass’s character. Hazel’s walkthrough highlights the importance of envelope timing and filter settings in nailing the original’s vibe, all within the Super 8’s immediate, hands-on interface.

To add dynamic movement between song sections, Hazel plugs in an expression pedal and assigns it to the filter cutoff. This allows her to manually open the filter during the chorus, giving the pad more presence and energy, while keeping it subdued in the verse. It’s a simple but effective way to inject performance nuance—something that’s often overlooked in static recreations.

Hazel points out that, while the pad isn’t the main synth in the chorus, it does open up to support the arrangement, demonstrating how real-time control can transform a patch’s role in a mix. This workflow, combining the Super 8’s tactile controls with external pedals, exemplifies UDO’s commitment to playability and expressive sound design.